Comparing Time of the Temptress and Gone With the Wind In the Harlequin romance Time of the Temptress, by Violet Winspear, the author seems to be trying to write an intelligent story of romance, bettered by its literary self-awareness. She fails on both counts. Winspear appears to recognize that more valued literature tends to involve symbolism and allusions to other works. It seems she is trying to use archetypes and allusions in her own novel, but her references to alternate literature
Female Submission in Time of the Temptress From the onset, the underlying theme in Violet Winspear's romance novel, Time of the Temptress, is female submission and powerlessness, especially in the sexual tension between Eve Tarrant and Wade O'Mara. Although no explicit sexual relations are allowed in the line of "Harlequin Presents..." romances, the overall tone and interpersonal dynamics of the novel infer a rape motif. Eve is completely at the mercy of Wade to save her from the jungle
Sexual Roles in Time of the Temptress Violet Winspear's Time of the Temptress may not be considered a literary masterpiece by many critics, but it does give a specific example of male dominant and female submissive sexual roles. Even though the novel contains no explicit or even implied sexual scenes occurring between the main characters, the actions and speech of Wade and Eve serve as a substitute for erotic passages. Eve is labeled as an obvious submissive character as soon as
and his Lady. Lady Macbeth and the Witches Jane Adelman summarizes the psychoanalytic interpretation of the relationship between Lady Macbeth and the Witches (ibid 140). Lady Macbeth and the Witches signify for Macbeth the role of both temptress and mother, an issue that will be explored more fully below. Adelman claims that the Witches tempt Macbeth on the cosmic plain, whereas Lady Macbeth tempts him on the psychological plain (ibid 139). All of the female figures r... ... middle of
mankind, a woman exiled from the New Garden of Eden due to an unforgivable sin. She is doomed forever to walk outside the garden, no longer able to partake of the fruits of paradise, barred from reentry by seeming "divine intervention." Hester is the temptress of Dimmesdale, offering him the fruit of good and evil which, heretofore, removes all naivete and forces him to walk, tortured, through the world with the knowledge of right, wrong, and the magnitude of his sin seeming to accost him at each new turn
the house. Jane is a sober, sturdy Englishwoman of scrupulous morals. Bertha Mason, even before she goes mad, is depicted as an excitable foreigner of unacceptable values descended from a family of lunatics and idiots. She is shown as the exotic temptress whom Rochester cannot resist. He tells Jane: She flattered me, and lavishly displayed for my pleasure her charms and accomplishments. All the men in her circle seemed to admire her and envy me. I was dazzled, stimulated my senses were excited;
The Powerful Women of Homer's Odyssey Homer's "Odyssey" depicts women as strong subjects-they are real substantive characters. Women in this poem are tough, strong-willed and are treated with the respect and seriousness they deserve. Homer characterizes the women in his poem as the real counterparts of men-they have real feelings, real plans and are able to accomplish them on their own. Some of the more impressive and intriguing women in the book are Nausicaa, Arete, Circe, Calypso,
Life and Death in Frost's Stopping by Woods and Thomas' Do Not Go Gentle Robert Frost's "Stopping by Woods on a Snowy Evening" and Dylan Thomas' "Do Not Go Gentle into That Good Night" reflect deeply on both life and death. Frost interprets death as rest and peace from a hard and deserving life, whereas Thomas depicts death as an early end to an unfulfilled life. Contrary to Thomas's four characters who rage against death because of its premature arrival, Frost's speaker accepts death but is
A sadistic temptress, the aid and probable prompt of an evil and cold blooded killer. Or a 'political prisoner being used as a scapegoat by politicians and the media'? This is a very sensitive subject and people often respond with fear and anxiety when we decide to examine things like the Moors murders. We are told that our curiosity is 'unhealthy', and that wanting to know,or openly debate about a matter which is 'naturally' closed, can only be the desire of a sick mind. We are encouraged to turn
prejudices and stereotypes from preceding centuries have fallen by the wayside; on the contrary, most of the same archetypes are alive and well, even if modified to suit a new world. From the unattainably perfect virgin to the sexually insatiable temptress, these images appear throughout modern culture-but the disturbing nature of their existence is made far worse by the complacency with which women accept and further them. In many places, control of the image of women has passed into their own hands
Archetypes come in three categories: images (symbols), characters, and situations. Feelings are provoked about a certain subject by archetypes. The use of the images of water, sunsets, and circles set the scene of the movie. Characters, including the temptress, the devil figure, and the trickster, contribute to the movie’s conflicts that the hero must overcome in order to reach his dream. However, to reach his dream, the hero must also go through many situations such as, the fall, dealing with the unhealable
(Billinghurst 1). In the simple quote above, Ms. Jane Billinghurst, author of “Temptress”, provides explanation of the femme fatale by way of metaphor, likening the way in which the Venus flytrap, or Dionaea muscipula, succeeds in obtaining its next meal by way of temptation to the likeness of the femme fatale, using temptation to secure her victims, thus leading to unescapable doom (Venus’s fly-trap 1). “Temptress”, whose pages and cover alike overflow with a lavish visual collection of photographs
ugly, useless, and worthless. Even Shug, when she first met her, exclaimed "You sure is ugly" (pg.48). Shug was told, first by her mother and then in the "respectable people's" opinion, that she was a whore, that she was wicked, and so she became a Temptress of sorts. "Even the preacher got his mouth on Shug Avery, now she down. He take her condition for his text. He don't call no name, but he don't have to. Everybody know who he mean. He talk about a strumpet in short skirts, smoking cigarettes, drinking
are not on the same level as men has always been in existence. We see that even during the book of exodus this belief stems from the creation of Eve, through a rib of Adam. From scripture, Eve's roll was to be considered as a servant and a temptress, the sole reason why Adam ate the apple. Consequently Eve is blamed as being the reason mankind is not living in a paradise. Sexism has continued throughout ancient history and continues occur in our own environment to this day. Sexism
to represent the "good woman." In other words, she has been used as a role model for women, to show what was their acceptable role in society and to shape their actions and beliefs into an acceptable form. The earliest writers saw her as an evil temptress, as attitudes changed she became a victim and now in recent representations she is seen as "a feminist hero and a savvy politician" (Nilsen 1). Following this history, one can see how the story of Cleopatra is a story that has been told many times
Do famous stories tie in their audiences by archetypes? The secret to all well known fables is mimicking the type of people seen in everyday situations. The threshold guardian, hero, and temptress are the archetypes in these stories that help the readers allay boredom. One form of archetype is the threshold guardian which usually challenged the main character. In the fable Cupid and Psyche, a threshold guardian appeared in the form of a task, “i will make trial of your housewifery.” (Bensen,) Venus
her as a temptress in the community, and the women in the marketplace call her a “brazen hussy”, which is synonymous to an immoral woman ( ). This archetype suggests that Hester lured and provoked Dimmesdale into adultery, and that, as a married woman, she is the one at fault, and must be punished accordingly. The public hates and shames Hester when she is convicted, but Dimmesdale is praised when he attempts to
story. An understanding of three key archetypes—the temptress the magic weapon, and the task—reveal the essence of Gawain’s role within the archetypal quest motif. Ordinarily, the temptress archetype is characteristic of women who ”become the symbols no longer of victory, but of defeat” (Campbell 111).She also serves as a distraction to the hero’s task and may even intentionally misguide the hero. As seen in Sir Gawain and the Green Knight, the temptress, the host’s wife, kisses Gawain three times total
usual, Shakespeare broke the mold and created diverse and unique female characters, each one crucial to the storyline. Each female character represents a different archetype, and yet, each one seems to defy the archetype in one way or another. The temptress archetype is “Characterized by sensuous beauty, this woman is one to whom the protagonist is physically attracted and who ultimately brings about his downfall” (“Archetype”). Being Macbeth’s wife, Lady Macbeth
Archetypes are pivotal in the structure of any story. Without archetypes, individuality is not expressed. The story will fail to have a characteristical context if not knowing the individual classification of personality for each character. It is as if reading an open book with blank pages. Using The Oddessy, by Homer. Translated by Robert Fitzgerald and The Alchemist by Paulo Coelho I will prove that without archetypes, stories will be bland and difficult to finish. There will be a shortfall of