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defining the role of leadership
Power relations and gender
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In a crisis, a person's true colors emerge. The weak are separated
from the strong and the leaders are separated from the followers. In John
Steinbeck's novel The Grapes of Wrath, the Joad family, forced from their
home in Oklahoma, head to California in search of work and prosperity only
to find poverty and despair. As a result of a crisis, Ma Joad emerges as a
controlled, forceful, and selfless authority figure for the family.
Ma Joad exhibits exelent self-control during the sufferings and
frustrations of the Joad's journey. Ma knows that she is the backbone of
the family, and that they will survive only if she remains calm. Ma keeps
her self-control when Ruthie tells some children about Tom's secret. The
family becomes nervous and enraged over the situation, but Ma restores
order by handling the situation in a calm and collected manner. If Ma were
to ever show fear, the family would most likely collapse. For, "Old Tom
and the children could not know hurt or fear unless she acknowledged hurt
or fear." Thus, if Ma acts as if everything is all right, then the family
will assume everything is all right. Most members of the family openly
express their doubts or fears. Ma may be just as frightened as the rest of
the family, but she always maintains a front for the rest of the family.
When Ma had fears, "She had practiced denying them in herself." This
extraordinary self-control helps to keep the Joad unit together and alive.
Ma, like all leaders, must be forceful for things to work in her
favor. Numerous situations occur in which Ma must be forceful or
relinquish her role as the head of the family. Her forceful leadership
occurs once when the family, without Ma's consent, agrees to leave Tom and
Casey behind to fix the Wilson's car. Ma feels this will break up the
family and uses a jack handle to prove her point. It is at this point Ma
replaces Pa as the official head of the family. Ma's forceful leadership
also surfaces when she threatens a police officer with a frying pan and
when she decides for the family to leave the government camp. In both
situations Ma must use force to achieve her objectives; in both situations,
she emerges victorious. Eventually, Pa becomes angered because of his loss
of power to a woman and says in frustration, "Seems like times is changed.
lied to an inspector telling him, "We got a sick ol' lady. We got to get her to
In order for things to go Ma’s way, she must push for them. There are many situations were Ma has to push and put order back and continue strong leader as she is displayed as. An example of were Ma must stay strong is when the family agrees to let Tom and Casey stay behind, to fix the Wilson’s car, without her approval, and she thinks that that will break up the family. After that incident, she pretty much replaces Pa’s place as the head of the family. Another big situation is when she is threatening a police man with a pan, and she tells the family there leaving the government camp. Pa’s gets pissed because his power became lessened due to Ma’s leadership, Pa says “Seems like the times are changing.”
Opening Scene: The opening scene of the novel shows Tom Joad getting out of prison and finding his farm deserted and all other farms in the area deserted. This shows just how devastating an effect the Dust Bowl had on farmers and their families and how many lives were altered.
Women are known for as holding families together. When times get rough women are the foundation to the family and help keep things together. A woman poses different qualities that can help keep the family strong. These qualities can be categorized in the four archetypes of a woman. The idea of the woman Archetype is presented by Carl Jung. The first being Mother Nature, the very physical aspect and the second is the virgin, which represents the spiritual aspect of the archetype. The third is the young which who is the physical state while the fourth is the old witch possessing the spiritual side of the woman archetype. The four women in John Steinbecks, The Grapes of Wrath represent these four archetypes and take on responsibilities that in the end help the family succeeds in achieving their dreams.
African American’s have faced a great deal of harsh and cruel treatment throughout our society. From being stripped from their homeland of Africa and being brought to America as slaves, African Americans have seen and been through it all. Author and renowned poet Gwendolyn Elizabeth Brooks discuses and describes many of the cruel and unfair treatment that African Americans have faced throughout our civilization. Brooks’ not only speaks on the racial prejudice of African Americans, but she also discusses the heartaches, the life, and the growth of African Americans as a people. Brooks’ poetry and stories are very similar to her own experience growing up as an African American woman.
time. The best way to go about doing this was to focus on one of the two things
When initially diving into a novel, it is common knowledge that there is an already preconceived agreement of trust that the reader instills in the story’s narrator. The reader virtually always relies on the narrator to illustrate the story in an honest unbiased manner, but the story teller in Emily Bronte’s Wuthering Heights appears to break the chains of trust understood by the audience. The novel is heard through the keen ears of Mr. Lockwood who is being told the history of the Earnshaws, Heathcliff, and the Linton family by his housekeeper, Ellen Dean. Establishing herself as the primary narrator, Nelly reminisces upon her experiences at Wuthering Heights and Thrushcross Grange. She fails to give Lockwood and ultimately the reader a precise narration of the affairs that took place in the past. Throughout her vivid flashback, Nelly on numerous occasions lessens the impact of her role and participation in certain events to keep her hands clean from the tragedies that more or less ruined those among her presence at Wuthering Heights.
Wuthering Heights is a classic in which Emily Bronte presents two opposite settings using the country setting. Country settings are often used as a place of virtue and peace or of ignorance and one of primitivism as believed by many city dwellers. But, in the novel Wuthering Heights, Emily Bronte has used Thrushcross Grange and Wuthering Heights to depict isolation and separation. Wuthering Heights setting is wild, passionate, and strong and Thrushcross Grange and its inhabitants are calm, harshly strict, and refined and these two opposite forces struggle throughout the novel.
Varghese, Dr. Lata Marina. "Stylistic Analysis of Emily Brontë’s Wuthering Heights." IOSR Journal of Humanities and Social Science 2.5 (2012): 46-50. Print.
It was not long after the sun set that the city’s organizers of the festival announced the event that everybody had been waiting for. All the younger kids got really excited and ran as far up as they could, the crowd started to settle, and each and everyone of us prepared our necks looking towards the eastern end. Soon loud music began and the fireworks began to soar through the sky! People were in “oooohs” and “ahhhs” every time as soon as rocket would go up and explode in front of a dark canvas, the night sky. The fireworks were in sync with the music and produced a plethora of colorful designs that lit the sky. Although the whole event lasted under 15 minutes, it was by far one of the most wonderful experiences to any party. People let out a sigh once the fireworks display was over and a thunderous applause
It is a question that has baffled readers and critics alike through generations, a question that can be endlessly pondered upon and debated over, as to why Emily Bronte chose to name her first and only novel, after the house in which a sizable part of the action chronicled takes place, despite being armed with characters of such extra-ordinary strength and passion as Heathcliff or Catherine. But on close scrutiny, a reader can perhaps discern the reason behind her choice, the fact that Wuthering Heights is at once a motif, a setting and according to a few critics, even a ‘premonitory indication’ of the tempestuous nature of things soon to occur.
Laar, Elisabeth T. M. The Inner Structure of Wuthering Heights: A Study of an Imaginative Field. The Hague: Mouton, 1969. Print.
The setting used throughout the novel Wuthering Heights helps to set the mood to describe the characters. We find two households separated by the cold, muddy, and barren moors, one by the name of Wuthering Heights, and the other by the name of Thrushcross Grange. Each house stands alone, in the mist of the dreary land, and the atmosphere creates a mood of isolation. In the novel, there are two places where virtually all of the action takes place. These two places, Wuthering Heights and Thrushcross Grange, differ greatly from each other in appearance and mood. These differences reflect the universal conflict between storm and calm that Emily Bronte develops as the theme in her novel Wuthering Heights.
To sum up, Emily Brontë’s Wuthering Heights is a classic that portrays a love, even though confined by social classes, trespasses boundaries of life and death. The Gothic elements incorporated in this novel such as extreme landscape and weather, supernatural events and death brings about a mysterious and gloomy atmosphere suitable for a revenge plot with heightened emotions.
“Wuthering Heights is a strange, inartistic story”(Atlas, WH p. 299). “Wuthering Heights is a strange sort of book” (Douglas, WH p.301). “This is a strange book” (Examiner, WH p.302). “His work [Wuthering Heights] is strangely original” (Britannia, WH p.305). These brief quotes show that early critics of Emily Bronte’s first edition of Wuthering Heights, found the novel baffling in its meaning - they each agreed separately, that no moral existed within the story therefore it was deemed to have no real literary value. The original critical reviews had very little in the way of praise for the unknown author or the novel. The critics begrudgingly acknowledged elements of Wuthering Heights that could be considered strengths – such as, “rugged power” and “unconscious strength” (Atlas, WH p.299), “purposeless power” (Douglas, WH p.301), “evidences of considerable power” (Examiner), “power and originality” (Britannia, WH p.305). Strange and Powerful are two recurring critical interpretations of the novel. The critics did not attempt to provide in depth analysis of the work, simply because they felt that the meaning or moral of the story was either entirely absent or seriously confused.