Triple Threat Criticism Essay Example for Free

Triple Threat Criticism Essay Each of the short stories â€Å"Happy Endings†, â€Å"A Sorrowful Woman†, and â€Å"The Story of an Hour† express the central idea that women are confined and identified by their roles as wives or mothers by society. The authors’ goal of these short stories is to portray modern marriages, to help people be conscious to womens liberalism, and to instruct people not to focus on the endings of stories, but the middle portions. Margaret Atwood, Gail Godwin, and Kate Chopin develop these ideas by utilizing plot, character development, and setting. Atwood’s â€Å"Happy Endings† uses a lack of plot to show how even though the middle parts of life can be different, the endings are always and inevitably the same. In her story, Atwood shows the diverse relationships between men and women, but through every situation, both die. The same thing happens in Chopin’s and Godwin’s stories. While both protagonists start off as committed and loving women dedicated to their family, personal torment eventually lead both of them to death. Both women sit near windows in their rooms and watch the world outside wishing they could be at peace with themselves and find happiness in their relationships. Chopin associates the window and all the lively things outside the window to the freedom of Mrs. Mallard’s new widow status, while Godwin represents the window as a negative object. Also, it is ironic that outside of the windows it is spring, when both of the stories are depressingly gloomy. In â€Å"Happy Endings,† Atwood explains what life is about. She proclaims that plots are a beginning, middle, and an end; â€Å"a what and a what and a what† (Atwood 628). Life is a formula: two people meet; they have jobs, sex, kids, hobbies, illness, and of course, they die. Atwood gives all the examples: older and younger, doctor and nurse, but it is the same formula. Atwood also minimally structures â€Å"Happy Endings,† like an essay, instead of a story. She has different scenarios from A to F, all including the same undetailed, flat characters, but with the same end to prove that no matter what the beginning or middle is, the ending is always the same. The author also chooses to use the most generic names possible, Mary and John, to flatten the characters even further. Atwood repeats the words â€Å"stimulating and challenging† throughout the text. These words are used to describe the character’s jobs, their sex life, and their hobbies. This repetition in diction emphasizes the ordinary and mundane of each characteristic. In storyline F, Atwood speaks directly to the reader. She writes, â€Å"If you think this is all too bourgeois, make John a revolutionary and Mary a counterespionage agent and see how far that gets you,† implying the pursuits are the same, and the characters are unimportant (Atwood 293). Atwood’s audience is everyone, but mostly the people who focus more on the plot of life, than the how and why. In â€Å"A Sorrowful Woman,† Godwin uses character development to drive her story. She writes about predominantly flat and unnamed characters: the man, child, woman. The woman is the only one closest to a round character. She is quirky, for she makes the statement â€Å"vertical bra,† but otherwise her lines are manipulative and predictable. Godwin opens with â€Å"Once upon a time† (Godwin 39) to emphasize how unrealistic the story really is. For example, the man in the story has an exaggeratedly amicable, agreeable nature towards his wife and never challenges her. To make it clear, he repeats the words â€Å"I understand† throughout the story. Godwin includes that the nanny is ugly to emphasize that there is no sexual replacement of the woman. The boy represents innocence. The boy’s last line, â€Å"Can we eat the turkey for supper? † reiterates that the woman’s role in life was through her duties. Godwin uses symbolism when she writes about the woman writing a poem: First, the woman has all her responsibilities and duties, but since she stops doing them, she does not know what else to do. Secondly, the woman tries to write a sonnet that has rules on how you can write it, but then she decides to write free verse, except since there are no rules, she does not know what to write. Godwin also uses the nanny to contrast with the woman; the woman hates her duties and responsibilities, while the nanny enjoys them because she gets paid and it is her choice. Also, she distinguishes both of them by the use of the woman in a white, dull room, and the nanny putting the boys colorful pictures on the walls. â€Å"†¦the child’s gray eyes,† the gray hand-knitted sweaters. The overall effect of repeating the color gray makes the story seem dull and tired. In â€Å"The Story of an Hour,† Chopin uses metaphors and concrete details to develop the central idea that identity is a stereotypical construct. She associates the open window and all the lively things outside it to the freedom of Mrs. Mallard’s new widow status: â€Å"†¦the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air†¦ countless sparrows were twittering in the eaves† (Chopin 15) to compliment that Mrs. Mallard is thinking optimistically now that she knows her husband is dead. Mrs. Mallard expresses her feelings about her recently distinguished marriage with words of being liberated: â€Å"Body and soul free! † Chopin also uses setting to emphasize how women are identified: in the public area of the house, she is named as â€Å"Mrs. Mallard,† but when she goes to her room she is â€Å"Louise. † Chopin ends â€Å"The Story of an Hour† with stating, â€Å"When the doctors came they said Mrs. Mallard had died from heart disease – of joy that kills† (16); sardonically, she is referring to the family thinking that Mrs. Mallard died from the joy of seeing her husband alive, when in reality she died from distinguishing that she is not free any longer. Mrs. Mallard’s death is foreshadowed early in the story when the author mentions that the wife has a heart problem. In all three stories the female characters are unhappy and they eventually die. The authors are feminists in how they condemn men and marriages with how they trap and identify women by society. Atwood, Godwin, and Chopin illustrate this idea with plot, character development, and setting. The authors wrote these three short stories to portray modern marriages, to help people be conscious to womens liberalism, and to explain that the ending of a story is not important, but the middle is. Works Cited Chopin, Kate. â€Å"The Story of an Hour. † The Bedford Introduction to Literature 9th Edition. Meyer, Michael. Boston: Bedford/St. Martin’s Press, 2011. 15-16. Print. Godwin, Gail. â€Å"A Sorrowful Woman. † The Bedford Introduction to Literature 9th Edition. Meyer, Michael. Boston: Bedford/St. Martin’s Press, 2011. 39-41. Print. Atwood, Margaret. â€Å"Happy Endings. † The Bedford Introduction to Literature 9th Edition. Meyer, Michael. Boston: Bedford/St. Martin’s Press, 2011. 624-626. Print.

Gulliver’s Travels and Phaedra †Passion or Reason :: Gullivers Travels Essays

Gulliver’s Travels and Phaedra – Passion or Reason Do you base your decisions on passion or reason? The way one bases his or her decisions affects the quality and happiness of his or her life. Neither passion nor reason should be the sole basis for one's philosophy or lifestyle, because passion without reason is uncontrollable, and reason without passion takes the spark out of life. Works such as Phaedra and Gulliver's Travels show that either extreme will likely result in chaos and unhappiness, teaching one to pull from both sides. In Racine's Phaedra, the characters face problems that are caused by their passions, in a society based on reason and the roles they play in it. Phaedra finds that she loves Hippolytus, who is her stepson, and she feels guilty about it, because it goes against the grain of society. She is crazed with the passion she feels, and convinces herself, for a time, that she should die without telling anyone, so that her shame is not made worse by being known to others. Phaedra says, " my frenzied love's burst forth in act and word. I've spoken what should never have been heard" (Phaedra 181). This shows how much she regrets her decision to verbalize her feelings, because she knows she spoke out of passion instead of reason. Her indignity is so strong in her heart that she cannot even let herself take the responsibility for it. Phaedra claims that, " the Gods have robbed [her] wits"(Phaedra 168) as a way of passing the blame on to someone else in an effort to remove some of the dishonor from herself and onto the Gods. Eventually, she gives into the passion she is feeling, and tells Hippolytus how she feels. Her passion horrifies Hippolytus, because of the wrongness of the situation. Phaedra is so bound to a world of reason that once she decides to explore her feelings she removes her boundaries all together, forgetting how serious the affects on other people are going to be. Meanwhile Hippolytus finds strength of will, driven by passion, to pursue the woman he loves, who was banned by his father Theseus. Hippolytus says, " my reason can't rein in my heart" (Phaedra 176) when he is thinking about the crime he is committing against his father because of his love for Aricia. Gulliver’s Travels and Phaedra – Passion or Reason :: Gulliver's Travels Essays Gulliver’s Travels and Phaedra – Passion or Reason Do you base your decisions on passion or reason? The way one bases his or her decisions affects the quality and happiness of his or her life. Neither passion nor reason should be the sole basis for one's philosophy or lifestyle, because passion without reason is uncontrollable, and reason without passion takes the spark out of life. Works such as Phaedra and Gulliver's Travels show that either extreme will likely result in chaos and unhappiness, teaching one to pull from both sides. In Racine's Phaedra, the characters face problems that are caused by their passions, in a society based on reason and the roles they play in it. Phaedra finds that she loves Hippolytus, who is her stepson, and she feels guilty about it, because it goes against the grain of society. She is crazed with the passion she feels, and convinces herself, for a time, that she should die without telling anyone, so that her shame is not made worse by being known to others. Phaedra says, " my frenzied love's burst forth in act and word. I've spoken what should never have been heard" (Phaedra 181). This shows how much she regrets her decision to verbalize her feelings, because she knows she spoke out of passion instead of reason. Her indignity is so strong in her heart that she cannot even let herself take the responsibility for it. Phaedra claims that, " the Gods have robbed [her] wits"(Phaedra 168) as a way of passing the blame on to someone else in an effort to remove some of the dishonor from herself and onto the Gods. Eventually, she gives into the passion she is feeling, and tells Hippolytus how she feels. Her passion horrifies Hippolytus, because of the wrongness of the situation. Phaedra is so bound to a world of reason that once she decides to explore her feelings she removes her boundaries all together, forgetting how serious the affects on other people are going to be. Meanwhile Hippolytus finds strength of will, driven by passion, to pursue the woman he loves, who was banned by his father Theseus. Hippolytus says, " my reason can't rein in my heart" (Phaedra 176) when he is thinking about the crime he is committing against his father because of his love for Aricia.

Define the term ‘consent’ in adult social care

Consent is giving permission to do something.In health and social care settings it usually means that the individual gives consent to take part in an activity or to accept some kind of care or treatment – this could be agreeing to have a shower or a bath – agreeing to take medication, as well as agreeing to have their details shared with others.Why is it important that a social care worker works in a way which promotes person centred values? Person-centred approaches are about the individual being the centre of their care and support plan enabling them to have control over their lives. Person-centred approaches are about enabling individuals to live their own lives and not just providing a service. It is about focusing on the individual person’s needs and not the tasks that need completing.Person-centred planning is a way for individuals to plan for what they want now and in the future, together with the people in their lives who they like and trust. Everyone has a right to plan their own lives and be at the centre of any planning that is done for them. Everyone has a right to be part of their community. Everyone has a right to live their lives as they want, and if they need support to do this for this support to be provided in a way in which they want it. There are eight person centred values that support person-centred care and support. These are: IndividualityIndependence Privacy Partnership Choice Dignity Respect RightsBy following the values set out above, we will be able to develop a clear understanding about the individuals we are working with. This includes their needs, their culture, their means of communication, their likes and dislikes, their family and other professionals’ involvement so we can promote and provide person centred care and support.

Essay on Creative Writing Dragons Throttle - 821 Words

* * * * Dialing the number on speaker phone, what have I gotten myself into? I thought, and on the second ring, â€Å"Hello, may I speak to Bradley Callahan?† â€Å"This is Bradley. How can I help you, ma’am.† â€Å"I am calling from Wood Works Wonder. This is Clareese Alana.† â€Å"Yes, Miss Alana. I’ve been waiting for your call.† Bradley sounded like he was waiting for something all right. With a sexy, almost familiar voice, and forgetting for a split second, this was a business call, and I said, â€Å"Mr. Callahan—† â€Å"Miss Alana, call me Bradley.† â€Å"Okay, Bradley, if you call me Clareese.† â€Å"Deal,† he said. â€Å"Bradley, as you must have heard, our product presenter will be replaced by me.† â€Å"Miss Clareese, nice†¦ sounds great. I mean — who better than you, ma’am,†¦show more content†¦Ã¢â‚¬Å"Ma’am, I will be picking you up in my pick-up. Plenty of roo m there.† â€Å"A pick-up? Sir, in the south? What a shocker,† I said with a light chuckle. Oh shit! I haven’t met this man and I’m jokingly labeling... oh dear! â€Å"I was warned about you city†¦ people,† he laughed. â€Å"I like your sense of humor, Miss Clareese.† â€Å"Well†¦ let me have a minute to think about this. I don’t want to burden you. Besides, our company would furnish my hotel stay and flight.† â€Å"Say no more. My father and I would be honored to have you there, and the cabins are well-equipped with amenities.† Perhaps I sounded a tad rude, and he seemed rather polite. Maybe accepting his plan would have Saturday’s Expo run smoothly, and I would not disappoint. â€Å"I’m grateful and will accept the Callahan offer.† â€Å"I will pick you up, early tomorrow, Friday. Text me with the flight information. I’ve sent you an email with my cell number.† â€Å"Tomorrow? I was planning to get in on Saturday morning.† â€Å"Tomorrow early, Miss Clareese. Here down yonder,† he snickered, â€Å"life is reflective, and we folks don’t live by the New York minute.† â€Å"Bradley, I’m from Connecticut,† I said wryly, yet knowing I deserved his jab from my earlier profile comment. â€Å"I’ve had a great opportunity to have visited both, city to city and forty lightning minutes apart. Clareese, it’s best if you are well rested and settled in for