orientation. Over the course of her life, Alison Bechdel eventually comes to the realization that she is a lesbian. Interestingly, Alison Bechdel uses this novel to recount her experience of events that helped to shape her personal identity, which resulted in a transformation of the way she sees herself. In the end, Fun Home: A Family Tragicomic is a wonderful narrative that shows its readers the complexity of personal identity, and how things like sexual orientation, love, the values of society, and politics
Explore the way in which Austen presents attitudes to marriage In this essay I will be exploring the way in which Austen presents attitudes to marriage in Part I of Pride and Prejudice. This will put into perspective the societal views of marriage in the Georgian era compared to the twenty-first century. The different attitudes I will include are satirical attitude, marriage for love, marriage for money and class, and marriage for fashion. Austen's satirical perspective through omniscient
true that fictional narratives are not always derived from the personal views or experiences of the author who is writing them. But at times, they can perfectly capture trauma so convincingly that we are almost convinced they are drawing off of first-hand experience. Cathy Caruth, a trauma theorist, has summated that trauma exists in the human psyche as a ‘ghost’ that prevents a person or a character from moving forward and maturing. In Anne Whitehead’s book, Trauma Fiction, she states: ‘In contemporary
discussed in this essay so far, the double standards originate from the structure and values of Early Modern English society. The topic of sexuality was also subjected to laws that favoured men and, according to Bernard Capp, “female sexuality was regarded (by men) as a male possession” (70). Leontes’ words reinforce this argument: “Ere I could make thee open thy white hand / And clap thyself my love; then didst thou utter, / “I am yours forever”” (WT, 1.2.104-106). This perspective on love and marriage
A comparison of song types within the Irish Singing Tradition The singing tradition is a vibrant and essential facet of Irish culture. From lullabies to lays, keens to laments; all combine to generate a truly versatile genre. All of these song types feature several similar traits; they all stem from an oral tradition, all boast a fruitful history in Ireland and all reflect the emotions of the communities in which they were created. Further to it intrigued me to notice that nods to paganism and supernatural
weeks readings are related to The Southern Renaissance, Ethnic Writings, The Native American Renaissance, Protest and Counterculture Poetry, Confessional Poets, Latina/Latino Poetry, and Asian American Poetry. Upon reflecting ten questions/quotes in my reading, which are Toni Morrison “Recitatif”; A Confessional Poet, Anne Sexton; Lois Gordon’s quote about Adrienne Rich’s work; Devonney Looser’s question about Sylvia Plath’s Confessional Poems; Jeffery F. L. Partridge’s quote about Li-Young Lee’s
and Other Writings exemplify Far's attempt towards creating a more normal identity for the Chinese immigrants in America. In doing so, she minimizes the distance between the Chinese immigrants and white Americans, calling into question the white Americans’ claim to the notion that the Chinese are inassimilable and that the white Americans are the privileged race. She identifies racial and social inequality and marginalization of the
Woman: God’s second mistake? Friedrich Nietzsche, a German philosopher, who regarded ‘thirst for power’ as the sole driving force of all human actions, has many a one-liners to his credit. ‘Woman was God’s second mistake’, he declared. Unmindful of the reactionary scathing criticism and shrill abuses he invited for himself, especially from the ever-irritable feminist brigade. The fact and belief that God never ever commits a mistake, brings Nietzsche’s proclamation dashingly down into the dust bin