He himself had dark hair although His eyes were blue as bottleglass, so I believed" (137). Alienated from her culture, she joins a convent and, in addition to working much mischief within the Anishinabe community, she adopts an acetic way of life that becomes increasingly self-mutating. Pauline believes that she is "hollow unless pain filled" her (193). Both Pecola and Pauline experience a self-hatred that is the result of internalized racism. For Pecola, it manifests itself as the loss of her mind; for Pauline, it can be seen in her extreme self-mutilation.
A round eyed girl peers out from behind the cover of the book she is assiduously reading, her hair sits neatly at her shoulders, perfectly combed to the last strand. She looks up, staring around like a rabbit in the barrel of a gun. Clumsily she tucks a piece of hair behind her ear and continues to study her book. Still not making eye contact with anyone else in the room. The chicken wings and charred pork sit uneaten in the bottom of the blue bowls as unappetising scents waft from them.
Both characters collide with each other over influence of Stella, Blanche’s sister. Eventually, however, Stanley is the victor, raping Blanche and sending her into a completely delusional state. To begin with we can see the way in which the playwright uses the characterisation of Blanche to establish the theme of appearances versus reality in the way in which she struggles to accept the harsh reality of her surroundings. When Blanch first arrives she is shocked by her surroundings: ‘Her expression is one of shocked disbelief. Her appearance is incongruous to this setting.’ When Blanche first is introduced to Stella’s home she is shocked and this establishes Blanche’s strong sense of class, and also that Blanche will be an outsider in this particular setting, never realizing just how harsh it is.
The narrator’s obsession with the wallpaper that surrounds her bedroom begins merely as intrigue and climaxes to a point where reality and what she imagines within the wallpaper becomes blurred. This climax represents her journey from rationality to insanity as the wallpaper becomes more twisted and alive around her. This wallpaper ultimately represents the oppression of her mind that is being caused by her post partum depression, as well as her husband’s ineffective healing methods. At first she finds the wallpaper being “one of those sprawling, flamboyant patterns committing every artistic sin” (Gilman 988). This could be a representation of the beginning of her depression which was initially just an annoyance to her which she does not fully understand.
Module A: Comparison of Texts Individuals challenge the values that permeate time, in a manner that is relevant to their society. This rebellion is evident in William Shakespeare’s play The Taming of the Shrew and Gil Junger’s film 10 Things I Hate About You whereby Katherina and Kat initially disregard the social expectations for women of their context. The composers portray this comparably, using textual integrity so the women’s misunderstood, shrew-like behavior is suited to their culture and society. This in turn, provokes both characters to experience a transformation of self and their values. In The Taming of The Shrew, Katherina challenges the values and themes of courtship and marriage, dismissing the female etiquette when meeting her suitor.
The very first descriptions illustrate her initial animus by describing it as “one of those sprawling flamboyant patterns committing every artistic sin” (Perkins 41-42). This is significant for it reflects the narrator’s own presence—she is committing an artistic sin during her marriage by having her engaging imagination and her need to compose. Her husband, John, dislikes this, and as a result, the narrator deliberately feels stifled and has to obscure her writing so that her husband will not know. The narrator is characterized as having a nervous state and is overly protected by her
Especially when she reminisces in the final stanza about the time she was young and beautiful, illustrating her complete lack of confidence. Nevertheless, she is still presented as a foul character who threatens the reader, with the line ‘Be terrified’. The poem also ends with the line ‘Look at me now’ which has a double entendre (double meaning). It could be read as a cry of despair or, as a threat – if you did look at Medusa you would die! This leaves the reader feeling conflicting emotions for the character, probably similar to how Medusa herself feels in the poem.
Shadows- show the madness Blanche falls into, it represents how her mind is all over the place and she is slowly breaking down. Mirrors- represents the truth that Blanche is trying to hide from Colors- represents Blanches mood and how she is trying to portray herself. When she wears white, which stands for purity and innocence she is trying to maintain her image from the promiscuous woman she really is. Later she changes to her “scarlet satin robe” when she is trying to get Mitch to want her. Further on she changes back to her white color and goes back into a protective mode trying to seem harmless.
Surely not. I almost went around to undo the straps, having thought the test was over when the 1 flipped to a 2. Lola’s smile faltered. She shifted her eyes around the room before she focused them on her lap. The number 3 switched on the screen.
In the first movement the notes were played slowly with lots of rhythm as the female voices came in with a peaceful harmonized melody. Then the female voices stopped as the piano continued to play. Male voices came in with the same soothing tone. Female vocals followed with a loud and fast melody accompanied by a tambourine. The entire mood of the piece seemed to change at this point.