©2000−2005 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
Regency England displays Emma’s naivety in which her pride and vanity causes her to meddle with other characters, blindsided by her own wrongdoings. The omniscient voice “The real evils, indeed, of Emma’s situation were the power of having too much her own way, and a disposition to think a little too well of herself…” aligns the reader with Emma encouraging her own imaginative mind and vanity where her actions cause her to act in problematic ways other characters. The repetition of personal pronouns, “I have none of the usual inducements of women to marry…I never have been in love…I do not think I ever shall.” explores Emma’s belief that her wealth allows her to be financially secure with reassurance that others will not treat her like Miss Bates for her decision to remain single. The use of narrator’s anthypophora in “Why she did not like Jane Fairfax...she saw in her the really accomplished young woman, which she wanted to be thought herself.” exhibits Emma’s jealousy as she sees Jane as a threat to her ego because she may carry more accomplishments than herself which leads to her initial dislike of Jane. The prominence of pride and vanity creates problems as a consequence as it blindsides one’s better judgement. One’s importance of materialistic items continues to be a main feature in the modern…
1. Seeing Frederic’s apartment for the first time and sharing their first at-home dinner, Sarah Turnbull, influenced by her own Australian culture, makes certain assumption about the French? Why and how does she modify these assumptions later on?…
Emma presents her audience with the ills of a socially stratified society and its repressive constraints manifested through her characters. The conservative social structure of Regency England is established through a clearly defined social organisation which is responsible for determining class by a families inherited wealth and lineage. The eponymous character is presented as the regency stereotype of the upper-class elitist, with the preliminary stages of the novel reflecting the context through the establishment of Emma’s social superiorty. “Emma Woodhouse, clever, handsome, and rich with a comfortable lifestyle and happy disposition seemed to unite some of the best blessings in existence.” The opening sentence uses a trochaic rhythm to reveal the heroines place in the higher echelons of Highbury society. Emma’s moral development and her “disposition to think a little to well of herself” as stated by the omniscient narrator amplifies Emma’s vanity gently satirising the…
David Metzenthen's Boys of Blood and Bone is an ambitious novel linking the stories of the two central characters; Henry Lyon, in the summer before he starts his first year of Law at university, and Andy Lansell, Australian digger killed in the Somme in 1918. Andy and Henry's stories meet when Henry's car breaks down in the small country town of Strattford on his way to a sailboarding weekend with his mates — and his disgruntled girlfriend Marcelle. While stuck in Strattford, Andy gets to know Trot and his girlfriend Janine and centenarian Cecelia Hainsworth, never-married fiancée of the long-dead Andy. Henry is given Andy's diary to read, and finds himself fascinated by the tragic story of this young man of his own age from another time, another world. Boys of Blood and Bone is a book concerned with those things common to human experience, and to define what it means to be human. This essay will consider how these experiences shape the authors message, and how the structure and style he employs contribute to the evocation in his purpose.…
©2000-2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998-2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994-2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994-2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher.…
The book Alias Grace by Margaret Atwood is a beautifully articulated work of literature. The book presents a Victorian mode spiced up with spooky plot twists. Although the book presents a Victorian mode it is not entirely comprised of Romantic ideals. Atwood is a modern writer who was influenced by the major paradigms of both American and Canadian history. Since she was a child, she was fascinated by the true story of Grace Marks. Grace Marks was a teenage, Canadian domestic worker of the nineteenth century who was convicted upon the murder of her employer (Thomas Kinnear) and his mistress (Nancy Montgomery). In this novel, Atwood reimagines Grace's enigmatic story. And in doing so, she embodies a signature theme, the injustices of women's lives which also conveys the literary importance of the book. Also, she portrays the hypocrisy and ignorance of Victorian culture. Atwood also cleverly uses the characters' conversations to convey topics such as prostitution, spiritualism, and treatment for the insane. This is one factor that makes Atwood's style unique. Alias Grace has a style that is thoroughly logical yet complicated. This is not the case with the author's tone which remains indifferent throughout the book. And so, this intriguing novel is one of unique style, indifferent tone, a signature theme that conveys the injustices of women's lives that was influenced by all of the important eras pertaining to both American and Canadian Literature.…
mindsets. Some characters deemed it best to keep the past in the past. Why complicate your life as well as others, with disheveled, bitter, and in some cases disgraceful memories of the past. Especially when it is far easier to bury them, even forget them altogether. In contrast, some characters in the story believed that the past should be brought into the light, cracked wide open, not matter the consequences.…
To examine the question of how useful postmodernism is in understanding contemporary British fiction, I will be using the example of ‘Sexing The Cherry’ written by Jeanette Winterson. The works that can be closely linked with this novel first published in 1989 are those of theorist and historian Michel Foucault. His ideas on sexuality mirror the ideas of sexuality used in Sexing The Cherry (Winterson. J 1989, 47-60).…
Sarah attempted to save her brother multiple times by escaping from the place where they were being held captive. This young Parisian soldier gave Rachel (Sarah’s companion) and Sarah the opportunity to escape and find a safe place to hide until the roundup was over. Sarah could not stop think about hiding or seeking shelter, she needed to find her brother Michel immediately. A grateful Parisian soldier telling these poor girls “Run now, quick both of you. If they see you . . . take off your stars. Try to find help” (De Rosnay 92). The author uses characterization through this Parisian soldier who expresses sorrow and grief once Sarah looks into his eyes. He cannot let everyone go, but in the bottom of his heart he wants everyone to be free, but he cannot. He has higher officials who command his orders, therefore he cannot disobey regulation or else he has to deal with harsh consequences. Once released from Vélodrome d’Hiver, Sarah ends up in a farm out in the forest, where she encounters Jules and Genevieve. This loving couple helps hide Sarah when some Parisian soldiers pass by. “Little Sirka! You were so brave down there!” is what the couple tells Sarah once the soldiers have left, but she corrects them exclaiming “[do not] call me Sirka anymore that’s my baby name” (De Rosnay 132). Jules and Genevieve direct characterization helps Sarah evolve into a grown women at just the age of eleven. Once Sarah has mentions she is not a child anymore, she pushed herself to become an adult forcefully. She has been through the separation of her father, mother, her companion Rachel, and her brother Michael, it seems too much to live like a child now. Sarah is ready to take her own responsibility of finding her brother no matter what it takes. With the help of Jules and Genevieve they go on the journey to find her Sarah’s brother. She decided to leave her childhood behind and start…
In the beginning of the novel Anne is introduced with little consequence, since she “was nobody with either father or sister: her word had no weight; her convenience was always to give way;-she was only Anne.” This shows her position within her family and how she must be treated by them, also indicating the reasons for her low self-esteem and nervous manner. This situation is also mirrored by Austen’s style within the first few chapters, where she concentrates her description on Walter and Elizabeth Elliot, further showing Anne’s inferiority within her own family. Despite this Lady Russell’s opinion of Anne is very different, as “it was only in Anne that she could fancy the mother to revive again,” showing that deep inside Anne there was a much more confident and lively woman looking to break free, but struggling to do so. The major turning point in the novel is during Anne’s trip to Lyme and following Louisa’s accident, it is during this incident that Anne’s true self finally breaks free and that her companions are able to see the real Anne. The first example of this is immediately after Louisa’s fall when Anne cries “for heaven’s sake go to him. I can support her myself. Leave me, and go to him. Rub her hands, rub her temples; here are salts, - take them, take them.” This sudden outbreak of control and strength is quite unlike the Anne that Austen had so far described, but shows that in truth Anne’s character has not been explored to its limits by this stage, and this is proven by the surprise and disorientation of her acquaintances who rely on her instructions to deal with the situation. The comparison here is clear,…
Elisabeth Stuart Phelps captures the essence of time when “ young ladies had not begun to have ‘opinions’ upon the doctrine of evolution, and before feminine friendships and estrangements were founded on the distinctions between protoplasm and bioplasm” (Phelps 8). She writes a kunstlerroman novel of young woman who has the ability to go far with her artistic talent and looses her inspiration after being married. Another author who tackles similar issues is Louisa May Alcott and her novel “Little Women”. Alcott conveys different perceptions for women and conventions what they must adhere to. Conventions in this retrospect deals with ideology that at a certain age young women give up their what is determined, a ‘childhood passion’ to assume the role of a wife. Both Phelps’s novel “ The Story of Avis” and Alcott’s “ Little Women” brings forth the idea that women through marriage were being suppressed and abused by the social constraints that has been set for them. Also, the role of mother, wife and then a person conflicts with any aspirations for being financially independent and/ or a woman seeking a creative lifestyle. A more contemporary type thinking might question this by asking why cant women have the best of worlds, a family and a career? However, Phelps and Alcott works speaks for them by giving us a realistic and creative outlook on domestic life for women who want both.…
“She looked at Sir Andrew with eager curiosity. The young man’s face had become almost transfigured. His eyes shone with enthusiasm; hero-worship, love, admiration for his leader seemed literally to glow upon his face. ‘The Scarlet Pimpernel, Mademoiselle,’ he said at last, ‘is the name of a humble English wayside flower; but I also…
During this period in time, men had dominated with power and control over women. Women were seen as weak and powerless, therefore it was assumed and expected of women to obey the husband. Louise whom had been married to Brently Mallard, was under her husband’s restraint since the words “I Do” uttered her mouth. In the text, Louise’s freedom was hidden and held back between the time of her marriage, up until news was received mentioning her husband’s death. Applying a feminist critical perspective clearly presents that women did not belong to themselves. They were a part of the husband and were under his authority. Applying the perspective clearly identifies a man’s abuse towards women, through power and control.…
Although never explicitly mentioned, Sarah has a clear unliking of her father, which become apparent through her tendency to compare her father to her sister Mashah, who she clearly hates. Despite constant criticism from her father, Sarah soon becomes successful and leads the life she wishes to live, only to be reunited with her father once again at the peak of her career. Sarah is initially resistant to take in her sick father, but soon gives in and fully takes on the responsibility to care for him. It is through her father’s fragile and vulnerable state that she truly discovers him for who he is, and accepts the idea that their family relationship is sacred, despite the past associated with it. Furthermore, it is through Sarah’s brave determination to care for her father and remain by his side that she even discovers more about herself. Sarah becomes more mature through her willingness to forgive and care for the man who was previously responsible for her…