Because music is a medium that generates changes in our lives and in the way we live, music has become one of the main factors that generate masses to create social change. The notion of social change involves modifying or transforming This social various types of structures belonging to a population group. change can be expressed in many ways, from superficial elements constantly evolving to structures rooted in tradition. The reasons why there can be a social change are of various kinds and may be explicit or implicit, voluntary or involuntary depending on the type of population and of its external elements. It can be said that in most cases the idea of social change has a positive connotation because it implies the evolution and adaptation of a society to the particular needs of its historical period.
The narrator also claims that Jordan’s “complete self sufficiency draws a stunned tribute from him”. In this statement, he is not only addressing the pride and self-esteem the character exudes while keeping her chin raised and refusing to acknowledge his presence, but also describing a haughtiness that was unremarkable for a young lady of the Roaring Twenties to possess. Even Jordan Baker’s flapper physique reminds readers of the ideal woman of the era when Nick describes her as a “slender, small breasted girl”. In addition, he notices vivacity in her movements and how she self-assuredly wears her evening dresses like sportswear.
In her short story “Where Are You Going, Where Have You Been”, Joyce Carol Oates emphasizes the theme that appearances are not everything through the development and fate of her characters Connie and Arnold Friend. Connie prides herself on her beauty; “she [knows] she [is] pretty and that [is] everything” (427). She believes that her plain, simple family is inferior to her; she views her sister Jane as “plain and chunky and steady” (427) and she does not pay any attention to her mother, who is “simple and kindly enough to believe” (429) anything Connie tells her, be it the truth or a lie— “everything about [Connie has] two sides to it, one for home and one for anywhere that [is] not home” (428). When she is away from home, Connie projects a mature, lascivious persona that is trapped inside her, waiting to be set free, but the only place Connie can satisfy her desires is when she goes to the shopping plaza with her best friend. At home, Connie’s mind is “filled with trashy daydream” (428), always “thinking, [and] dreaming, about the boys she met” (429).
The first comparison I made between the girls was their difference in looks. I think, Maggie is a little jealous of Wanerg’s beauty, it seems as if Maggie’s ashamed of the way she looks. While Mama and Maggie are waiting at home for a visit from Wanergo, Mama explains Maggie as being nervous when her sister is around. In the story Mama says : “She will stand hopelessly in corners, homely and ashamed of the burn scars down her arms and legs, eyeing her sister with a mixture of envy and awe”. Mama then compares Wanergo’s beauty to Maggie’s looks, she says, “Dee (Wanergo) is lighter than Maggie, with nicer hair and a fuller figure”… Compare Wangero”s beauty to Maggie’s looks , she says: ”Dee (Wanergo) is lighter than Maggie, with nicer hair and a fuller figure”… This difference in the two sister , Maggie and Wanergo look, plays a large role in what makes them so difference from each other .
In the Story “Where Are You Going, Where Have You Been,” Connie, the main character, is introduced as a very pretty girl who is self absorbed. Connie has a “habit of craning her neck to glance into mirrors or checking others people’s faces to make sure her own was all right.” She is aware of her good looks and uses them to her advantage; she prides herself on her beauty and her flirting skills. She is at odds with her nagging mother and “plain” sister June. She looks down on her mother seeing only a sad shell of a once pretty woman: “if you could believe those old snapshots in the album.” She feels contempt towards her family. Connie is at an age where she is trying to establish a clear identity.
Prior to Dee’s arrival home, Mama is recalling her recurring dream of how she thinks Dee would prefer Mama to look and act. It is unfair of Mama to assume that Dee would prefer her “a hundred pounds lighter, my skin like uncooked barley pancake” (456). Mama is putting words in Dee’s mouth and intimating that Dee is shallow and critical of her Mama’s appearance. Susan Farrell writes that it is Mama who is “ashamed of her own appearance and very much seeks her daughter’s approval” (1).
Amplifying this concept further the boundaries of communication created through this technique allow for criticism of the trustworthiness and reliability of the accounts presented by the Governess’. Ultimately, the anecdotes compiled within the novel are all introduced to us by the Governess, meaning that the perspective shown to us is entirely bias and bases wholly upon her retrospect. This means the inevitable distortion of details collected by the governess. Punctuation has also been used within the novel, especially within the narrative voice of the governess as means to also portray the motif of communication to an even larger extent. The use f punctuation has been manipulated I such a way to highlight the ever present divisions within society that existed during the Victorian era.
“I saw my mother’s face, her stricken face.” This shows the disappointment that her mother felt. She went from obedient to defiant and the description of her mother’s face and her feelings shows us Jing-Mei’s evolution in the story, but I believe the most important way that we are able to tell that Jing-Mei is a dynamic, round character is through her own thoughts and
It’s not easy for Connie to live with her mother, who constantly harps on the way Connie looks and how she doesn’t live up to her sister reputation. “If Connie’s name was mentioned it was in a disapproving tone.”[453]. Every time Connie’s mother comments anything about June’s profile, it pushed Connie unconsciously to be nothing like her sister. Mother usually complained about her about habit of looking into a mirror. The narrator states the mother’s resentment of Connie’s beauty because “her looks were gone and that was why she was always after Connie.”[451].
How could she, without over-narrating, get a deep problem involving such characters when they do not speak enough to reveal that problem? Frome's character and his marital relationship are at the heart of the novel, but they are revealed only indirectly. Wharton solved her difficulty in a masterful way by her use of imagery and symbolism. It is in her use of imagery and symbolism that the depths of the story are to be found. Without an understanding of them, a reader would find the characters unmotivated and the tragedy contrived.