Sullivan tests the limits with his use of one of the three appeals. Basing a majority of his essay off of Pathos, he makes you sympathize with homosexuals young and old –as old as they get –alike. He emphasizes growing up homosexual, the lonely, shaded path many young homosexuals take dodging back and forth between masks, masking the light of their true, internal selves. The more in depth he goes into his writing, the more his tone shifts from sad and reminiscent of the trials he faced to more accepting and empowering for who he really is. He uses a beautifully twisted symbolism to discuss the short life span of homosexuals.
This clearly presents his heterosexual lust for her; he also refers to her as ‘the Hun’ indicating that she is the enemy so as to speak, and is standing in between his ‘further deployments’ portraying how superficial his love for Fiona is, as he is obviously disappointed with her not allowing him to advance and is more concerned for his own needs. This is further illustrated in his statement, ‘It’s like the headmaster says: one should have targets’, The use of double entendre on the word ‘targets’ forms a comical link between education and sexuality and makes his pursuit sound intelligent, like a difficult challenge that requires careful thought and planning, again more focused on
Through these speeches, Plato implies that homosexual love is the highest and most honorable love to pursuit, and through his focus on homosexual love, the author justifies the idea of Heavenly Love. Pausanias argues that the true goal of Heavenly Love is to inspire young boys to find pleasure in the more intelligent older male. The objective of this love is for the older male to “share everything with the one he loves…” (Plato 14). However, in this sense of sharing, Pausanias only means knowledge. If the younger boy surrender to the older male for his personal gain such as money or office post then this homosexual love is no longer belong to the ideal of Heavenly Love.
Sexuality is a largely debated topic in recent society; this engages the audience as they are intrigued to see the implications and general representation of sexuality in the novel. Identity, a theme which is probably the most important in the novel engages the audience as they wish to follow the continual progression of the story of Gemma while the main protagonist Becca is able to discover herself. Audiences are engaged by this theme as in recent times it is considered a pivotal thing to know yourself and is often searched for by many people. The audience may take comfort in the reading of another’s journey to find their true identity. Yolen has used themes effectively to engage the, these themes include love, sexuality and
Yu 1 Eric Yu Ms. Dunlop ENG 1DY 20 September 2013 Alan’s Flirtatious Attempt Creepy and flirtatious, are some words that describe Alan from the story, Loathe At First Sight by Ellen Conford. At first sight, Alan appears to be a joyful typical teenager, but upon further inspection it is revealed that he is far from “typical”. Alan seems rather creepy in the story, especially when he says, “I was admiring you from afar, and I wanted to admire you from a-near.” (Conford 1). He is also a quite humorous person, which he reveals to the readers when he says, “Oh, boy, this whole conversation has gotten off on the wrong foot. Wrong foot---ha!
The excerpt form Henry James’ story, “The Pupil,” describes three characters who all share a deep relationship. The author uses elements of diction, tone, and point of view to convey the influence of each character. These elements coincide with each other to show that the young boy is innocent and unknowing, willing to take orders at no questions; the cunning and extravagant Mrs. Morgan Moreen who seem to be the recipient of wealth because she doesn’t mention her rise to riches; and Pemberton appears to be playing the role of a nerdy, unpopular kid who wants to ask the popular girl out on a date. All of these characters, through being describe by such elements, had a definite factor in their relationship between them, which is without a doubt a game of big man on campus. Firstly, in this excerpt, the author seems to categorize each character
Gender Portrayal- The Odyssey January 29, 2013 Paola Mejia-Silva World Literature Chad May South University Online The Odyssey is a tale of many adventurous, one gets to meet several characters that show a human nature to them even when this narrative is based on myths. There are male characters as well as female and even creatures one has never seen. Men are shown in a rather masculine manner; very strong, prideful, defending what they believe is theirs. With this said there are also weak men within the story, men who have trouble fighting for what they believe in such as Ulysses’s son Telemachus, even though he wants to stand up for his mom he is unable to do so because he lacks confidence and belief in himself (Homer, 800 B.C.E).
A feminist point of view would find these women to be flawed, for they cannot survive without the assistance of a man. The book tells the story of a “manly life” in first person dialogue. Considering every female Odysseus encounters “falls in love” with, we can equate that he makes his own problems based off of his ego. In a way, the Odyssey is not just the tale of the wanderings of Odysseus. The poet has made it into a type of descriptive catalog of women, in which he examines women of all kinds and from all backgrounds through objectification.
He uses constant sexual encounters as a way to feel attractive to combat the self-confidence issues he felt growing up. 5. The Freudian stage that Steve is fixated is the phallic stage. This is the stage when the pleasure is formed from the genital region, this could have contributed to the fixation because of Steve continually having relations with females but having difficulty establishing mature heterosexual relationships. What could have caused this fixation is fear of feeling never being good enough and confident.
“Male characters in Nervous Conditions are presented as flat rather than rounded characters.” Discuss the validity of this statement, with reference to Babamukuru, Jeremiah and Nhamo. The presence of male characters in the altogether female-oriented novel by Tsitsi Dangarembga, Nervous Conditions, is incredibly necessary for the development and unfolding of the plot. While these characters do play a crucial role in the development of the main female characters into round characters, it cannot be said that the males themselves progress at all and are rather presented as flat characters. This essay will be arguing this fact, with particular attention being placed on the characters Nhamo, Babamukuru and Jeremiah. The novel begins with the unashamed acknowledgement by the narrator, Tambu, that she was not sorry when her brother, Nhamo, had died.