Mr. Miyazaki's heroines tend to be plucky young women who combine guileless decency with tough-mindedness. During their journeys, they often encounter wise older women who sometimes serve as foils, sometimes as mother figures. Ms. Wynne Jones's novel, which Mr. Miyazaki encountered in Japanese translation a few years ago, allows him to combine these two types into a single character. His heroine, Sophie, starts out as a shy 18-year-old hat maker, but then a witch's curse transforms her into a stooped, gray-haired 90-year-old. At first horrified by the change, she comes to embrace it as a liberation from anxiety, fear and self-consciousness, and discovers in herself a new zest for adventure.
The Crucible, written by Arthur Miller, depicts women as weak persons, who are expected to submit to men, and whose only access to power is through dishonest means. None of the females in The Crucible possess extreme power, but the truthful, pure-hearted, and family oriented women seem to be even less powerful than the others. Elizabeth Proctor and Rebecca Nurse are two of the less powerful women in The Crucible. Both of their lives are led by an instinct to serve their families and communities . Elizabeth Proctor is convicted in participating in witchcraft even when it seems obvious to her loved ones and most others around her that she had never involved herself with demonic forces .
But according to the article, "Cinderella: Not So Morally Superior" by Elisabeth Panttaja, the author tells us that the sweet-tempered, motherless young woman that we read about as children was an imposter. Panttaja opens her article with Cinderella's mother on her death-bed, advising her that if she is "good and pious"1, that she, the mother; "shall look down from heaven and take care of you"1. She explains that this opening scene in Cinderella sets forth the central problem that she must overcome; which is that her mother is absent. The arrival of a strong stepmother and stepsisters', and their unification to subjugate her, makes Cinderella appear weak. And the stepsisters' power is manifested because the stepmother is present.
I Hate Everything Starting With Me By Joan Rivers This book is the most recent of the many comedic books Joan Rivers’ has authored. The main theme of this book is everything Joan Rivers hates. Anything from ugly kids to bumper stickers to country music stars, you’ll most likely find it in this book. It’s sounds a little harsh, but Rivers can make anything very funny. This book also includes some of her loves, but they are rare to find.
Here she is presented as a survivor clinging to her life and possessions; it is poignant that Baby Kochamma has not earned them through personal achievement but simply “inherited by outliving everyone else”. The unattractive hoarding nature of Baby Kochamma is also shown through her obsession of locking away everything inside the house, and we are clearly meant to mock her as indicated by Roy’s derisive words “crockery crooks… cream-bun cravers, or thieving diabetics”. In this sense we cannot sympathise with her, nor are we expected to as shown by Roy’s demeaning treatment of her. We are shown Baby Kochamma’s backstory, suggesting perhaps that Roy is asking us to attempt to understand this character before judging and loathing. In chapter 1 her “unchristian passion” for
Sometimes it’s very tempting to pick up the phone when an infomercial is demonstrating how much a person needs the product it’s selling. Sometimes it isn’t tempting at all. It all depends on which of the fifteen wants a person has that an advertisement will appeal to. Yes, in all reality, there are only fifteen basic desires humans have, according to Jib Fowles in his Common Culture article Advertising’s Fifteen Basic Appeals. Fowles is openly admitting everyone’s number one fault of wants and desires by separating them into fifteen different categories which include the need for attention, sex, guidance, and aesthetic sensations.
To make matters worse, Annie's father had gotten remarried. However, it wasn’t even the stepmother that rankled her- her stepmother was the kindest, gentlest, sweetest woman ever. It was her stepsisters, Cindy and Ella that made her life miserable. They were pretty nice- around their mother. However, they were both sickeningly beautiful- Cindy with straight blonde hair to her waist, and Ella with long brown locks winding down to her knees- and whenever the adults weren't around, they teased poor Annie around the clock- about anything.
‘Demeter’ is similar in this way, as there are no men present, and the only suggested male role is that of Hades, who is recognised as being evil. Furthermore, as opposed to the stereotypical love between a man and a woman that is normally seen in stories, ‘Demeter’ is based on the love between a mother and her daughter, which is presented as an untouchable, pure relationship. This is exhibited in the first half of the poem, when Persephone is absent, as Demeter suffers from unending, unabated depression, indicating that her life cannot continue without her daughter. (However she is perfectly fine without a man later in
Yet The Little Match Girl‘s golden tresses are uncovered, her head unprotected from the bitter excesses of the icy blasts. Her “tiny white feet” are also bare, as she has obviously been sent out to sell matches in the snow in a pair of ill-fitting slippers. These soon come adrift in the panic of avoiding the relentless wheels of the ruthlessly driven carriages whose drivers are oblivious or indifferent to her sad circumstances. Firstly, the weather is against the little girl.It is snowing – the sort of sub-zero weather where even the poorest person would not have dared to lose precious body heat by venturing out unprotected. Furthermore, no self-respecting mother would have allowed a fragile child outside without some protection from the cold.
Although murky and moody, The Moth Diaries struggles to bring some structured frothiness to the forefront. Elements of challenging feminine adolescence, sexual neuroticism, dark cynicism, creepy curiosities, and fear of immortality are virtually sketchy. Harron never properly serves up the macabre meatiness in a sinister fashion…something that is usually her trademark when exploring the weird depths of her cinematic nose for off-kilter exploration. At best, The Moth Diaries is an irksome and atmospheric boofest that foolishly stands in the shadows of quality and quiet fright fare such as the acclaimed Let the