When Cher questions Elton as to why he does not like Tai, it becomes clear through irony that popularity is crucial. Elton declares “why not? Why not? Don’t you even know who my father is?” “(Cher) oh! You are a snob and a half!” Cher is blind to see that she to is a snob as she judges people the same way Elton judges
Iago explains that Othello’s choice to promote Cassio an inexperienced soldier “That never set a squadron in the field”, over himself has resulted in Iago to “follow him to serve my turn upon him”; appearing loyal to Othello to gain revenge. This report of Othello’s poor military choices makes the audience question Othellos ability as a general, casting Othello in a corrupt, negative light. In Act one Scene one, Brabantio’s is told of the apparent elopement between his daughter, Desdemona, and Othello. To disturb and provoke Brabantio, Iago portrays Othello incredibly negatively, using racist phases and animistic, violent images. Othello is described as “the devil” and an “old black ram” referring to his age and race, compared to Desdemona, a “white ewe”.
For example, when the Inspector asks Mr Birling, 'Why?' as to why Mr Birling had refused Eva Smith a raise in wage, Mr Birling is completely shocked at being questioned this and says 'Did you say Why?’' This shows that the Inspector is not prepared to wait around for basic answers, he is determined to get the truth by any means possible. The Inspector also interrogates the characters in a particularly harsh and rude manner. He pressures them until they finally break and confess the truth. He tries to make them feel guilty by continuously trying to make them see their errors and how they have been forgetting socialism, making them seem selfish and obnoxious.
Her boisterousness and hostility is epitomised in the stage direction [She strikes him]. This indicates that Katherina employs physical abuse as a self defense mechanism against Petruchio. Such violent behavior was classed as shrew-like and highly unorthodox in the Elizabethan Era, particularly towards a male suitor of a high social class. Thus, Katherina challenges the values of courtship and marriage, in a way that is relevant to her society. Correspondingly, in 10 Things I Hate About You, Kat rebels against the social expectations of the permeating values of courtship and dating.
Cal The antagonist is Cal. Cal is clearly the opposing character. He may seem as is if he is the victim, but all he does is deliberately attack Andre’s mother not understanding her situation and position. According to the play, Cal states “How many of us don’t want to hurt our mothers and live in mortal terror of their disapproval. Our lives aren’t furtive, just our feelings towards people like you” (50).
Transformations Essay “The Study of transformation explores the tension between continuity and change. “ Explore how this statement is true. Amy Heckerling’s film, Clueless, as a transformation of Jane Austen’s novel, Emma, explores the tension between continuity and change. Emma, written in the early 1800s, reflects the values and class hierarchy of the Regency period. Heckerling’s film has transformed Emma into a dramatic twentieth century teen flick that both exemplifies and undercuts the contemporary culture of 1990s Los Angeles defined by consumption and appearance while still maintaining aspects of Emma’s narrative and characterisation.
Multiply Crooks a million times, it points out the barriers and artificial obstacles people and society build against each other. Adding to Crooks' sense of powerlessness is his position, which is made clear by Curley's wife when she breaks up their little gathering, in fact, once she uses her position as Curley's white wife as a weapon, Crooks dissolves into nothingness. He grows smaller, pressing himself against the wall, and trying to avoid the hurt. Steinbeck has now assembled for us the outsiders of his cast of characters, Crooks had retired into the terrible protective dignity of the Negro." Candy with his old age, Lennie with his retardation, Crooks with his race, Curley's wife with her gender: all are victims of the attitudes and prejudices of
Beatrice is the one that starts this one. “I wonder that you will still be talking Signior Benedick nobody marks you.” This shows us that Beatrice wants to talk to him but she does it insulting him. Benedick responds really quickly “What my dear Lady Disdain! Are you yet living?” Here Benedick is saying that Beatrice feels that she is inferior to everyone and she can say anything because she is inferior. In Act II where there is a party in Leonatos house Beatrice talks to a masked man and tell awful things about Benedick to him.
Hubris destroys people, it can blind people to the reality of their situation and leads them to their downfalls as shown by the characters in Sophocles’ plays Antigone and Oedipus Rex. By looking at Oedipus and Creon, the careful reader can see how the excessive pride of each character leads them to their doom. In the play Oedipus Rex an example of Oedipus’ excessive pride is when he is asked to move aside by the former King of Thebes, Laios and Oedipus refuses. Oedipus’ pride overwhelms him and drives him into a murderous rage, as Sophocles illustrates, “the groom leading the horses forced me off the road at his lords’ command; but as the chariot lurched over towards me I struck him in my rage …He was paid, back and more!” (Oedipus Rex 43). In his rage, Oedipus kills the old man and his fellow travelers.
When Mrs. Mooney is observing Polly’s interactions with young men, she becomes frustrated that “none of [the men] meant business” and considers sending Polly back to her previous job (63). Mrs. Mooney is highly focused on her own aspirations, and therefore compromises her sense of empathy. Mrs. Mooney is a heavy influence on Polly’s actions. Mrs. Mooney acts as if she is unaware of Polly’s affair with Bob Doran; however, Mrs. Mooney and Polly share an unspoken understanding. Mrs. Mooney is the ringleader of Polly’s indecency, and manages Polly under implicit control.