MLK Responces 1. Injustice anywhere is always a threat to justice everywhere because there is still that fear of oppression that people are dealing with. Injustice is this situation is trying to be kept hidden because the white moderate and church just feel that they do not need to get involved. There will never be complete Justice until all of the Injustice is removed so all people have the equal rights and oppression will not be something that people would have to go against. I agree with King because it is just a powerful meaning that was so true at that time.
This tone becomes visible through the confession with the priest and Sister James. It’s ironic because Sister James tells Toby her sins and when he goes back to confess again, he tells the priest her sins instead of his own. The negative tone towards Toby’s Catholic faith becomes apparent due to his untruthfulness and lack of concern during confession. Father Karl even goes onto state that “he believes in the world,” (249) and desires materialistic possessions including “the world’s esteem.” (249) It is ironic because Father Karl attempts to guilt Toby into repentance, however Toby knows that Father Karl understands that he has not reached him because “Toby is in hiding.” (250) Irony develops round characters such as Dwight and Toby. It portrays Dwight as an antagonistic
The author was especially displeased with the abuse of power and overall hypocrisy of the church. He uses historical events, such as the Seven Years War and the Lisbon earthquake as a base for the events that happen in the story. Looking deeper, however, the reader discovers a classic satire aimed at the hypocrisy of the time. Candide's philosophy is best stated when he says, “Observe that noses were made to wear spectacles; and so we have spectacles. Legs were visibly instituted to be breeched, and we have breeches.
Roy, like Dwight, influences Toby’s relationship with his mother and forces Toby to withhold the truth from her. Toby goes on to resent this control and deception and rebel against it. Toby’s skewed perception of masculinity is similarly impacted by his father’s ‘desertion’. Whilst Wolff’s discussion of his father’s neglect is minimal, a deeper impact and lesson of real value becomes evident in Wolff’s snapshot of himself as a father. It is, in part, because of his father’s ‘inconstant parent(ing)’ that Wolff feels such a
Consequently, he has come to regard himself as ‘a kind of fraud’ not the man that Salem assumes him to be. Proctor’s conversation with Abigail in Act 1 reveals his determination to distance himself from the girl, while highlighting his ambivalence. The residual tension between Proctor and Eliz is an on going reminder of his guilt. Act 2 reveals just how strained relations between the couple have become. The sustained conflict between husband and wife does nothing to alleviate Proctor’s conscience.
Jack takes his anger out on Piggy, who stands in plain contrast to Jack’s character: “I’m scared of him…but if you stand out of the way he’d hurt the next thing. And that’s me” (Golding 93). Piggy handles this fear by avoiding Jack and remaining loyal to Ralph. Another fear that Piggy experiences is a fear of being ignored or shunned by others. Above all else, Piggy wants acknowledgement of his opinions and thoughts, as proven by his statement: “I got the conch…You let me speak!”(Golding 42).
At others, however, he seems to want something else, or is genuinely dissatisfied with his life and with the way he is. Later in the story, The Misfit says he wishes he would have been there with Jesus, then he may not have turned out to be the kind of person he is, a malicious cold serial killer. The question is whether these are actually beginnings of faith, or whether it is just a wish. The author clearly addresses the personal struggle of faith and being stubborn and not wanting to accept any help from anyone. The reader almost feels sorry for The Misfit because he seems so confused and helpless.
When Lil Bit first began being taken advantage of she didn’t know what was happening and that it wasn’t ok. She didn’t have someone like Sister A. there to tell her that she needed to be protected. Similar to the way that Father Flynn is presented as a overall good guy, Vogel attempted to create Uncle Peck as a very flawed human being, using pathos in order to try to make the reader connect with him. However its not that simple to make the audience connect with a pedophile. Lil Bit has a monologue where she pities her uncle and wonders what happened to him to make
Moliere’s Tartuffe In Moliere’s satire, Tartuffe, the author fires his caustic wit upon the social topics of religious hypocrisy and the inability of obsessed characters to hear the voices of reason around them. At first glance, the focus of this work seems to be religious hypocrisy; however, it is the underlying subplots of obsessive behaviors stay in the mind’s eye until end. Moliere’s portrayal of obsessive characters is certainly exaggerated, but there is a clear note of truth that rings through in their powerlessness to hear reason. Until the spell that binds them to their compulsion is broken, these characters are unable to hear the voices of reason that are shouting the truth to them. The main actor of this play who displays the deafness that comes with obsession is Orgon with his religious fervor that blinds him to his responsibility to his family.
Questions of gender arise when analyzing Jeff's new passive, immobile role — one that is quite different from his prior role as that of an action photographer. Women are typically portrayed in films as passive beings in need of assistance, but Hitchcock reverses the gender stereotype in Rear Window by placing a man in that 'domestic' role; however, it is more apt to say that Jeff is being subjected to the passive role, as he mopes a lot about his state of affairs. Jeff also displays a fear of being confined to marriage when talking to Lisa (Grace Kelly). According to Geiger and Rutsky, "Jeff's impaired potency, represented by his broken leg, connects him by association to the impairment — or castration — that he believes marriage itself threatens," (p. 485). This symbolic castration of the male protagonist reflects Hitchcock's mode of addressing gender ideology in his films.