The couple’s conflict is first shown in the stifling atmosphere at home when they are talking after John comes back from Parris’ house. Even at the beginning of their conversation we can feel the uneasy feeling and discomfort of the couples, as shown by the stage directions, Procter “gets up, goes to her, kisses her”, an action showing his love and effort to please Elizabeth. But instead, “with a certain disappointment, he returns to the table.” This feeling of frustration is carried on as Elizabeth only gives a short and callous answer, “Aye, it is,” to Procter’s very enthusiastic request “we’ll walk the farm together…Massachusetts is a beauty in spring!” Not only does Elizabeth’s lack of enthusiasm show her unforgiving attitude towards Procter, her actions are discouraging as well. As is shown by the stage direction again, “her back is turned to him. He turns
Slowly zooms in the teacher > seems like it’s really important > everything that is happening is decresing and is happening to us > fading into another scene > acts of a contrast on the Pleasantvilles 4. Longshot > space of awareness 5. Watching the warm welcome in Pleasantville > David watching his mother argue with his father on the phone + watching TV and eating unnutrition food 6. Showing the reaction to David with the TV > showing that he really enjoys how they live in Pleasantville > “what’s her mother to do” > David’s mum VS Bud’s mum 7. David is talking about the show so much > shows that he belongs there 8.
Usually it is after she provokes him and he will defend their children or other family members. When he goes against what she says, her anger flares and she will say anything that comes to mind no matter how hurtful the words are. After a while of this back and forth the husband leaves or walks away, this makes her even more upset and she start screaming at him as he walks away. But in public or in a social setting his reactions to her actions are totally different. While sitting in the restaurant and she began her usually tyrants of debatable conversation topics, as soon as the husband says something that is the opposite of what she says she starts in on him, except this time he just says nothings because at this point he is feeling embarrassed and do not want to fuel the fire.
He saw these ‘performances’ as everyday rituals of tact and trust, which make up the rules of conduct in an ‘invisible social order’. (Silva, 2009, p.317) In contrast, Foucault leaned strongly toward the macro – the large-scale structures, systems and patterns of social life (Silva, 2009, p.309). Foucault saw social order, as well as individual and relational identities, as being socially
“But I hung on you like death.” The boy holds on like his life depends on it because he is having so much fun, not because he is terrified as it may seem. “We romped until the pans slid from the kitchen shelf; my mother’s countenance could not unfrown itself.” The rowdy danced in the kitchen sent pans sliding across the counter. The wording suggests that the mother may have been trying to hold back a smile. “The hand that held my wrist was battered on one knuckle.” This line seems to point to damage done by abuse the father committed, but upon reading further the father’s palms are caked with dirt. The damage on the knuckle and the dirt on his palms suggests that his line of work is rough on his hands.
Mrs. Wilson quickly notices Boyd’s (negro) appearance, and starts acting strange due to this, asking him questions about his family’s labor and level of poverty, and generally insinuates that because of his black heritage, that he must be poor or in some manner socially challenged. She also tries to donate some of the Wilson family’s own clothing to “their cause”, but ends up getting rejected by a confused Boyd, who has plenty. Bitter, Mrs. Wilson grabs the rest of the gingerbread from the table just as Boyd is about to grab another piece, and loudly tells him that she is not angry, just “disappointed by his attitude”. The boys go out to play again, both Johnny and Boyd oblivious to Mrs. Wilson’s ulterior motives, although both are wondering about it and feeling a little bit uncomfortable. It does though, in no way, stop them from continuing their playful schemes.
She rises ominously and quietly and moves toward Happy, who backs up into the kitchen, afraid” (Miller 1457). Happy brought her flowers as if it would fix everything and saying that Willy had a good time, but Linda bursts at them to leave and reveals how she feels about her sons. Linda shouts, “Did you have to go to women tonight? You and your lousy rotten whores!” (Miller 1457) She does not want the boys to torment Willy anymore and orders Happy to
Why is that? First let me rewind a bit and give some background information to my thought. Symbolic interactionism is a major framework of sociological theories. Symbolic interactionism, by definition, is a theoretical perspective in which society is viewed as composed of symbols that people use to establish meaning, develop their views of the world, and to communicate with one another. In similar terms, it basically means that perspective greatly relies on symbolic meaning.
The narrator quickly breaks these stereotypes by identifying with her father early on in the story. By identifying with her father, the girl sturdily becomes accepting of his actions around the house. “The smell of blood and animal fat… like the smell of oranges and pine needles.”(“Boys and Girls”, 112) Before even mentioning the existence of her mother, the narrator predominately talks about how remarkable and essential her father is. Accordingly to the girl, the smell of blood and animal fat like the smell of oranges and pines symbolizes her comfort level with the aggressive male emotion. Thus, her identification with the opposite sex provokes a conflict for the girl and the rest of her family.
At first he wonders why his wife is crying and becomes angry with him, but once she explodes at him, confessing all her feelings, and threatens to leave him, he states that, “There, you have said it all and you feel better. / You won’t go now. You’re crying. Close the door. / The heart’s gone out of it: why keep it up.” (Frost 751).