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It is culturally expected that as a human being’s age increases, so does the amount of control they have over their own lives. However, when adolescents are allowed to have too little or too little great amount during their formative years, it can adversely affect their decision making process. In The Walls Around Us, Nova Ren Suma crafted young adult characters who, due to either having not enough or too much control over their own lives, react violently when placed in stressful situations.
Nova Ren Suma’s novel centers around three main characters, two of whom had violent outbursts that shaped the events of the novel: Amber Smith and Violet Dumont. While Amber consistently lived in environments that heavily limited her control over her own life, Violet in contrast received relatively little supervision at home and instead governed her actions with an inordinate amount of self-control. Neither woman learned how to function under circumstances where more than one individual or group of individuals held control over a situation and both reacted poorly when faced with the possibility of an unfamiliar distribution of control.
Amber Smith, for most of her childhood, grew up in an extremely controlling household with a verbally and
The two most complex characters of the novel, Amber Smith and Violet Dumont, both struggled how to come to terms with their perception of reality when they were suddenly expected to accept or relinquish control respectively. The idea of control was so pivotal to the characters’ frame of reference that, they violently lashed out when confronted with change. These outbursts in a way makes Nova Ren Suma’s characters more relatable, not for their graphic violence, but for how they do whatever they can to hold on to how they recognize their place in reality, by who holds the
In the Lilies of the Field by William E. Barrett, Homer and Mother Maria both display straightforward, hardworking, and stubborn character traits. Firstly, Homer and Mother Maria both display a straightforward personality by being brutally honest about their opinions. For example, when Mother Maria asks Homer to build a chapel, Homer speaks his mind by telling her he does not want to build it. Mother Maria shows her straightforward behavior during Homer’s stay at the convent. One morning, when Homer sleeps in late, Mother to becomes extremely upset and is not afraid to show how she feels about him. Secondly, both Homer and Mother Maria display a hardworking spirit. Homer is a hardworking man because after finally agreeing to build the chapel,
Even though women such as Lucy demonstrate stereotypical female weakness, characters such as Mina defy the conventional submissive female, as an independent woman, a role uncommon of novels in this era. In addition, Mina, in comparison to men, possesses substantially stronger emotional fortitude and controls her emotions, while the men who are supposed to be strong expose emotional weakness and frailty. Ultimately, however, no matter Mina’s intelligence or strengths, the men continually suppress Mina’s vast amount of wisdom in order to maintain their perceived dominance. Nonetheless, Stoker’s messages throughout the novel regarding women silently protest the sexist expectations of the overly limiting Victorian era. Should today’s modern feminists take Stoker’s peaceful approach and protest subtly hoping for long-term change? Or should feminists act with violent protests in hope for prompt change? Gender equality will not happen overnight, however, instead of rushing minuscule modifications with violent protest, society must patiently wait for productive and peaceful change, in order to prevent an even larger
Like the Good Other Woman, the Evil Other Woman often spends much of her life hidden away in the castle, secret room, or whatever, a fact suggesting that even a virtuous woman’s lot is the same she would have merited had she been the worst of criminals. The heroine’s discovery of such Other Women is in the one case an encounter with women’s oppression-their confinement as wives, mothers, and daughters-and in the other with a related repression: the confinement of a Hidden Woman inside those genteel writers and readers who, in the idealization of the heroine’s virtues, displace their own rebellious
The third section of the story returns the reader to the calm security, but then quickly sends the tone of the story into a frenzy. These constant tone changes show the reader how strong and resourceful the woman is, but it also shows us how she can be thrown into a panic easily. We come to have little confidence in the main character's ability to react well if a dangerous situation arises.
A common theme of social and political male-assertiveness is prominent throughout the course of history. This occurrence subjects females to serve as the less privileged gender, and has created much controversy. Within the novel Tracks, Louise Erdrich conveys differentiating social commentary through the leading, female characters: Fleur Pillager, Pauline Puyat, Margaret Kashpaw, and Lulu Nanapush. Patriarchy is not defined to the extent of popular belief in the story, but can be easily observed from minute actions of Erdrich's characters. All of these actions pertain to a common belief coinciding with the muted discrimination. While not completely circumventing the ostentatious patriarchy, the female figures define themselves by avoiding confinement of it.
... However, through the narrators partial freedom she more importantly finds a new compassionate/humane path on her journey to womanhood. Also, this new path in itself acts as a sort of self-healing for the grief experienced by the narrator. Though only partial freedom was found and cultural boundaries were not shattered, simply battered, the narrator’s path was much preferable to that of her sisters (those who conformed to cultural boundaries).
...c plot" limits and ignores the non-traditional female experience which is just as important to analyze. The Nan Princes, Lena Lingards and Tiny Solderalls of the fictional world deserve and demand critical attention not for what they don't do (the dishes) but for what they are-- working women.
Sarah’s Key, though depressing, and hard to read is still an prodigious book. While the new historicist criticism applies more to Sarah’s parts of the story, as it occurred in the past, this eventually leads to a more feminist type of appeal. Tatiana de Rosnay talks about her inspiration
The 19th and 20th centuries were a time period of change. The world saw many changes from gender roles to racial treatment. Many books written during these time periods reflect these changes. Some caused mass outrage while others helped to bring about change. In the book The Awakening by Kate Chopin, gender roles can be seen throughout the novel. Some of the characters follow society’s “rules” on what a gender is suppose to do while others challenge it. Feminist Lens can be used to help infer and interpret the gender roles that the characters follow or rebel against. Madame Ratignolle and Leonce Pontellier follow eaches respective gender, while Alcee Arobin follows and rebels the male gender expectations during the time period.
In the saying of “Character is what you are in the dark” by Dwight Lyman Moody, can meaning many different things. One being, “you are most yourself when no one is watching”, another one also being, “dark and troubled times bring out a person's true nature”, and “your true nature is on the inside”. This quote can or cannot apply to the play of “Romeo and Juliet” by Shakespeare.
In both Alice Walker’s “The Color Purple” and Kate Chopin’s “The Awakening”, we see that there are two types of women who arise from the demands of these expectations. The first is the obedient woman, the one who has buckled and succumbed to become an empty, emotionless shell. In men’s eyes, this type of woman was a sort of “angel” perfect in that she did and acted exactly as what was expected of her. The second type of woman is the “rebel”, the woman who is willing to fight in order to keep her creativity and passion. Patriarchal silencing inspires a bond between those women who are forced into submission and/or those who are too submissive to maintain their individuality, and those women who are able and willing to fight for the ability to be unique.
Kate Chopin’s novel, The Awakening, tells the story of a late nineteenth century woman trying to break away from the male-dominated society to find an identity of her own. Edna Pontellier is trying to find herself when only two personas are available to her: the ‘true woman,’ the classic wife and mother, or the ‘new woman,’ the radical women demanding equality with men. Patricia S. Yaeger, in her essay “‘A Language Which Nobody Understood’: Emancipatory Strategies in The Awakening,” argues that what Edna is really searching for is a female language of her own. Edna is prevented from finding her own language and ideal and therefore is trapped until she discovers that suicide is her only way out. The ending of the novel has been considered Edna’s final step in her search for freedom from the restrictive society she lives in. Elaine Showalter, in her essay “Tradition and the Female Talent: The Awakening as a Solitary Book,” and others say that it is Edna’s last move towards female liberation, but is it really? Suicide hardly seems liberating. Edna lives in a phallocentric world where women have no identities apart from their relationships with men. Leslies W. Rabine, in her essay “No Lost Paradise: Social Gender and Symbolic Gender in the Writings of Maxine Hong Kingston,” says that “traditional male narratives” are based “on a linear and circular quest to return to a lost paradise” (Rabine 90), however, female narratives do not have this lost paradise. The world in which Edna lives traps her so that the paradise she is seeking cannot exist. The paradise Edna is looking for is nothing more than a situation in which she can be truly happy. The fundamentally phallocentric...
In a nation brimming with discrimination, violence and fear, a multitudinous number of hearts will become malevolent and unemotional. However, people will rebel. In the eye-opening novel, A Thousand Splendid Suns written by Khaled Hosseini, the country of Afghanistan is exposed to possess cruel, treacherous and sexist law and people. The women are classified as something lower than human, and men have the jurisdiction over the women. At the same time, the most horrible treatment can bring out some of the best traits in victims, such as consideration, boldness, and protectiveness. Although, living in an inconsiderate world, women can still carry aspiration and benevolence. Mariam and Laila (the main characters of A Thousand Splendid Suns) are able to retain their consideration, boldness and protectiveness, as sufferers in their atrocious world.
Most women, especially in the seventeenth-century, are not given the right to choose their own destiny. Women are expected to serve for others, whether it is a husband, or owner, and not to have real fulfilling, genuine roles in the world. This restrain against women detains them from living the independent and free life that everyone deserves. In the novel, A Mercy, by Toni Morrison, the main female characters, Rebekka, Florens, Lina, and Sorrow, are victims of a controlled lifestyle, and are forced to live in a world that is shaped for them. Toni Morrison reveals the inferior, degraded, and vulnerable role of women during the late-seventeenth-century.
...heir own sense of independence. But they also present the reality of it all, that in the end they are back to where they started, and that women will never be able to let their guard down, because of the constant struggle of becoming equally self-reliant as men are, which still remains today.