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Relevance of cultural identity
How does culture impact identity
How does culture influence identity
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Recommended: Relevance of cultural identity
Converging the two shows, confessional culture is well represented in the media to show that it existed and still in existence. However, there is still personal struggle of disclosing a personal identity on the form of culture that one live. In this case, the producer of Ellen program, decided to show a single coming out episode without any form of personal journey presiding to relate it with coming out narratives. Considering the creator of the Bad Girls, based the story on Helen that concerned a certain amount of personal struggles and uncertainty identity. Also, transformation of sexuality is borne in various means from subtle signals concerning words that are coded to explicit announcement of identity. In this case, both the Bad Girls and Ellen, characters show such personal assertions. AuthorLastName8 Ellen does not appear to be distressed about her sexuality through coming out and revealing her sexual identity, where it is reconstructed as a past of fear and shame. This depicts how confessional culture was taken in the society, whereby even the depictions of one’s identity and ...
Previously, the narrator has intimated, “She had all her life long been accustomed to harbor thoughts and emotions which never voiced themselves. They had never taken the form of struggles. They belonged to her and were her own.” Her thoughts and emotions engulf her, but she does not “struggle” with them. They “belonged to her and were her own.” She does not have to share them with anyone; conversely, she must share her life and her money with her husband and children and with the many social organizations and functions her role demands.
Allison has had a bitter past full of moments which have scarred her personality. She uses these and writes about the world that few are willing to admit exists. Many find refuge behind their gregarious nature and take comfort in religion or other bodies. However, that does not change the facts of what the world is and how it got there. Allison exposes her audience to these facts, and in the process, she shares her own view.
In the featured article, “Beside Oneself: On the Limits of Sexual Autonomy,” the author, Judith Butler, writes about her views on what it means to be considered human in society. Butler describes to us the importance of connecting with others helps us obtain the faculties to feel, and become intimate through our will to become vulnerable. Butler contends that with the power of vulnerability, the rolls pertaining to humanity, grief, and violence, are what allows us to be acknowledged as worthy.
Butler, Judith. "Besides Oneself: On the Limits of Sexual Autonomy." Ways Of Readers An Anthology For Writers. Ed. Davis Bartholomae and Anthony Petrosky. 9th ed. Boston: Bedford/St. Martin’s, 2011. 240-257. Print.
Center stage in Kaye Gibbons’ inspiring bildungsroman, Ellen Foster, is the spunky heroine Ellen Foster. At the start of the novel, Ellen is a fiery nine-year old girl. Her whole life, especially the three years depicted in Ellen Foster, Ellen is exposed to death, neglect, hunger and emotional and physical abuse. Despite the atrocities surrounding her, Ellen asks for nothing more than to find a “new mama” to love her. She avoids facing the harsh reality of strangers and her own family’s cruelty towards her by using different forms of escapism. Thrice Ellen is exposed to death (Gibbons 27). Each time, Ellen has a conversation with a magician to cope with the trauma (Gibbons 22-145). Many times Ellen’s actions and words cause it to be difficult to tell that she is still a child. However, in order to distract herself, Ellen will play meaningful games (Gibbons 26). These games become a fulcrum for Ellen’s inner child to express itself. Frequently, Ellen will lapse into a daydream (Gibbons 67). Usually, these daydreams are meant to protect herself from the harsh reality around her. Ellen Foster’s unique use of escapism resounds as the theme of Kaye Gibbon’s Ellen Foster.
Bartholomae, D., & Petrosky, A. (2011). Ways of reading: an anthology for writers (9th ed.). Boston: Bedford/St. Martin's. “Judith Butler; Beside Oneself: On the Limits of Sexual Autonomy.”
In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
Ha Jin is a very talented writer. He uses first person narrative, setting, and personal appeal to show his readers that cruelty and judgment against homosexuals is not needed in today’s society. He uses these three things to show that the criticism in this book is taken to an extreme. These aspects along with many others create a story that readers are not only interested in, but can relate to as well.
Boa, Elizabeth. "Wedekind and the 'Woman Question'." Boa, Elizabeth. The Sexual Circus: Wedekind's Theatre of Subversion. New York : Basil Blackwell Inc. , 1987. 167-202. Print.
Being a women artist, displaying such an installation was not possible years back. Contrary to the opinions of many students new to the study of feminist literary Criticism, many feminists like men, think that women should be able to stay at home and raise children if they want to do so, and wear bras. Bringing such an art piece, reflection of her inner experiences or having sex in bed after having bad relationship could not be possible before. The main female characters are stereotyped as either “good girls” or “bad girls”. These classifications suggest that if a woman does not admit her male-controlled gender role, then the only role left her is that of a monster. Yet Emin’s confessional art- with its confidences of pregnancy, being raped, destructiveness of guilt, emotional stress- has become much common nowadays with feminist consciousness while in early generation, sharing such experiences lead to the destruction of women’s life. Her unmade bed, surrounded by such bric-bracs tells a story of a depressed, emotionally stressed women artist who asks for a sympathetic shoulder from the viewers by being a transparent soul. “For her British critics it [My Bed] expressed Emin’s sluttish personality and exemplified the detritus of a life quintessentially her own; it was, above all, confessional”, Cherry observes. Emin has limited the word ‘feminist; art practices have been the concerned of an early generation. This point seems to be confirmed by Emin herself, who declares to the discerning nature of her work in which she says that she decides to show either this or that part of the truth, which isn't unavoidably the whole story but it's just what she decides to gives us. As a self-motivated set of influences, feminism no longer titles a unitary or merging project infact it is now being the transformation just as feminist biases are perpetually subject to change. Whereas, looking at Tracey’s other work, Tent “Everyone I Have Ever
This therapy recognizes heterosexual privilege and explores the trauma and shame that occurs to Lesbians and gays, even as children. With my client this is imperative to explore and also the isolation component.
The 1990s saw surge of gay characters in both television and movies. From Ellen Degeneres and her character Ellen Morgan coming out under much scrutiny on the TV show ‘Ellen,’ to Julia Roberts and Rupert Everett comedically playing off each other in the motion picture ‘My Best Friend’s Wedding.’ Sure, gays and lesbians have been around forever, especially in Hollywood. But never has there been a time to be more out. With the popularity of shows like Will and Grace, which feature leading gay characters, as well as Dawson’s Creek and it’s supporting character of teenager Jack McPhee, we are slowly seeing gay and lesbian characters creeping into the mainstream media.
While vacationing in Grand Isle, Louisiana Edna spends her time with a Creole friend while her husband is working and is exposed to an openness surrounding sexuality that she has never experienced before. Because Edna was not brought up in the type of culture where discussions about sexuality are traditional, she has trouble accepting the directness of her friend. Examples of this can be seen when novel is passed around that has some explicit sexual references in it. Christina R. Williams states in the article “Reading Beyond Modern Feminism: Kate Chopin’s The Awakening,” that “The Creole lifestyle of liberality across the sexes, shown by the participation of women in risqué́ conversations, rouses Edna’s sexual awakening...
The task of dismissing feminine perspectives from She is evident from the opening pages of the text. While Haggard’s use of a frame narrative is not uncommon—it can be seen in texts such as Joseph Conrad’s Heart of Darkness—the emphasis placed upon establishing this piece as a credible account of history is significant. Considerable lengths are taken by the narrators to ensure that this piece is not approached as a novel, but as an autobiographical record. Within the first paragraph of the text’s introduction, the editor proclaims this account an “extraordinary history” (11), and later asserts that it “seems to bear the stamp of truth upon its face” (14). Not only are readers immediately exposed to the editor’s perspective, they are also quickly shown Holly’s. I...
Seventy-five years after the 1890s publication of the premier volumes of Emily Dickinson's poetry, critics still squabble about the poet's possibly lesbian relationship with her sister-in-law, Susan Huntington Gilbert Dickinson. Indeed, the specifics of Dickinson's relationship to Susan are ambiguous at best. All of the critical attention that her mysterious sexuality receives reflects our culture's urge to sectionalize great literary icons into our own personal niches, thereby absorbing them as our “group's” own voice. The poet, not the poetry, assumes the center of the discussion. The critics, whether arguing for or against a lesbian interpretation of the famed couple, are like two disgruntled neighbors arguing over a tree known for its particularly incendiary wood. They no longer focus on this evergreen's innate beauty but, rather, on whose property it resides and who has the right to cut it down to ignite their cause. In all actuality, we will never know the truth about the pair's physical relationship; the evidence is too ethereal to assume a definable substance. And, in part, this predictable public response motivated Susan Gilbert's reluctance to release Dickinson's poems and letters after the poet's death.