'Dramatic Monologue' is a literary technique used in poetry by the poets, especially Robert Browning. It refers to the single speaker and the silent listener. The context, the mind of the speaker is understood through the speech of the speaker. Robert Browning's famous poems, 'My Last Duchess', 'The Last Ride Together' and 'Andrea del Sarto' are masterpieces of dramatic monologues.
FEMINIST CHARACTER IN HENRIK IBSEN’S HEDDA GABLERyolanda ayu
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'Dramatic Monologue' is a literary technique used in poetry by the poets, especially Robert Browning. It refers to the single speaker and the silent listener. The context, the mind of the speaker is understood through the speech of the speaker. Robert Browning's famous poems, 'My Last Duchess', 'The Last Ride Together' and 'Andrea del Sarto' are masterpieces of dramatic monologues.
FEMINIST CHARACTER IN HENRIK IBSEN’S HEDDA GABLERyolanda ayu
In this presentation, the writer tries to analyze and also to depict the feminist character as a dominant character than the male articulated in Ibsen’s Hedda Gabler.
Presentation on Novel - A Passage to India. AleeenaFarooq
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This presentation is about the play "Arms and the Man" by GB. Shaw. It explains the main theme of play and relates other novels, books or movies with "Arms and the man".
Presentation on Novel - A Passage to India. AleeenaFarooq
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This study is part of on-going action research between an Art and Design programme at the University of the West Indies with local children aged 4 – 12. This paper reports on a service learning and participatory design project undertaken between the urban university students and children from Guayaguayare, a rural beach village in Trinidad and Tobago the Southern Caribbean. This intervention was developed around a reading programme, where schools are supplied with books by an NGO that then creates fun reading ‘experiences’ around the donated books. In this specific programme, groups of children from the primary school were partnered with Design and Fine Art students of the university. The design students guided the children aged 7 – 9, through the development of their own storybooks based on the donated books. By using a design and literature-centred approach, the activity aimed to interest the children in aspects of the primary school curriculum such as reading and writing, and to help them connect with curriculum content such as language arts and mathematics, as well as introduce non-curricular aims such as building their confidence in themselves and their identities as Caribbean children. This paper analyses and documents the experiment and shares its successes and challenges, and the resulting storybooks created by the young children and their university student mentors.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...
Wide Sargasso Sea/The Yellow Wallpaper Oppression of Women
1. Centre Number: 64910 Candidate Number: 9823 Candidate Name: Emma Dillaway
Compare the ways in which the authors Jean Rhys and Charlotte Perkins Gilman explore the
oppression of women within their respective novels; Wide Sargasso Sea and The Yellow
Wallpaper.
Wide Sargasso Sea (Sea) and The Yellow Wallpaper (Wallpaper) are both examples of authors exploring the
oppressive, male-dominated society of the 19th century and its influence on their female characters. The
male voices of both novels force control over the female characters and decide how they may appropriately
behave, leaving female identities suppressed. Both novels represent how the oppression of women traps
their existence and show the female characters’ attempts to defy this.
Social norms of the 19th century expected women to act only as dutiful wives and mothers. The female
characters of both novels have little power or freedom as their husbands dominate their existence.
Published in 1966, Sea is retrospective novel from a feminist angle; Rhys explores gender inequality by
writing an unconventional prequel to the classic nineteenth-century novel, Jane Eyre, giving its voiceless
character, Bertha, a story. Wallpaper also reads as a feminist novel, which is an unusual angle for a Victorian
writer. Gilman herself suffered post-natal depression and was encouraged to undergo ‘the rest cure’ with
the advice to ‘live as domestic a life as far as possible’1
and to ‘never touch pen, brush or pencil again.’2
Some critics say ‘Gilman wrote this story to illustrate how women's lack of autonomy is detrimental to their
mental, emotional, and even physical well being.’3
At the start of the story in Wallpaper the narrator is passive and naive; ‘John laughs at me… but one expects
that in marriage.’4
The phrase ‘in marriage’ is showing her feelings of entrapment by the institution of
marriage. The narrator's husband, John, is a ‘physician of high standing,’5
therefore his opinion on her ‘slight
hysterical tendency’6
overrules her own, even though she ‘disagree[s] with their ideas.’7
Rochester in Sea is a
white male and a member of the gentry which means he has the power to impose control over his Creole
1
Charlotte Perkins Gilman, “Why I wrote The Yellow Wallpaper” (Oct 1913) Published in The Forerunner
2
Charlotte Perkins Gilman, “Why I wrote The Yellow Wallpaper” (Oct 1913) Published in The Forerunner
3
Dock, Charlotte Perkins Gilman's "The Yellow Wallpaper" and the History of Its Publication and Reception, pp. 23-24.
4
Narrator, Page 1 (The Yellow Wallpaper, Charlotte Perkins Gilman, Dover Thrift Edition [TYW])
5
Narrator, Page 1 [TYW]
6
Narrator, Page 1 [TYW]
7
Narrator, Page 1 [TYW]
2. Centre Number: 64910 Candidate Number: 9823 Candidate Name: Emma Dillaway
wife and the black people in Jamaica. He owns Antoinette's dowry and therefore owns Antoinette. To
challenge a husband's power would jeopardise a woman's social and financial security. Women are forced to
depend on the very world that excludes them. However, Antoinette and the narrator in Wallpaper do
eventually transgress against these social conventions as they are wild, passionate and imaginative
individuals.
Christophine, Antoinette's nurse, does not allow herself to be solely oppressed by society as she is ‘not like
the other women.’8
Antoinette's description of her appearance depicts a strong, unique individual; ‘she wore
a yellow handkerchief... no other negro women… tied her handkerchief Martinique fashion.’9
Christophine is
the only female character of both novels to not rely on a man; ‘no husband… I keep my money. I don't give it
to no worthless man.’10
However by the end of the novel Christophine comes to realise there are limits to
her freedom and that she must conform to Rochester’s male-dominance, as he tells her to ‘go, or *he’ll+ get
the men to put *her+ out.’11
You could argue that both authors use symbolism to represent the oppression. Rhys uses the parrot, Coco,
to portray the restrictions placed on Antoinette and Annette, Antoinette’s mother, by Mr Mason,
Antoinette’s step-father. He ‘clipped *its+ wings,’12
essentially removing their free spiritedness. The parrot
would sit ‘on *Annette’s+ shoulder *and+ darted at everyone who came near her.’13
The symbolic language to
describe the parrot shows that Rhys is using it as an extension of Annette to reveal her suppressed
frustrations. The burning fall of Coco as ‘his clipped wings failed him and he fell screeching’14
seems to
predestine the fate of Antoinette and her mother, in which they both will fall in their fight for freedom. In
Wallpaper, Gilman uses the wallpaper in the attic to psychologically dominate the narrator, which is
particularly distressing as wallpaper is seen as a predominantly female expression, yet it ‘constantly
irritate*s+ and provoke*s+’15
her. Differing from Sea, the symbolism in Wallpaper also expresses the narrator’s
8
Antoinette, Page 6 (Wide Sargasso Sea, Jean Rhys, Penguin Edition [WSS])
9
Antoinette, Page 6 [WSS]
10
Christophine, Page 83 [WSS]
11
Rochester, Page 126 [WSS]
12
Antoinette, Page 25 [WSS]
13
Antoinette, Page 24 [WSS]
14
Antoinette, Page 25 [WSS]
15
Narrator, Page 3 [TYW]
3. Centre Number: 64910 Candidate Number: 9823 Candidate Name: Emma Dillaway
power. The ‘woman’ she sees in the paper seems to be a reflection of the narrator and a device used by
Gilman to reveal her frustrations; ‘she just takes hold of the bars and shakes them hard.’16
Repetition of the
word ‘creeping’17
to describe the woman highlights the narrator’s irritation of constantly having to hide her
character to please ‘dear John.’18
As the narrator develops into the ‘woman’ she begins to distrust John as he
‘pretended to be loving and kind’19
and she transgresses against his authority, naming him ‘that man’20
and
‘creep*ing+ over him.’21
The wallpaper no longer oppresses her, and neither does John, ultimately leading to
a role reversal as she now dominates them.
The narrator of Wallpaper is an unnamed whereas John and Jennie's names are mentioned frequently,
showing her lack of significance as she is female and classed as mad. Although, others may argue that she
remains unnamed to allow her to embody all women who are struggling with oppression. Ultimately, the
narrator is a nameless stereotype of female oppression. John calls her ‘little girl,’22
showing the lack of
equality in their marriage. However at the end of the novel the narrator says; ‘I've got out at last... in spite of
you and Jane.’23
Never before mentioned in the novel, it is likely that Jane is the name of the narrator. It
could be argued that Gilman decided she was previously referred to as Jane, a name that lacks uniqueness
and personality, to emphasise her prior passive and dreary nature. Escaping the name shows how the
narrator has escaped her oppression.
Rochester takes away the small identity that Antoinette has by renaming her Bertha. In Brendan Maher's
2006 adaptation of Sea, Rochester says that he renames her as Antoinette is ‘too complex’ and that Bertha is
‘simpler... a proper English name.’ Rochester doesn't understand Antoinette's untamed and vibrant Jamaican
culture; ‘too much blue, too much purple, too much green.’24
Thus he oppresses her by changing her name
in the hope it will make her the plain, submissive, English wife he desires; ‘it is a name I'm particularly fond
16
Narrator, Page 12 [TYW]
17
Narrator, Page 12 [TYW]
18
Narrator, Page 7 [TYW]
19
Narrator, Page 13 [TYW]
20
Narrator, Page 15 [TYW]
21
Narrator, Page 15 [TYW]
22
John, Page 8 [TYW]
23
Narrator, Page 15 [TYW]
24
Rochester, Page 49 [WSS]
4. Centre Number: 64910 Candidate Number: 9823 Candidate Name: Emma Dillaway
of. I think of you as Bertha.’25
You could argue that Rhys fights back against the oppression of Antoinette by
leaving Rochester unnamed. He did not deem Antoinette worthy of keeping or choosing her own name
therefore to provide justice for this oppression Rhys does not deem Rochester worthy of a name at all.
The first person narrative is shared between Antoinette and Rochester in Sea, with extra inputs in the form
of letters and dialogue from Daniel Cosway, and a short narrative perspective from Grace Poole. Jean Rhys
believed Charlotte Brontë oppressed Bertha's character in Jane Eyre; ‘I was convinced that Charlotte Brontë
must have had something against the West Indies.’ By giving her a voice in the narrative, Rhys has given
Antoinette an identity and her character can develop beyond ‘the mad woman in the attic’ and tell her story,
as she says; ‘there is always the other side’26
when explaining her past to Rochester. As Sea includes the
story of Antoinette's childhood we are able to understand and sympathise with her character more deeply
than Bertha in Jane Eyre. She had a lonely childhood; ‘I got used to a solitary life.’27
A lack of attention from
her mother is clear as she ‘made excuses to be near her,’28
and growing up as a minority meant she had little
companionship or affection; ‘They hated us.’29
As Antoinette marries Rochester it is her last chance to be
accepted and loved, however her own husband disregards her; ‘the woman is a stranger.’30
The relentless
rejection of her character oppresses her free spirit, and is bound to have influenced her subsequent
madness. However characters such as Rochester and Daniel Cosway, as well as Charlotte Brontë, are all
products of their Victorian society, and would dispute that her madness is hereditary; ‘bad blood.’31
The narrative switch to Rochester establishes another viewpoint of Antoinette that ascertains her mental
deterioration; ‘she smashed another bottle against the wall and stood with... murder in her eyes.’32
As we
hear his narrative we have a degree of empathy for his character so we do not solely blame his oppression as
the cause of her madness. At the start of their marriage, when he seems fond of the ‘beautiful’33
Antoinette,
Rochester is already noticing the madness in her. ‘All day she'd be like any other girl... but at night... angry or
25
Rochester, Page 105 [WSS]
26
Antoinette, Page 99 [WSS]
27
Antoinette, Page 3 [WSS]
28
Antoinette, Page 8 [WSS]
29
Antoinette, Page 8 [WSS]
30
Rochester, Page 49 [WSS]
31
Daniel Cosway, Page 72 [WSS]
32
Rochester, Page 116 [WSS]
33
Rochester, Page 57 [WSS]
5. Centre Number: 64910 Candidate Number: 9823 Candidate Name: Emma Dillaway
silent for no reason.’34
Rhys parallels the light and shade of Antoinette's disposition with the light and shade
of the day to emphasise her unstable nature. Yet, by hearing Rochester's narrative we are made aware of his
reasons to oppress Antoinette, who he says is a ‘stranger who did not think or feel as [he] did.’35
He craves
England and rejects the unfamiliar environment with unfamiliar people that alienate him; ‘I hated them and
was afraid of their cool, teasing eyes.’36
His route of resolution is to take control and dominance over her
actions; ‘She trusted them and I did not. But I could hardly say so. Not yet.’37
Any evidence of prior insanity is
weak; therefore it could be argued that Rhys is placing the blame of Antoinette's madness on Rochester and
his tyranny over her.
In Wallpaper the narrative voice is solely placed on our first person, unnamed narrator; our protagonist.
However we hear the narrative voices of other characters, such as John and Jennie, through their dialogue.
Gilman has not allowed John his own narrative therefore we are unable to relate to his character. It could be
said the narrator is an extension of Gilman herself, undergoing the same ‘rest cure.’ Therefore the narrative
may be unreliable as it is blameful of authoritative male figures such as John. Told by an intrafictional
narration, the story is also limited in the sense that we are only made aware of what the narrator wishes to
tell us, and her knowledge is determined by what she does or does not see and hear. Moreover, the mental
state of Wallpaper’s narrator is deteriorating as she loses her rationality, saying that ‘to jump out of the
window would be an admirable exercise.’38
The thoughts of insanity combined with the controlled and
formal language builds a disturbing narrative showing that the narrator is in denial over her mental state.
However, the single narration allows us to build a close relationship with the narrator. Having no narrative
from John makes him the antagonist as we agree that his oppression of her ‘is one reason *she does+ not get
well faster.’39
Arguably, both women of the novels suffer oppression from their domestic environments. Antoinette feels
trapped in a marriage where she cannot freely express herself due to Rochester’s disapproval; ‘I watched her
34
Rochester, Page 67 [WSS]
35
Rochester, Page 69 [WSS]
36
Rochester, Page 102 [WSS]
37
Rochester, Page 66 [WSS]
38
Narrator, Page 14 [TYW]
39
Narrator, Page 1 [TYW]
6. Centre Number: 64910 Candidate Number: 9823 Candidate Name: Emma Dillaway
critically.’40
This oppression of her identity and lack of acceptance leaves her isolated and confused over who
she is; ‘I often wonder who I am and where is my country’41
Wallpaper is a short story therefore we miss the
root of her ‘slight hysterical tendency,’42
however a clear influence was the birth of her child; ‘such a dear
baby! And yet I cannot be with him, it makes me so nervous.’43
This indicates that the narrator is suffering
from post-natal depression, and feels oppressed by the stress of motherhood and the responsibility it holds.
It is important to note that the child is a ‘him,’ another male character removing her freedom, though as a
child is not a blameful character.
Both women are wild, imaginative and creative characters. The suppression of their spirit drives both women
into a spiral of insanity, until they are both transformed into ‘the mad woman in the attic.’ Rhys and Gilman
have used their respective novels to transgress against nineteenth-century patriarchal society by giving their
female characters a strong voice and allowing them to fight against male dominance. Although their
transgressions result in madness, the female characters’ triumph is in not conforming to the social
conventions expected of them. Both novels emphasise a need for female expression and freedom in order
for society to have gender equality.
Word count: 1,999
40
Rochester, Page 46 [WSS]
41
Antoinette, Page 76 [WSS]
42
Narrator, Page 1 [TYW]
43
Narrator, Page 3 and 4 [TYW]