Use of Persona in Writing in Imperial China Essay Example Essay Example

Use of Persona in Writing in Imperial China Essay Example Paper Use of Persona in Writing in Imperial China Essay Introduction The late Ming and Qing periods in imperial China saw the advent of literature gleaned from the brushstrokes of courtesans, women of occupations originally seen as men’s pleasure diversions rather than socially acceptable careers. However, this notion of courtesan culture was modified soon as these courtesans revealed a particular talent that went beyond the ability to pleasure and entertain: writing (Ropp, 1997).But the stigma that was—and still is—associated with the concept of selling sex and entertainment proved to be a hindrance in the cultural and social importance of these women’s literary work; much had to be addressed and refined, on top of the more debatable qualities of topic, censorship, and reputation. Thus the veritable solution appropriated by the collective group of literary courtesans was the assumption of personas or images, in order to define their own voices and identities. Such explorations took them to extreme avenues for self-expressi on, ranging from the basic effort of acquiring new names in terms of authorship, to the channeling of maleness in order to escape the confines of female passivity and gender restrictions. Yet no matter what persona was chosen by the writer, three common themes were almost always seen in their work: love and talent; glamour and nostalgia; and sex, bondage, and shame (Ropp, 1997). These themes, intertwined in their occupation’s nature, spoke of the underpinnings that formed the business of courtesan work, on its surface ongoing transactions between rich and poor families; the poor sold their daughters off as courtesans, but were eventually trained in various arts that proved beneficial in their entrance into the homes of the rich as concubines and servants (Ropp, 1997). Courtesans acquired the desire to be free from imposed social constraints, in order to appreciate the kind of life that required the use of intellect, and not just the expected skills in providing pleasure. As i llustrated by Liu Rushi in her poem â€Å"Following the Same Rhyme, a Respectful Harmonizing†, the line â€Å"I wish to follow Zhiyi and drift along the swift stream† (Wai-Yee, 1997) implied a need to rid herself of the shackles of social norm and the adjudged purposes of her being a courtesan and discover worlds not usually available to her. This also connotes a yearning to be of a different person, as the reference to ‘Zhiyi’ may pertain to the writer’s wish to mirror the same qualities.II. The Art of Naming and the Formation of IdentityThe most basic act of changing oneself and appropriating a different persona is in the changing of names, for it functions to create a host of images and identities far removed from the actual person. The same Liu Rushi made use of several, two of which were ‘Yun’, referring to clouds, and ‘Yin’, which meant reclusion of being hidden. Such names, popular among courtesans of the period, had general allusions to both desire and exclusivity (Wai-Yee, 1997)—assumed to be the positive versions of the qualities assigned to women of this persuasion.Another famous courtesan who had taken on a ‘style name’ was Wang Wei, who was known as Xiuwei, and even earlier as the Person of the Way of the Straw Cape—an implied admission of her chosen way of life. As Xiuwei, she wrote: â€Å"If one were not actually born a man, one cannot cleanse the world of evil.I noted my longing for streams and mountains† (Author, year, p. 369); this showed her consistent affinity for nature and the pureness of environment, which coincided with her chosen names.Wang Wei’s sworn sister Yang Wan, also a courtesan, also wrote via a different name—Wanshu—and was known to excel in poetry and the art of calligraphy. If Xiuwei promoted her love of the outdoors, Wanshu chose to dedicate herself to the fine lines of emotive poems through a sensitivity that matched her talent for executing careful brushstrokes. Her poem â€Å"Autumn Feelings† bore the evidence of this accomplishment, as revealed by her lines: â€Å"Solitary, I rest my chin on my hand, overcome by sorrow,/I’d like to tell of my passion, but am then filled with shame./Since ancient times, life has been like this for the ‘poorly-fated,’/How dare I seek to be like mandarin ducks, growing old together?† (Wanshu, in Author, year, p. 373). It is evident how Wanshu took her learning of her life as a courtesan to channel a persona different from her own; she talked of ‘passion’, in terms obviously alien to her known world of pleasure, and redefined it to approximate the aspirations she held in her heart—outwardly manifested in her demonstrated talent in calligraphy.Because of the universe these courtesans were relegated to, stereotyped and viewed with pity at best and disgust at worst, they found the opportunity for rebirth and renewal in the use of names. Through them, they were able to express thoughts and choices they were never allowed to make, since most courtesans were practically children when they were sold off to their establishments or to rich men.III. Drama and Creativity in Self-DefinitionAcquiring a new persona was also achieved by courtesans by self-dramatization, done via dramatic gestures or appropriating the language of the theater (Wai-Yee, 1997). Most courtesans were prone to dramatizing their emotions akin to performing, and this was soon revealed in yet another method they employed to convey different personas. However, as with the rest of women in imperial China, the efforts of courtesans to employ the creative literary arts of drama and fiction were seen of less importance (Author, year); ironically, this somehow matched their social status of being of a lower class than the average female member of society.More than being known for her poetry, Lian Xiaoyou is acknowledged to be â€Å"one of the first female playwrights in Chinese literary history† (Author, year), and is credited with the play United Primes—a tale centering on Huang Chonggu, a woman who presented herself as a man to be freed from being sentenced to jail. Here Lian wrote some of Huang’s most compromising lines: â€Å"But if you, Governor, deign to accept me as your ‘bare-bellied guy,’/We’ll have to first beg Heaven to quickly turn me into a man!† (in Author, year, p. 363). The dramatic implications of this work illustrated the combination of a cunning mind and wit, which were both exhibited by the play’s main character and by the writer herself.Jiang Pianpian, a courtesan famous for her lyric poetry, was also well-versed in the talent of song and singing—thus explaining her choice of literature. An example of the drama she employed in her poetry was evident in her â€Å"Songs of Resentment†, wherein she wrote: â€Å"How ca n you say the road is long?/It is your mind that makes you stay./My heart is like a wagon wheel:/Each day it goes ten thousand miles!† (in Author, year, p. 365). Using this kind of language shows the flair for drama and emotion; the inclusion of metaphors, such as the ‘wagon wheel’ to refer to her heart, only brings it to a level only available to courtesans and their ability to delve into themes and thoughts that explicitly convey longing and want for a man. Another courtesan, Ma Xianglan, was also famous for her audacity to bring the drama into the actual expression of courtesan life. A poem she wrote on a parrot may have been indicative of her feelings for a lover: â€Å"My Snowdress, I love you if no one else does;/Always your partner in inner quarter feelings.† (Author, year, p. 367).Evidently, the courtesans’ choice of drama to convey an assortment of themes brings about their familiarity with emotional content, through a manner easily tied in with the art of performance. Since the inherent purpose of a courtesan was to provide entertainment and pleasure without the restrictive ties of social rule, it may be safe to conclude that the use of drama and dramatization provided them with a means to create their sense of self; the avenue to express their deepest emotions would have had little or no importance within the parameters of courtesan work.IV. Metaphors of Maleness and AspirationThe reference to the courtesan-playwright Lian Xiaoyou and her play’s theme already shows the popular device of disguising females as males; the reason for this is quite easily determined, one that may be used to generalize the purposes of not just courtesan writers, but women writers of imperial China as a whole. Because of society and culture’s preference for the male gender, women had to find a way to draw themselves up to par—and one manner this was done was through appropriating masculine qualities, in this case within the grounds of literature.However, the objective of the writing was not simply to transform the female persona to male; much of its significance was in the merging of both masculine and feminine traits, clearly referencing the known characteristics of active and passive, aggression and submission, to create literature that embodied what could be the ideal. Liu Rushi had been acknowledged for her use of the male and female perspective in her poem â€Å"Male Spirit of the River Lao†, in which the use of a woman’s interaction with a male spirit reveals the equality of their positions (Wai-Yee, 1997). In the case of Wan Fazhi, who was not a courtesan but exemplified the purposes of these women in referring to maleness as a trait, her acceptance as a writer was only made possible by her tale of a man’s spirit possessing her; thus the words she spoke were credited to the male spirit, and were treated with relevance (Author, year).Behind the use of male metaphors and the women writers’ clamor for the same importance accorded to their male counterparts, the courtesan had a more definite reason for doing so—because of their tendency and affinity for victimhood (Wai-Yee, 1997). This concept fused the usage of drama and questions of gender equality in writing, as the courtesan was primarily viewed more as a commodity rather than an individual, in the transaction of pleasure and sale. They capitalized on their ‘victim’ experience to create another persona, as seen in this poem by Chen Yuanyuan: â€Å"Then she was burdened by her fame./Noble and powerful houses vied with each other for her possession,/.But she was wrong to blame the ruthless wind for scattering the fallen blossoms,/For boundless spring has returned to heaven and earth.† (Chen, in Wai-Yee, 1997).V. ConclusionCourtesans in imperial China—as well as their counterparts in modern time—were never seen beyond their professed ability to provide pleasure through sensuality. Therefore it is logical how these women, many of whom were gifted with enough talent to rival any male or female writer, would resort to creating personas for themselves. Perhaps it was not simply the shame of being classified under the kind of occupation they had, but the realization that freedom from constraint and exploring worlds outside the ones assigned to them would be met by assuming personas or images far from their known selves. By doing so, they not only provided material for extensive study in the field of imperial Chinese literature, but also an awakening of the sleeping promises inherent in their real personas. Use of Persona in Writing in Imperial China Essay Thank you for reading this Sample!

Patrick Cleburne - Civil War - Confederate - Army of Tennessee

Patrick Cleburne - Civil War - Confederate - Army of Tennessee Patrick Cleburne - Early Life Career: Born March 17, 1828 in Ovens, Ireland, Patrick Cleburne was the son of Dr. Joseph Cleburne. Raised by his father after his mothers death in 1829, he largely enjoyed a middle-class upbringing. At age 15, Cleburnes father passed leaving him an orphan. Seeking to pursue a medical career, he sought admission to Trinity College in 1846, but proved unable to pass the entrance exam. Possessing few prospects, Cleburne enlisted in the 41st Regiment of Foot. Learning basic military skills, he attained the rank of corporal before purchasing his discharge after three years in the ranks. Seeing opportunity in Ireland, Cleburne elected to immigrate to the United States along with two of his brothers and his sister. Initially settling in Ohio, he later moved to Helena, AR. Employed as a pharmacist, Cleburne quickly became a respected member of the community. Befriending Thomas C. Hindman, the two men bought the Democratic Star newspaper with William Weatherly in 1855. Expanding his horizons, Cleburne trained as a lawyer and by 1860 was actively practicing. As sectional tensions worsened and the secession crisis began following the election of 1860, Cleburne decided to support the Confederacy. Though lukewarm on the issue of slavery, he made this decision based on his positive experience in the South as an immigrant. With the political situation worsening, Cleburne enlisted in the Yell Rifles, a local militia, and was soon elected captain. Aiding in the capture of the US Arsenal at Little Rock, AR in January 1861, his men were ultimately folded into the 15th Arkansas Infantry of which he became colonel. Patrick Cleburne - The Civil War Begins: Recognized as a skilled leader, Cleburne received a promotion to brigadier general on March 4, 1862. Assuming command of a brigade in Major General William J. Hardees corps of the Army of Tennessee, he took part in General Albert S. Johnstons offensive against Major General Ulysses S. Grant in Tennessee. On April 6-7, Cleburnes brigade was engaged in the Battle of Shiloh. Though the first days fight proved successful, Confederate forces were driven from the field on April 7. Later the following month, Cleburne saw action under General P.G.T. Beauregard during the Siege of Corinth. With the loss of this town to Union forces, his men later shifted east to prepare for General Braxton Braggs invasion of Kentucky. Marching north with Lieutenant General Edmund Kirby Smith, Cleburnes brigade played a key role in the Confederate victory at the Battle of Richmond (KY) on August 29-30. Rejoining Bragg, Cleburne attacked Union forces under Major General Don Carlos Buell at the Battle of Perryville on October 8. In the course of the fighting, he sustained two wounds but remained with his men. Though Bragg won a tactical victory at Perryville, he elected to retreat back to Tennessee as Union forces threatened his rear. In recognition of his performance during the campaign, Cleburne received a promotion to major general on December 12 and assumed command of a division in Braggs Army of Tennessee. Patrick Cleburne - Fighting with Bragg: Later in December, Cleburnes division played a key role in driving back the right wing of Major General William S. Rosecrans Army of the Cumberland at the Battle of Stones River. As at Shiloh, the initial success could not be sustained and Confederate forces withdrew on January 3. That summer, Cleburne and the rest of the Army of Tennessee retreated through central Tennessee as Rosecrans repeatedly outmaneuvered Bragg during the Tullahoma Campaign. Ultimately halting in northern Georgia, Bragg turned on Rosecrans at the Battle of Chickamauga on September 19-20. In the fighting, Cleburne mounted several assaults on Major General George H. Thomas XIV Corps. Winning a victory at Chickamauga, Bragg pursued Rosecrans back to Chattanooga, TN and commenced a siege of the city. Responding to this situation, Union general-in-chief Major General Henry W. Halleck directed Major General Ulysses S. Grant to bring his forces from Mississippi to reopen the Army of the Cumberlands supply lines. Successful in this, Grant made preparations for assaulting Braggs army which held the heights south and east of the city. Positioned at Tunnel Hill, Cleburnes division manned the extreme right of the Confederate line on Missionary Ridge. On November 25, his men turned back several frontal assaults by Major General William T. Shermans troops during the Battle of Chattanooga. This success soon was negated when the Confederate line further down the ridge collapsed and forced Cleburne to retreat. Two days later, he halted the Union pursuit at the Battle of Ringgold Gap. Patrick Cleburne - Atlanta Campaign: Reorganizing in northern Georgia, command of the Army of Tennessee passed to General Joseph E. Johnston in December. Recognizing that the Confederacy was short on manpower, Cleburne proposed arming slaves the following month. Those that fought would receive their emancipation at the end of the war. Receiving a cool reception, President Jefferson Davis directed that Cleburnes plan be suppressed. In May 1864, Sherman began moving into Georgia with the goal of capturing Atlanta. With Sherman maneuvering through northern Georgia, Cleburne saw action at Dalton, Tunnel Hill, Resaca, and Picketts Mill. On June 27, his division held the center of the Confederate line at the Battle of Kennesaw Mountain. Turning back Union assaults, Cleburnes men defended their part of the line and Johnston achieved a victory. Despite this, Johnston was later compelled to retreat south when Sherman flanked him out of the Kennesaw Mountain position. Having been forced back to Atlanta, Johnston was relieved by D avis and replaced with General John Bell Hood on July 17. On July 20, Hood attacked Union forces under Thomas at the Battle of Peachtree Creek. Initially held in reserve by his corps commander, Lieutenant General William J. Hardee, Cleburnes men were later directed to restart an offensive on the Confederate right. Before the attack could commence, new orders arrived instructing his men to move east to aid Major General Benjamin Cheathams hard-pressed men. Two days later, Cleburnes division played a key role in attempting to turn Shermans left flank at the Battle of Atlanta. Attacking behind Major General Grenville M. Dodges XVI Corps, his men killed Major General James B. McPherson, commander of the Army of the Tennessee, and gained ground before being halted by a determined Union defense. As the summer progressed, Hoods situation continued to deteriorate as Sherman tightened the noose around the city. In late August, Cleburne and the rest of Hardees Corps saw heavy fighting at the Battle of Jonesboro. Beaten, the defeat led to the fall of Atlanta and Hood withdrew to regroup. Patrick Cleburne - Franklin-Nashville Campaign: With the loss of Atlanta, Davis instructed Hood to attack north with the goal of disrupting Shermans supply lines to Chattanooga. Anticipating this, Sherman, who was planning his March to the Sea, dispatched forces under Thomas and Major General John Schofield to Tennessee. Moving north, Hood attempted to trap Schofields force at Spring Hill, TN before it could unite with Thomas. Attacking at the Battle of Spring Hill, Cleburne engaged Union forces before being halted by enemy artillery. Escaping during the night, Schofield retreated to Franklin where his men built a strong set of earthworks. Arriving the next day, Hood resolved to frontally attack the Union position. Recognizing the folly of such a move, many of Hoods commanders attempted to dissuade him of this plan. Though he opposed the attack, Cleburne commented that the enemy works were strong but that he would carry them or fall trying. Forming his division on the right of the attacking force, Cleburne advanced around 4:00 PM. Pushing ahead, Cleburne was last seen attempting to lead his men forward on foot after having his horse killed. A bloody defeat for Hood, the Battle of Franklin saw fourteen Confederate generals become casualties including Cleburne. Found on the field after the battle, Cleburnes body initially was buried at St. Johns Episcopal Church near Mount Pleasant, TN. Six years later, it was moved to Maple Hill Cemetery in his adopted hometown of Helena. Selected Sources Civil War Trust: Patrick CleburneNorth Georgia: Patrick CleburneCivil War Home: Patrick Cleburne

Argumentative Essay On Abortion Thesis Example For Students

Argumentative Essay On Abortion Thesis Abortion has always been (and I reckon it will continue to be for quite some time) a very controversial issue not only due to the difficult comparison of rights (does the mothers rights outweigh the childs or vice-versa?) but also because of the many different instances in which the issue of abortion might come up. For instance, one couple who simply wants to plan their family, and be ready for it, is obviously different and less shocking a case as a raped fifteen-year old. Regarding abortion, pro-life and pro-choice are the two sides trying to impose their own points of view, but while one is extremely strict and makes a completely solid statement without taking each case in particular (pro-life), the other (pro-choice) acknowledges the implications of abortion and while not encouraging it in any way, it implies a certain flexibility depending on each case. I, personally, am a pro-choice person, but not taking it to the extreme. I believe a woman should have the right to choose when to have a baby but I agree with creating limitations to this right. The reasons are simple and numerous, health being the most important one, for if abortion would be deemed illegal and immoral, not only would women turn to unsanitary secretive abortions (or even desperate self-induced ones) but the psychological pain and scars would also be considerably more unbearable (I say more because they are already quite unbearable and extremely stressful). Another reason is a biological one it is the woman who carries the baby for nine months, and until the baby is out in the open, being a separate person, until the moment of birth, the baby is simply a part of the womans body. I choose to view childbirth as the moment when the child becomes the human, because it is the most valid turning point in its life -when it starts to live on its own. I consider the pro-choice point of view as being the most rational. However, I also agree that the time period of six months after conception is more than enough for the making of a decision. I support fully the six-month time condition, again mainly because of the health issues involved (abortion after six months is a risk to the mother). I also acknowledge the gruesome methods abortion implies, but I dont consider them a reason strong enough to ban abortion. I would wish there could be some sort of application process involved with abortion, but given the fact each and every case is different and also that such laws would have to be extremely detailed and confusing in order to relate to all cases on an individual plane. So I support abortion for all women as long as it is done within the first six months. And I state this because I dont believe the child is a person by the end of the six months, nor a human life. Until that point, it is a life, but it is a combination of cells insi de a body as well. Its size of only several inches adds to my inability of considering it human strictly because it lacks all the functions a human life form has, from consciousness to breathing and from feelings to personality. My point of view has a personal history behind it and even though I am not in the position of claiming a strict perspective of the subject, I realize I may be subjective. My mother described to me how she had to go through around three abortions because of my fathers drinking problems. Most of the fetuses had vital physical problems such as a deformed (contorted) body or a missing organ. My mother chose to abort them and it was a physically as well as psychologically painful process. The worse thing is that she blamed herself for it, while all the time it was my fathers irresponsible drinking that caused the malformations. I dont even want to imagine what would have happened had she been forced to carry those fetuses to term, and I am also extremely glad she didnt (I wouldnt be around if she had). READ: St. Alphonsus Rodriguez EssayAll in all, I dont consider pro-life a valid, modern, twenty-first century attitude because it

Cinematography Attributes Assignment Example | Topics and Well Written Essays - 250 words

Cinematography Attributes - Assignment Example This scene shows a close up of the character. This is done to make the character appear more personal. Since this is an indoor shot, the light appears only from one angle, which is supposed to represent the window. The composition of the scene makes it instantly recognizable as an office scene. The formal attire, the office chair, and the wooden furniture send out a clear signal of an office setting. In this scene, the two actors are involved in an intimate scene. In order to strengthen this feeling of intimacy, the lights are induced from behind which casts the figures in shadows and brings out their silhouette. This is a medium shot where viewers are able to see beyond the character’s portraits. In this scene, the figures stand in the middle of the composition which makes them the center figure of attention. In this scene, the character stands slightly off center. Furthermore, the figure is cast in shadows. The scene is brighter on the left side where the Christmas lights are being lit. The right side of the character’s profile is set in shadow because there is no source of light on the right.

Legislative Supremacy of Parliament and the Separation of Powers Essay

Legislative Supremacy of Parliament and the Separation of Powers - Essay Example Constitution in a codified form is one which is written or contained in a single document and is a single source of law in a state. There are 3 types of constitution:- 2) Entrenchment - It is the second fundamental feature of constitution. It tells us whether the constitution is legally protected from modification without a procedure of constitutional amendment or not. The procedure of modifying a constitution is called amending. Amending an entrenched constitution requires wider acceptance. 3) Distribution of sovereignty - Sovereignty means right to have a full control over a governance's area by a group of people or an individual. Sovereignty is an important part of constitution and it is located or seen in a state. There are three types of distribution of sovereignty: 4) Separation of powers - Constitution usually explicitly divides power between various branches of government. The standard model, described by Baron de Montesquieu, involves three branches of government: executive, legislative and judicial. Constitutions vary extensively between these branches. 5) Lines of accountability - This feature of constitution explain that who is accountable to whom. In other words we can say that who has the right or the supreme power to appoint or dismiss the ministers. Parliamentary supremacy or legislative supremacy is a well known concept in law that applies to parliamentary democracies. ... 2) Lower house known as the 'House of Commons'. 3. The third component of parliament is 'Queen'. 4. The government of UK is a parliamentary democracy and a constitutional monarchy. 5. UK's constitution is uncodified. 6. UK's constitution is not entrenched i.e. no special procedure is required for modification. 7. UK's constitution is unitary i.e. sovereignty is ultimately contained at the centre. In other words we can say that sovereignty resides only in the centre of the state. 8. UK's constitution throws a light on the concept of separation of powers i.e. it involves three branches of government: executive, legislative and judicial. 9. In UK's constitution the line of accountability derives from the monarch or head of state, a component of Parliament. Definition of Parliamentary supremacy and Separation of powers:- Parliamentary supremacy or legislative supremacy is a well known concept in law that applies to parliamentary democracies. Under this a legislative body has absolute sovereignty i.e. it is supreme to all other government institutions. In other words, it is the supreme power and has all the authority and it may change or repeal any prior legislative acts. Parliamentary supremacy exists in the United Kingdom and New Zealand. The doctrine of parliamentary supremacy may be summarized in three points: Parliament can make law concerning anything. No Parliament can bind its successor (that is, it cannot pass a law that cannot be changed or reversed by a future Parliament). No body except Parliament can change or reverse a law passed by Parliament. Separation of powers is a political doctrine (In Latin known as "doctrina", which means code of beliefs or a body of teachings or instructions.) under which the legislative (a type of representative

A Doll’s House Essay Example for Free

A Doll’s House Essay Nora will do anything to please her authoritarian husband Torvald. Per Torvald’s instructions, Nora focuses on such womanly disciplines as dancing and taking care of babies, while he sees to all the affairs of money. But when a past financial mistake comes back to haunt Nora and Torvald finds out, the result is an explosion of fury and a shocking revelation that changes the course of the entire family forever (Garland, 1973). Nora Helmer; seems completely happy. She responds affectionately to her husband’s teasing, speaks with excitement about the extra money his new job will provide, and takes pleasure in the company of her children and friends. She does not seem to mind her doll-like existence, in which she is coddled, pampered, and patronized. Torvald Helmer; embraces the belief that a man’s role in marriage is to protect and guide his wife. He clearly enjoys the idea that Nora needs his guidance, and he interacts with her as a father would. He instructs her with trite, moralistic sayings, such as; â€Å"A home that depends on loans and debt is not beautiful because it is not free.† Torvald likes to envision himself as Nora’s savior, asking her after the party, â€Å"Do you know that I’ve often wished you were facing some terrible dangers so that I could risk life and limb, risk everything, for your sake.† Krogstad; is the antagonist in the film but he is not necessarily a villain. Though his willingness to allow Nora’s torment to continue is cruel, Krogstad is not without sympathy for her, as he says, â€Å"even money lender, hacks, well a man like me, can have a little of what you call feeling, you know.† Krogstad has reasonable motives for behaving as he does; he wants to keep his job at the bank in order to spare his children from the hardship that come with a spoiled reputation. Unlike Torvald, who seems to desire respect for petty selfish reasons, Krogstad desires it for hi s family’s sake (Garland, 1973). From a Feminist perspective, a group whose members learn socially constructed expectations based on gender roles, social class, race, age, sexual orientation, marital status, and other factors. The husband is the dominant force in the family while the wife acts like a doll in a doll’s house. The wife makes sacrifices while the husband was more concerned about his reputation. From a Symbolic Inrteractionist perspective, a group, like others, whose interactions are governed by the communication of knowledge, beliefs, attitudes, values, and roles? The husband has a false sense of masculinity, that of a super-hero. The husband belittles his wife and tells her that she will not be able to interact with the children because of her sacrifice for her family. She is physically abused and told not the leave the house. When she is right the husband gives her money to spend on the family. From a conflict perspective, a group that experiences problems due to social inequality; the family and its members must compete for limited resources that are controlled by powerful groups. Krogstad is replaced at the bank because of Torvalds’ selfish reasons, which put his family in poverty. Krogstad uses blackmail to keep his job at the bank (Benokraitis, 2011). It is the 1890s in Norway, Nora’s’ father is dying. Her husband Torvald is in need of a climate change from Norway to Italy to save his life. Torvald tells his wife they can’t afford to take a vacation. Nora goes to the bank and asks Krogstad to raise the money for her. They raise the money by Nora forging her father’s signature. Krogstad forges some documents and gets the money for Nora. Word gets out about what Krogstad does and it ruins his reputation in town so he and his family live in poverty. Meanwhile Nora and her family go on the vacation to Italy and save her husbands’ life. Torvald gets a promotion at the bank where he and Krogstad works. Word gets out that Torvald is replacing Krogstad so he visits Nora to remind her of who helped her and discovers that she has forged her father’s signature. Krogstad blackmails Nora to save his job at the bank. Nora tells Krogstad that her husband will defend her. Krogstad reminds her of Torvalds masculinity. Nora goes to her husband to save Krogstad’s job. Torvald dislikes Krogstad because he calls him by his Christian name, instead of Mr., so he puts Krogstad in his place by using his power to take away Krogstad’s job and putting his family in poverty (Garland, 1973). Torvald receives the letter with the IOU from Krogstad, and he verbally abuses Nora by calling her stupid, liar, hypocrite, and a criminal. He physically slaps her and states know I am at the mercy of an unscrupulous man. Torvald tells her that she is just like your father with no religion or morals. You have ruined everything and will not be allowed to raise our three children. Nora changes out of her costume into her street clothes. She commands Torvald to sit and listen to her. This is the first time in eight years of marriage that they have sat down to talk about anything serious. Nora tells her husband that she has never been treated as a human being. Her father treated her like a doll child, husband treats her like a doll wife and now she treats her children like doll‘s playing with them. Torvald tells her now you can be educated. Nora states I will educate myself and I have to stand on my own two feet. Torvald tells Nora you can’t leave you have duties to your husband and children. Nora states my duty is to myself as a human being. Nora asks is society right or am I right; I will have to find that out for myself (Garland, 1973). Torvald and Nora are in a conflict-habituated marriage, Social Learning Theory; Nora states that she was treated like a doll child by her father, then her father handed her over to Torvald and she conformed to the doll house that he provided for her. Nora thought that because she was Torvalds’ wife and mother of his three children that he would sacrifice for her.†Wheel Theory† of love; rapport, self-revelation, mutual dependency and personality need fulfillment (Benokraitis, 2011). This movie hit home for me you spend all those years bearing children and sacrificing for love and family and what thanks do you get. Good for Nora leaving Torvald and she left him with the children double whammy on Torvald’s masculinity. Men have a false sense of what masculinity is when he states; â€Å"no man would sacrifice his honor, not even for love.† And Nora states, â€Å"Millions of women have.† I went through the same thing with my children’s father; he would often tell me that â€Å"my reputation is the most important thing to me.† Works Cited (2011). Marriages Families Changes, Chioces, and Constraints. In N. V. Benokraitis, Theiretical Perspectives On Families (pp. 32-40). Upper Saddle River: Karen Hanson. Garland, P. (Director). (1973). A Dolls House [Motion Picture]. (2011). Marriages Families Changes, Chioces, and Constraints. In N. V. Benokraitis, Theiretical Perspectives On Families (pp. 32-40). Upper Saddle River: Karen Hanson. Garland, P. (Director). (1973). A Dolls House [Motion Picture].

The Sweetest Thing and Coyote Ugly :: Synthesis Essays

The Sweetest Thing and Coyote Ugly Comedy / Romance movies deal with emotions in a variety of aspects. Overcoming your fears and getting what you want out of life is very important. In the movies The Sweetest Thing, written by Nancy Pimental, and Coyote Ugly, written by Gina Wendkos, both of the main characters are working towards overcoming their greatest fears while making their dreams come true. Even if doing this means making wrong decisions, it always becomes a good learning experience as long as you have friends to rely on. â€Å"First came the rules of love. Now comes the fun.† This quote is the tagline for the movie The Sweetest Thing. Christina Walters, played by Cameron Diaz, doesn’t know commitment. Christina and her friends read the book of love, but are just out to play the field. When she accidentally runs into the man of her dreams she blows him off. When she finally realizes that she is in love with him, Courtney Rockcliffe (Christina Applegate) and Christina take a road trip to get him back. Running into many disasters on the trip they end up walking in on Peter Donahue’s (Thomas Jane) wedding. Incredibly embarrassed, she miserably returns home. After making a complete fool out of herself, she still ends up getting what she wants out of life: A man to be committed to and a man to love. Finally, in the end, Peter realizes that he is in love with Christina. He goes to her apartment to apologize, and after she finally is able to overcome her fear of commitment, she takes him in, and they end up being very happy together. Violet Stanford (Piper Perabo), stared in the movie Coyote Ugly, is a song writer from a small town in New Jersey. She moved to New York to sell her music. She has too much stage fright to perform the songs herself, and is struggling to get her music heard because of her fear. Once her new apartment is broken into and everything is stolen, she is forced to get a job. She finds a bar and is hired to work not knowing what she is getting herself into. The bar is called Coyote Ugly. Five girls work in this bar dancing on the counters and serving drinks. She makes enough money to buy herself new equipment and finally gets some auditions.