Matt now has a son, a good wife, and an ordinary life; he still has a good family life without going to university. In contrast with Kate, although she has good education and job, she doesn’t have her own family and in fact, she says, “I had never thought I would really love anyone.” (89) From another perspective, she seems to be the one that is going to have a sad life. Similar with Luke, when he rejects Sally it is due to his responsibility as a caregiver. He is happy with his decision since it is for his family. If Matt chooses to go to university instead and leaves Marie, he will most likely lose his happiness and truly be an emotionless “nerd” and suffers like Kate who does not truly knows the meaning of love.
Superficially, all seems well because his family lives a comfortable existence. Emotionally, however, his family has missed his emotional support for years. His wife, Helen, gave up “trying to compete with his work years ago.” All of his children grew up in a so-called normal family with a father and mother. At his funeral, though, they do not have enough memories about him to say a proper eulogy. Phil himself was “overweight” and unhealthy, obsessed with work and negligent with his personal life.
Before his mom and sisters died, he was given plenty of love. After they were gone, the only person left for him to love was his father. Chlomo Wiesel wasn’t the kind of person that shows love and affection to people though. It’s more towards the end of the book that Elie realizes how much he cares about his dad. At one point, when Chlomo was being beaten by Idek, he was ashamed of his father and he didn’t feel any grief for him.
Preliminary Modern History Task: Decline and fall of the Romanovs Alex Lai Due: Wednesday 28 March 2012 Under the repressive and conservative rule of Nicholas II from 1894 to 1917, the Russian autocracy experienced a failure in satisfying the demands of its populace. Through the reversal of earlier policy and further imposition of repressive policy, this inability to govern fuelled the mentality of revolutionists and secured the fall of Tsardom. Nicholas’ conservative upbringing concerning the maintenance of autocracy within Russia largely influenced his policy platform and how he responded to the various situations he encountered during his reign. His mindset was heavily influenced by his personal tutor, the arch conservative Pobedonostev, who possessed a concrete belief that autocracy was the only viable
At the beginning of the 19th century, a Jew from England named Israel Zangwill wrote a play whose storyline has long been forgotten, but whose central theme has not. The play depicted the life of a Russian-Jewish immigrant family, the Quixanos. David Quixano has survived a pogrom, which killed his mother and sister, and he wishes to forget this horrible event. He composes an “American Symphony” and wants to look forward to a society free of ethnic divisions and hatred, rather than backward at his traumatic past. Zangwill's production was entitled "The Melting Pot" and its message still holds a tremendous power on the national imagination – the promise that all immigrants can be transformed into Americans and the blending together of different races into a unified culture full of democracy, freedom
Sexuality plays a key role throughout: Williams' homosexuality perhaps influenced his interpretation of these characters. The tensions of the play centre on a hidden homosexual relationship of the past and its long lasting effects. Within the timescale of the play we see the negativity of certain gender and cultural attitudes, and Williams' concern with gender and sexual identity within society. These stereotypes, while perhaps seeming over-zealous, are historical and current. Williams was concerned to use strong imagery to investigate human weakness, and Streetcar is certainly laden with obviously stated imagery.
Additional differences between men and women are that they differentiate as they often inhabit different social roles as well as occupational. Finally, sexual reproduction is a biological constant that is ultimately related to men and women being different since a woman is defined as childbearing and child rearing (Eagly, 1987) and promotes intimacy between the men and women. Furthermore, men often employ their power over women as well as their sexual relationships, which at times women counter power through sexuality by using sexual attractiveness to control the man. Therefore, concerns about power and the differences regarding the sexuality are bound together. Modern context in where social movement and increasing gender and equality threaten the traditional male dominance may be directed on those woman who challenge the power of a man and the status (e.g.
(Aeschylus 116). Intelligence and cleverness, while celebrated in a man, are threatening characteristics in a woman. In the palace of Argos, Clytaemnestra has been having an open affair with Aegisthus. The chorus, who acts as the voice of the common man, and therefore the voice of morality, condemn her for this affair even though it is common practice for men in ancient Greece to have many extramarital affairs themselves. In this way Aeschylus overlooks the double standards placed upon the women of the time period, but he also, perhaps unwittingly, sets up Clytaemnestra as the antagonist of the plays.
Rape has affected many cultures and women’s life that we cannot imagine. In E.J. Graff’s article, he puts makes a lot of points that we should think about and change about our world. What exactly is rape? For men, it is simply a means to enjoy women’s bodies.
Contrary to its putatively gender-normalizing conclusion, Eliza Haywood’s Fantomina generates a narrative of sexual subversion and female authority. The repetitive occurrence of female protagonists inverting gender hegemonies from the prostitute to Fantomina’s mother to the convent, produces a ‘gynocratic’, or woman-centered novel. When juxtaposed alongside the nameless, beguiled admirers and the named, yet four-flushed BeauPlaisir, the narrative constructs a hierarchy of female over male, contradicting the possibility of its reinstating archetypal gender roles through its questionable inclusion of assault. While acknowledging seemingly anti-feminist sections, this essay will articulate how Haywood’s text empowers its atypical heroine through Haywood’s syntax and plot, her covert theme of naming and the conclusion itself. Despite her antithetical ideologies, Haywood remains centuries ahead while incorporating the very themes of contemporary pop culture: Woman Power.