The beginning of the film is narrated by director/writer Agnès Varda whose voice tells us about Mona, that “No one claimed her body, so it went form a ditch to a potter’s filed.” As the movie continuous, we start putting together a portrait of Mona with flashbacks from others characters and how they remember Mona. Through the villagers narrations we learn a little about the mysterious young woman. Agnes Varda ends her introductory narration saying, “I know little about her myself, but it seems to me she came from the sea.” Agnes Varda’s film does not deliver the story in a linear sequence; instead the scenes are strings of arrangements that change abruptly giving the viewer little information about Mona’s past. In her filmmaking style, Varda alludes the spectators by giving us only a few specific details of Mona’s decision to live the way she did. In this way, the viewers have to generate their own opinion about Mona’s life style from their personal point of view.
In The Awakening by Kate Chopin, the main character Edna has a fascination with the sea that is never satiated. In the outset of her life she is mystified by it because she is unable to swim. To Edna, the sea represents the ultimate place for solitude and contemplation; the sea invites “the soul to wander for a spell of abysses of solitude; to lose itself in mazes of inward contemplation.” (13). When she finally learns to swim she pushes herself to go farther and farther, where no woman has ever gone before. The progression of Edna skill in the water also closely correlates with her mental awakening.
It symbolizes freedom and escape. It is a big expanse that Edna can be brave about, but only when she is solitary and after she discovers her own strength. Edna is able to feel free, and feel as if she has escaped her everyday life. When Edna is in the water she is reminded of the depth of the universe. She also is able to see herself as a human being within the depth of the universe.
As a result, she became very bitter, angry, and cold-hearted toward him, and did everything she could to keep him from reading. The sentence in Douglass’s autobiography, “She was an apt woman; and a little experience soon demonstrated, to her satisfaction, that education and slavery were incompatible with each other” tells me that she was a likely person to be swayed by her husband’s opinions. Also, she was eager to let it be known that education and slavery just did not “mix”. That brought on her being very harsh with Douglass. In Douglass’s autobiography, he expressed gratitude toward the white boys in the neighborhood.
She prefers to spend more time with herself than with her family because of this she has a weak relationship with her parents. The story discusses how she has two sides: one for home and one for not being home. Her abduction was solely due to her fault for her appearance that she presented in public, to the relationship that she had with her family and lastly her naiveness. The antagonist Arnold Friend somehow knew about Connie. He saw a great opportunity the moment he set his eyes on her.
'Curley's wife is a very complex character because she is presented in different personalities at different chapters and in this chapter we see that she desires freedom and fame. Steinbeck presents her in such way that or opinion of her changes through out the novel, first we see her as a flirt then we see her presented in a horrible racist personality and now Steinbeck presents her as Innocent. Steinbeck did this because at this chapter where she dies it's like he wants us to feel sympathy for her because not that she is dead her problems are gone and there is not need for attentions because now she looks relaxed laying down on the hay. The language used in this chapter is very descriptive especially the part when Curley's wife dies, this might be because at the time
Her character is harshly judged from the start simply because she’s a woman and no one saw things from her perspective. Because of this, the reader is influenced to feel sympathy for Curley’s wife. Her husband, who is always trying to keep a close eye on her, controls her. He is exceedingly possessive of her, and is easily angered when he catches her talking to another man. “I get lonely.” She says to Lennie, “You can talk to people, but I cant talk to nobody but Curley”.
She is desperate to feel noticed and special and this shows how lonely she is and isolated. Steinbeck presented Curley's Wife in different ways. First she is seen as 'a tart', a threat, using her power, being racist but then she is presented as also lonely and compassionate to Lennie. In Steinbeck's letter to the actress playing her in the play version, he says 'if you could break down her thousand defences she has built up, you would find a nice person, an honest person, and you would end up loving her.' We see in the end what a nice person she can be and that she wants to be loved like anyone else.’ |
The scaffold makes Hester feel more ashamed and more guilt for her crime but also somewhat redeemed. She uses the Puritan ways to strengthen herself emotionally. The people in her society used and judged her, which made Hester a stronger person. Hester was an outcast, which made her more independent because she was banned from a lot of the things in her town. It made her have a difficult time trusting people because she had no one to rely on but herself.
In The Yellow Wallpaper the narrator is blessed with her freedom outshining the grip of her husband. Her powerful position at the end is depicted through her husband’s fall in faint seeing his released, free wife. Though, she has crept over her husband at last, her effort to maintain her relationships with the family and the outside world is obvious, indeed, throughout the story. She tries her best to maintain the bonds with her husband as well as with the other family members while struggling for her due position. She does not attempt to gain her freedom using easy ways.