Month: February 2024

Introduction: Similarities and Differences Between Reed and Cofer

Similarities and differences between Reed and Cofer both have brought up an excellent topic regarding cultural affinities, multinational culture or monoculture, cultural superiority or stereotypical behavior, and labeling of some communities. Both authors make a serious attempt to highlight certain connections that contribute to the perpetuation of cultural identities and markers, which persist in the collective consciousness over time. Individuals belonging to specific cultures often internalize these markers and use them to navigate interactions with other cultural groups, feeling either pride or alienation based on the image associated with them. For instance, both Cofer and Reed emphasize the significant role of media in shaping and challenging these cultural boundaries, a shared perspective between them. While both writers delve into the complexities of culture, with Cofer focusing on individual experiences and Reed on collective cultural identity, there exists a nuanced difference in their approaches.

Similarities and Differences Between Reed and Cofer: First Argument

The initial argument posits that media and intellectual circles play a pivotal role in assigning names or identities to specific cultures, thereby shaping perceptions ingrained in people’s minds. These perceptions often lead individuals from other cultures to identify a particular culture based on the images portrayed by the media. For instance, while the United States is a diverse amalgamation of cultures, the media often presents it as a homogeneous Western civilization, a notion contested by Reed who highlights the multiplicity of cultures involved in shaping Europe. Reed critiques Robert Thompson’s characterization of this diversity as a “cultural bouillabaisse,” pointing out the inadequacy of such simplification. On an individual level, there is a growing preference for bilingualism in certain areas of the United States, reflecting evolving cultural identities. Cofer similarly addresses the impact of media on cultural perceptions, noting how the stereotype of “Maria” for Latina women as domestic workers has been perpetuated by media portrayals. She draws parallels to the creation of the “Mammy” figure from “Gone with the Wind,” emphasizing the role of media in shaping societal perceptions. Both authors underscore the influence of education, intellectual discourse, and media in constructing identities for cultural entities.

Similarities and Differences Between Reed and Cofer: Affiliation

The question of affiliation arises from the tendency of people from the same cultural background to maintain their specific cultural connections, such as Hispanic communities in Detroit or Chinese and Jewish communities in the United States. However, despite this, individuals also adapt and integrate with other cultural identities while living in the United States. This process can inadvertently reinforce the notion of white supremacy, as Reed suggests, by positioning the United States as a global hub for knowledge and information due to its diverse cultural makeup. Reed quotes a politician who posits that the United States’ uniqueness lies in its multitude of cultures, potentially leading to its dominance on the world stage.

However, Cofer highlights the persistence of mythical misconceptions, such as the portrayal of Latina women as promiscuous or criminal. She emphasizes how mixed cultural signals perpetuate stereotypes, which individuals carry with them regardless of their location. Despite this, Cofer believes that certain stereotypes can be challenged and overcome through education, as she has personally experienced.

Similarities and Differences Between Reed and Cofer: Alienation

The issue of alienation is addressed differently by Reed and Cofer in their works. Reed’s initial paragraphs highlight the apprehension among smaller cultural groups of facing alienation if they fail to maintain their cultural identities through symbols, signs, and food traditions. He points to references of western civilization and the influence of the Puritan past and educational systems as examples of this concern.

On the other hand, Cofer recounts a personal experience at the beginning of her article where she felt alienated during a trip to London. She recalls how she only retained a sense of “British control,” indicating her discomfort and lack of understanding in that environment. Additionally, Cofer narrates an incident involving an elderly woman mistaking her for a waitress, which led to feelings of alienation. She suggests that such instances of misunderstanding and miscommunication are exacerbated by media portrayals and certain societal behaviors.

Similarities and Differences Between Reed and Cofer

Reed and Cofer indeed share certain similarities in their overarching goals, despite approaching them from different perspectives. Both advocate for a form of cultural harmony, albeit through distinct means. Reed envisions the possibility of preserving diverse cultural identities within the United States while still fostering a unified national culture. He sees potential in leveraging the country’s multiculturalism to create a new, inclusive culture.

On the other hand, Cofer’s approach is more individual-centric. She emphasizes the role of education in challenging and dispelling stereotypes and misconceptions associated with certain cultural identities, particularly those perpetuated by the media. Through her own example, Cofer illustrates how education can empower individuals to shed inaccurate cultural labels and embrace a more authentic sense of self.

The key difference lies in their strategies for achieving cultural cohesion. While Reed leans towards collective efforts, advocating for a unified educational curriculum and media representation, Cofer focuses on individual empowerment, believing that change can be initiated and sustained through personal education and growth.

Similarities and Differences Between Reed and Cofer: Conclusion

In short, Reed and Cofer both address the challenge of cultural alienation within a diverse society, but they propose different paths towards cultural cohesion. Reed argues for the preservation of diverse cultural identities within a collective framework, advocating for the emergence of a new, inclusive culture in the United States. Conversely, Cofer promotes the idea of erasing common stereotypes and misconceptions through individual education to facilitate integration into a broader cultural understanding.

Despite their differing approaches, both authors ultimately aim to achieve a similar outcome: the creation of a harmonious cultural landscape where diverse identities are respected and understood. The notion of bilingualism, touched upon by Reed and emphasized by Cofer, emerges as a potential solution for merging different cultures while maintaining individual identities. Overall, their perspectives suggest that a combination of collective and individual efforts, along with linguistic and cultural flexibility, could foster a more cohesive and inclusive society.

Works Cited: Similarities and Differences Between Reed and Cofer

1. Cofer, Judith Oritz. “The Myth of the Latin Woman: / Just Met a Girl Named Maria”. QUIA. n. d. Web. 20 Nov. 2023.
2. Reed, Ishmael. “America: The Multinational Society”. New York Times. 23 June 1983. Newspaper Source. Web. 20 Nov. 2023.

Relevant Questions about Similarities and Differences Between Reed and Cofer

1. How do the “Similarities and Differences Between Reed and Cofer” manifest in their respective approaches to addressing issues of cultural identity and stereotypes in their works?
2. In what ways do the “Similarities and Differences Between Reed and Cofer” shape their explorations of America as a “multinational society” and the experiences of Latin women?
3. How do Reed and Cofer utilize different literary techniques or narrative strategies to convey their perspectives on cultural diversity and societal inclusion within the context of the “Similarities and Differences Between Reed and Cofer”?

Introduction: Is Don Quixote Simply Crazy or Heroic?

Although heroes mostly lead heroic lives and are universally recognized as such by those around them, the case of Don Quixote poses a question: “Is Don Quixote Simply Crazy or Heroic?” In fact, he aspires to be seen as a hero, a knight-errant, from the very beginning, yet fails to convince anyone he encounters of his heroic status until the end. It’s not merely due to his lack of a complete knightly appearance, but rather because he fails to adopt the mental characteristics of a true knight. He exists in a state where his attempt to become a knight places him in an incongruous and comical position. In reality, he behaves more like a person suffering from madness, detached from reality. His insanity stems from his extensive reading of chivalric literature, his delusion of being a knight, and his fixation on gaining knightly honor.

Knightly Romance: Is Don Quixote Simply Crazy or Heroic?

In the very first chapter, it is revealed that Don Quixote is “in the habit of reading books on chivalry with such pleasure and devotion” (Cervantes 2228), which later evolves into a consuming fantasy that he cannot resist embodying. This obsession not only deepens his “curiosity and infatuation” (2228), but also leads him to acquire armor, a sword, and a horse named “Rocinante,” all influenced by characters from books like “Palmerin of England” or “Amadis of Gaul” (2228). He even creates his beloved, whom he calls “Aldonza Lorenzo” (2229), despite being aware that he has not been “formally dubbed a knight” (2230). Additionally, following tradition, he secures a squire from his village and adopts the demeanor of a knight during his errands, often leading to humorous situations.

Defects: Is Don Quixote Simply Crazy or Heroic?

There is indeed a notable mental deficiency or defect in Don Quixote. Despite being aware that he lacks the entitlement to be called a knight, he adopts the demeanor nonetheless. For instance, he tells fleeing ladies that it is not “in accordance with the order of knighthood” (2231) for him to address them, despite knowing he isn’t a true knight. He persists in pretending to be a knight, even when faced with situations that should deter him, such as when he kneels before the innkeeper to arrange accommodations, causing the innkeeper to suspect his sanity (2234). When a fellow villager encounters him after a skirmish with a muleteer, he is astonished by Don Quixote’s nonsensical behavior (2243). However, Don Quixote continues to attribute his actions to his own mental deficiency until he fully realizes the extent of his delusion and resolves to cease his former madness (2246). His subsequent ridicule of his squire, Sancho, for not knowing the ordinances of chivalry further demonstrates his lack of sound judgment.

Obsession: Is Don Quixote Simply Crazy or Heroic?

As Don Quixote continues to repeat the same actions without learning from his experiences, it becomes evident that he is obsessed with attaining knightly honor. His insistence on kneeling before the innkeeper to adhere to proper protocol, as well as his use of chivalric language and speeches, highlight his refusal to acknowledge reality. Despite the confusion of the goatherds regarding his nonsensical talk of squires and knight-errants, he persists in trying to impress them with his false identity as a knight (2261). Even encounters such as his fights with muleteers and windmills fail to correct his behavior, as his obsession persists until the end.

In short, Don Quixote’s character gives rise to the concept of Quixotism, representing a person who acts irrationally and persists in their delusions despite knowing they are behaving madly. His Quixotic deeds often lead to humorous situations, such as mistaking windmills for “lawless giants” (2247). This demonstrates that Don Quixote is indeed afflicted by a form of madness, characterized by his obsessive pursuit of knightly honor despite its absurdity.

Works Cited: Is Don Quixote Simply Crazy or Heroic?

1. Cervantes, Miquael De. “Don Quixote.” Mack, Maynard. The Norton Anthology Of World Masterpieces. Eds. Bernard MW Knox, and John C. McGalliard. Vol. 2. New York: Norton, 1980.

Relevant Questions about Is Don Quixote Simply Crazy or Heroic?

1. Is Don Quixote Simply Crazy or Heroic? How does Miguel de Cervantes use irony and satire in “Don Quixote” to explore the line between madness and heroism in the character of Don Quixote?
2. Is Don Quixote Simply Crazy or Heroic? In what ways does Don Quixote’s perception of reality challenge societal norms and expectations, and how does this contribute to the debate over his sanity versus his heroism?
3. Is Don Quixote Simply Crazy or Heroic? Can Don Quixote’s actions be interpreted as a critique of the societal constructs of heroism and sanity, or are they simply the delusions of a madman? How do different characters in the novel perceive Don Quixote’s quest, and what does this reveal about their own beliefs and values?

Titles and Themes in Fences by August Wilsons

The central theme in Fences by August Wilsons revolves around the construction of boundaries, both physical and metaphorical, to delineate familial and personal spaces. As Robert Frost aptly noted, “Good fences make good neighbors,” a sentiment echoed by the character Bono when Troy, the protagonist, fails to grasp the rationale behind Rose’s request for a fence to be built. Bono’s pragmatic understanding of this adage stems from his outsider perspective, enabling him to perceive the significance of such boundaries more acutely than Troy and Cory, who are entrenched in their familial roles. Moreover, Bono’s astuteness extends to his awareness of Troy’s extramarital affair with Alberta, a revelation that underscores Rose’s subconscious apprehensions about her husband’s fidelity.

Characters in Fences by August Wilsons

Indeed, Troy faces considerable challenges in providing for his family, given the limited opportunities available to him in his position. As a result, he seeks solace and escape in various outlets, including love, alcohol, and music. His relationship with Alberta, which Bono is aware of, serves as one manifestation of this quest for refuge. When Rose insists on building a fence in front of their home, Troy and Cory are initially perplexed by her request. However, Bono astutely recognizes the symbolic significance behind Rose’s desire for a fence, articulating that “Some people build fences to keep people out and other people build fences to keep people in.” This insight suggests that Rose’s intention may be twofold: to preserve her relationship with Troy and to create a barrier that prevents external influences from disrupting their familial bonds. The title of the play, “Fences,” thus assumes a profound thematic significance, encapsulating the themes of boundaries, containment, and the complexities of interpersonal relationships explored throughout the narrative.

Racism in Fences by August Wilsons

Racism, particularly discriminatory racialism, serves as a pervasive and poignant element that shapes the experiences of the Maxson family in “Fences.” As an African American family, the Maxsons navigate a society where racial prejudice and inequality are deeply ingrained. Troy’s occupation as a garbage collector reflects the limited opportunities available to black individuals in a society where they are systematically marginalized and discriminated against. His thwarted dreams of becoming a professional baseball player further highlight the systemic barriers faced by African Americans, as despite possessing the talent and potential, racial segregation prohibited him from achieving his aspirations.

The metaphorical significance of Troy’s past aspirations underscores the broader theme of racial injustice and the insidious ways in which it restricts the opportunities and aspirations of black individuals. Despite his capabilities and ambitions, Troy’s race serves as a formidable barrier to his advancement, relegating him to a subordinate position in society. His application to become a truck driver exemplifies his awareness of the racial prejudices that permeate the societal landscape, as he confronts the pervasive belief that only white individuals are deemed fit for certain professions. Troy’s refusal to allow Cory to pursue soccer further illustrates the internalization of racism within his psyche, as he perpetuates the cycle of racial discrimination by imposing limitations on his son’s aspirations. Through Troy’s experiences and actions, August Wilson adeptly portrays the enduring impact of racism on individuals and families, shedding light on the pervasive and systemic nature of racial injustice in American society.

Fence in Fences by August Wilsons

Indeed, in “Fences” by August Wilson, each character experiences both gains and losses throughout the narrative. Troy Maxson, for instance, loses his wife Rose when he engages in an extramarital affair with Alberta. However, he also gains a renewed appreciation for Rose’s importance in his life, as evidenced by his return with their daughter Raynell after Alberta’s death. Similarly, Cory experiences frustration and resentment towards his father for preventing him from pursuing his dream of joining the football team. Nevertheless, he ultimately achieves academic success by graduating from high school and later finds fulfillment in his decision to enlist in the Marines.

Rose emerges as a winner in her own right, despite Troy’s initial neglect of her, as she gains Raynell as a daughter through Troy’s affair. Gabriel, despite his mental disability, contributes to the family by helping to pay the mortgage, highlighting his resilience and determination in the face of adversity. Bono, Troy’s friend, serves as a catalyst for positive change in Troy’s life, as he helps to salvage their marriage by revealing Troy’s secret affair to Rose. In this manner, each major character in “Fences” experiences a blend of triumphs and setbacks, reflecting the complexity of human experiences and relationships portrayed in the play.

Works Cited: Fences by August Wilsons

1. Wessling, Joseph H. “Wilson’s Fences.” The Explicator 57.2 (1999): 123-127.
2. Baharvand, Peyman Amanolahi. “The Failure of the American Dream in August Wilson’s Fences.” International Journal of English Language & Translation Studies 5.4 (2017): 69-75.

Relevant Questions about Fences by August Wilsons

1. How does the symbolism of the fence in “Fences” by August Wilson contribute to the thematic exploration of barriers, both physical and metaphorical, within the African American experience?
2. In what ways does the protagonist, Troy Maxson, embody the struggles and aspirations of African American men in 1950s America, and how does his character arc reflect broader societal issues?
3. How does August Wilson use the familial dynamics and relationships within the Maxson family to explore themes of responsibility, duty, and the impact of past traumas on present-day relationships in “Fences”?

Introduction: Uncle Vanya and Movie

Uncle Vanya and Movie, both, later adaptation of Anton Chekhov’s play, offer distinct interpretations of the timeless themes of love, longing, and disillusionment. The original “Uncle Vanya” was written by Anton Chekhov and first published in 1897. The original play was in Russian, though there have been translated adaptations such as the 1994 “Vanya on 42nd Street”. It was a revision of his own play, “The Wood Demon”, which had been published a decade earlier. Chekhov was arguably more successful with this adaptation than with the original. The fact that it was a remake made it unique, both because of the reduction from the original twelve cast members to a small, but still respectable, cast of nine. He also changed the ending from the suspenseful suicide to the now-famous failed homicide and altered the original happy ending to a less than ideal, temporary resolution. This radical change from his earlier works is part of what has many critics still scratching their heads over what caused this dramatic shift in Chekhov’s dramaturgical method. Regardless of how they felt about the sudden and successful revision of Chekhov’s earlier work, critics agree that Chekhov’s “Uncle Vanya” is a true masterpiece for the ages.

Vanya on 42^nd Street: Uncle Vanya and Movie

“Vanya on 42nd Street” is a modern film adaptation of the original 1899 play titled “Uncle Vanya”, written by Anton Chekhov. The reimagined film is an interpretive performance based on the English translation by David Marnet. Starring Wallace Shawn and Julianne Moore in the main roles, the film unfolds within the old New Amsterdam Theater, a rundown venue that has since been renovated by the Walt Disney Corporation. At the time of filming, the theater was dilapidated, with vermin damage and safety concerns limiting the actors and crew to the orchestra pit. Ironically, this decaying setting serves as the perfect backdrop for a story centered on themes of faded hope and lost opportunity. Additionally, the setting aligns with the film’s metatextual elements, reflecting the struggles of a Russian family on the cusp of a new century marked by political upheaval and the Industrial Revolution.

Uncle Vanya and Movie

In the movie, Wallace Shawn portrays the bitterly defeated Vanya, channeling a Brando-esque interpretation of Chekhov’s own words as he laments, “I coulda been a Schopenhauer, I coulda been a Dostoevsky.” The object of his amorous attentions is the lovely and young Yelena, played by Julianne Moore, who endures Vanya’s lecherous advances with derisive laughter while remaining faithful to her husband and Vanya’s own brother-in-law, Serybryakov. Serybryakov, portrayed by George Gaines, brings to mind his comedic performances in “Tootsie” as he delivers self-important orations. Serybryakov’s daughter, Sonya, played by another cast member, grapples with the limitations of her plain appearance while harboring unrequited feelings for the selfish and self-serving Dr. Astrov. Throughout the film, each actor methodically delves into the play’s thematic exploration of the elusive nature of happiness.

Uncle Vanya and Movie

The film commences amidst the bustling energy of 42nd Street, capturing the attention of passersby whose reactions range from curious glances to evident annoyance, thus imbuing the scene with the authenticity of a real-life situation where cameras are observed by the general populace. As the camera navigates the crowded street, it eventually zeroes in on the actors emerging from the nearby subway station. Amidst the hustle and bustle of the urban landscape, the actors engage in casual conversations, their camaraderie palpable, until the moment they collectively transition into their roles and the art of acting begins to unfold before the lens. This gradual shift from the mundane to the theatrical not only establishes the setting but also serves as a metaphor for the transformative power of performance, where ordinary individuals evolve into characters that captivate audiences with their emotional depth and narrative resonance.

Chaos in Uncle Vanya and Movie

The frenetic atmosphere depicted in the film serves to underscore the stark contrast between the chaotic urban environment of New York City and the artificial, almost surreal setting of the New Amsterdam Theater. Similar to Louis Malle’s masterful direction in “My Dinner with Andre,” “Vanya on 42nd Street” showcases Malle’s adeptness at capturing the essence of tightly enclosed spaces without drawing undue attention to his own role as the director. However, the expansive nature of the set inevitably leads to unforeseen incidents. One memorable mishap involved an “I Heart NY” coffee cup conspicuously placed on the family dining room table, momentarily disrupting the immersion of the scene. Additionally, a cast break occurring unexpectedly in the midst of filming served as an impromptu intermission, offering a humorous yet inadvertent interruption to the cinematic narrative.

Conclusion: Uncle Vanya and Movie

Notably, the segments outside of the play itself are executed with a self-referential skill that is completely absent when “Vanya on 42nd Street” is in progress. The opening sequence depicts the cast walking off into the crowd with the director in a manner reminiscent of a 90s sitcom. Despite numerous setbacks, including one cast member losing their sight, the director requiring quadruple bypass surgery, and the loss of another member’s wife, “Vanya on 42nd Street” truly lives up to its roots.

Works Cited: Uncle Vanya and Movie

1. Chekhov, Anton. Uncle Vanya. Bloomsbury Publishing, 2016.
2. Vanyan, Ksenia P. Translation and adaptation of Uncle Vanya. Diss. San Diego State University, 2010.

Relevant Question about Uncle Vanya and Movie

1. How does the portrayal of characters in the movie adaptation of “Uncle Vanya” compare to Chekhov’s original play?
2. In what ways does Ksenia P. Vanyan’s translation and adaptation of “Uncle Vanya” offer a fresh perspective on the themes and characters of the play?
3. How does the visual storytelling in the movie adaptation enhance or detract from the narrative depth of Chekhov’s “Uncle Vanya”?

Introduction: “Black Men and Public Spaces”

“Black Men and Public Spaces” by Brent Staples examines the pervasive stereotypes and prejudices faced by African American men in public settings. “Appearances can be deceiving,” as the saying goes, but for Brent Staples, these appearances have taken a harrowing turn, as he finds himself perceived as a menacing criminal during his nocturnal wanderings in both Chicago and New York. Despite his innocence, Staples recounts in this autobiographical narrative the pervasive stereotype that paints him as a threatening young African American, leading to fear and suspicion from others, including security personnel. He recounts his experiences in Chicago, reflects on his appearance, describes an incident in Manhattan, explores its impact on him, shares his coping strategies, and ultimately his final resolution. Through this essay, Staples portrays himself as a wise and cautious young man, forced to navigate a world where he is unjustly stereotyped, employing various strategies to ensure both his safety and the comfort of those around him, while also grappling with the larger implications of racial prejudice.

Brent Staples in “Black Men and Public Spaces”

Brent Staples portrays himself as a discerning young man who is acutely aware of the impact of his appearance. While studying in Chicago, he recounts an incident where he walks behind a white woman who perceives him as a threat and flees in fear, prompting Staples to recognize the role his African American identity and attire play in shaping perceptions. Another encounter, where he is pursued by the police and seeks refuge in his editor’s office, further solidifies his understanding that being perceived as “dangerous is a hazard in itself” (Staples). He realizes the inherent danger in being viewed as a threat, knowing that such perceptions could lead to police intervention or even violence against him. As a result, Staples adopts various strategies to navigate these situations safely.

Staples in “Black Men and Public Spaces”

Staples devises various techniques and strategies to navigate the challenges posed by others’ perceptions of him. Recognizing that he cannot alter his physical appearance, he adopts a strategic approach aimed at minimizing the perceived threat he poses. Understanding the power of first impressions, Staples decides to counteract stereotypes by whistling tunes from classical music, such as those by Beethoven and Vivaldi. Through this tactic, he aims to challenge the assumption that a criminal would not appreciate or engage with such refined cultural pursuits. By employing this strategy, Staples seeks to put others at ease in his presence and to prompt them to exercise caution, particularly in encounters involving law enforcement.

Carefulness in “Black Men and Public Spaces”

Staples demonstrates an acute sense of self-preservation, recognizing the inherent danger in being perceived as a threat by others, especially in the presence of law enforcement. He understands that his own safety is at risk if others view him as dangerous, prompting him to prioritize caution above all else. Aware of the potential consequences of panicking in such situations, Staples adopts a strategy of remaining calm and exceedingly cooperative when confronted by the police. This approach serves as a protective measure, as he understands that any deviation from a compliant demeanor could escalate the situation and potentially result in harm to himself. Thus, Staples emphasizes the importance of exercising caution and deferring to authority in order to safeguard his own well-being in precarious encounters.

Conclusion: “Black Men and Public Spaces”

In short, Staples exhibits a keen understanding of how to mitigate the negative perceptions associated with his presence, utilizing various strategies to project himself as non-threatening and to ensure his own safety, particularly in encounters involving law enforcement. By employing tactics aimed at pacifying and pleasing others, Staples effectively navigates the challenges posed by stereotypes and manages to keep himself out of harm’s way. Through his strategic approach, Staples not only safeguards his own well-being but also helps others feel at ease in his presence, counteracting the stereotypical image tied to him since childhood. While these interactions may not always be comfortable for Staples, his adept use of strategies allows him to navigate social situations with greater ease and ultimately promotes a sense of mutual survival.

Works Cited: “Black Men and Public Spaces”

1. Staples, Brent. “Black Men And Public Space.” Harper’s Magazine 273 (1986): 19-20.

Relevant Questions about “Black Men and Public Spaces”

1. How does Brent Staples in “Black Men And Public Space” shed light on the impact of racial stereotypes and prejudices faced by African American men in public environments?
2. In “Black Men And Public Space,” how does Staples navigate the complex interplay between personal experiences and broader societal attitudes towards black masculinity?
3. What strategies does Staples employ in “Black Men And Public Space” to challenge and confront the dehumanizing perceptions of black men perpetuated in public spaces?

Introduction: Feminism in Kate Chopin

Feminism in Kate Chopin and her works explores the complexities of women’s experiences and challenges societal norms through nuanced character portrayals and thematic explorations of autonomy and self-discovery. Amidst the suppressed milieu of women, influenced by her experiences living among various fiercely independent female relations and inspired to empower her characters with freedom akin to Edna in “The Awakening,” Louise Mallard in “The Story of an Hour,” or Calixta in “The Storm,” Kate Chopin portrays her female characters with a desire to attain independence and recognition of their identities. As a staunch feminist, Chopin’s exploration of feminine identity and the search for meaning in life aligns with postmodern feminist theory, as elucidated by Judith Butler. According to Alison Assiter (2005), Chopin sees the pursuit of meaning in life as a normative ideal (11). Indeed, all her characters, whether it be Edna striving to break free from male domination and cease idolizing her husband while worshiping her children (Chopin 24), Louise, who glimpses freedom and exclaims “free, free, at last” (3), or Calixta, pursuing the satisfaction of her bodily desires in freedom, embody Chopin’s portrayal of women’s consciousness of sexual identity. They reject dualistic views of gender identity and challenge the validity of socio-economic constructs in shaping identity.

Conjugal Relations and Feminism in Kate Chopin

The desire for liberation from the confines of stifling marital relationships is a recurring theme among Kate Chopin’s heroines, as noted by Sema Zafar Sumer, who observes that “many of her heroines are preoccupied with the desire to escape the confines of a stifling marriage” (192). This sentiment is evident in the characters of Edna, Louise, and Calixta, as well as in other female protagonists across Chopin’s short stories. These women are acutely aware of their sexual identities and strive to break free from the constraints of oppressive marital life, where rigid gender roles prevail (Ratcliff 1018). However, their efforts are often hindered by the patriarchal society they inhabit, which imposes various socio-economic constraints that limit their autonomy. To further explore this theme, additional analysis of Chopin’s other short stories such as “Desiree’s Baby,” “Beyond the Bayou,” and “The Kiss” is warranted.

Methodology of Exploring Feminism in Kate Chopin

The methodology employed involves the utilization of both primary and secondary sources within the framework of postmodern feminist theory, as articulated by Alison Assiter and other scholars. Through secondary sources, an evaluation is conducted to determine whether Kate Chopin’s female characters exhibit awareness of their sexual identities, gender disparities, and socio-economic constraints, thereby realizing their full potential as individuals. Several secondary critical studies, particularly those pertaining to feminism and postmodern feminism, are examined in this context. Additionally, insights from scholars such as Judith Butler (1990), Harold Bloom (2007), and Xuemei Wan (2009) are considered to delve into the perception of gender differences by characters like Edna, Louise, and Calixta, thus enriching the analysis of Chopin’s work.

Parts in Project on Feminism in Kate Chopin

The project is structured into three distinct parts, each aligned with the specified criteria of postmodern feminist trends evident in Kate Chopin’s work.

The first part will delve into the fundamental tenets of feminism, postmodern feminism, and Kate Chopin’s unique contributions as a trailblazing feminist writer. This section aims to elucidate the distinguishing features of Chopin’s feminist perspective compared to her contemporaries, highlighting her progressive stance.

The second part will focus on an in-depth analysis of Chopin’s characters, examining their awareness of their sexual identities, the agency they derive from it, and the power dynamics associated with it. Furthermore, this section will explore the gender differences depicted in Chopin’s narratives and the role of female characters in navigating and adapting to patriarchal societal norms.

The third part will scrutinize the socio-economic constraints that impede women’s autonomy and opportunities, as portrayed in Chopin’s works. This section aims to shed light on the ways in which socio-economic factors limit or restrict women’s agency and their impact on their immediate surroundings, providing a comprehensive understanding of the socio-economic constructs prevalent in Chopin’s narratives.

Conclusion: Feminism in Kate Chopin

The overarching aim of this research and critical evaluation is to establish that the ideas central to postmodern feminism—namely, those concerning sexual identity, power dynamics, the rejection of dualistic views of gender identity prevalent in Kate Chopin’s era, and the influence of socio-economic constructs on the recognition of feminine identity—were initiated by Kate Chopin herself, albeit not explicitly articulated as postmodern feminist theory during her time. While theorists and critics have taken time to formulate and interpret these ideas within the framework of postmodern feminism and socio-cultural criticism, this study seeks to demonstrate that Chopin’s fiction served as a pioneering force that laid the groundwork for subsequent interpretations and discussions. Through a comprehensive evaluation of critical studies, this research endeavors to illuminate the ways in which Chopin’s works foreshadowed and informed the emergence of postmodern feminist discourse, thereby affirming her status as a trailblazer in feminist literature and theory.

Works Cited: Feminism in Kate Chopin

1. Abbasi, P. “The Masculine Sea and the Impossibility of Awakening in Chopin’s the Awakening.” K@ta, 14.1 (2012): 37-41.
2. Al-Shalabi, Nazmi. “Kate Chopin’s The Awakening: A Postmodernist Study.” Mediterranean Journal of Social Sciences, 6. 5: (Sep. 2015). 276-282.
3. Artese, Brian. “Teaching Feminist Theory Via Philosophy: Political Implications Of An Ontological Inquiry In Judith Butler’s “Gender Trouble..” (1995): ERIC. Web. 28 Aug. 2016.
4. Assiter, Alison. Enlightened Women: Modernist Feminism in a Postmodern Age. New York. Routledge, 2005.
5. Bate Holmberg, Elizabet, Helena Granlund, Margaret Omberg, and Institutionen för kultur och kommunikation Linköpings universitet. In Search of Eros and Freedom: Four Portraits of Women by Kate Chopin. n.p.: 2009.
6. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York. Routledge. 1990.
7. Baloom, Harlod. Kate Chopin: Updated Edition. New York. Infobase Publishing. 2007.
8. Castro, Amanda. “Storm Warnings: The Eternally Recurring Apocalypse in Kate Chopin’s the Awakening.” Southern Literary Journal, 47.1 (2014): 68-80,134.
9. Chopin, Kate ; Seyersted, Per. Complete Works of Kate Chopin. n.p.: 1969.
10. Davis, William A. “Female Self-Sacrifice in Kate Chopin’s: Conflict and Context.” Notes and Queries, 58.4 (2011): 563-567.
11. Holz, Martin. The Function of Adultery, Contract and Female Identity in Kate Chopin’s ‘The Awakening’. n.p.: 2008.
12. Kearns, Katherine. “The Nullification of Edna Pontellier.” American Literature, 63.1 (1991): 62.
13. Krauss, Kerstin. Kate Chopin – ‘The Storm of the Storm’. n.p.: 2009.
14. McConnell, Mikaela. “A Lost Sense of Self by Ignoring Other in the AWAKENING by Kate Chopin.” The Explicator, 72.1 (2014): 41-44.
15. Rafcliff, Clancy. “Postmodern Feminism.” University of Minnesota, (2006). Web. 29 Aug. 2016.
16. Rennemo, Louise. Exploring the Female Self in the Works of Kate Chopin: A Study in Nineteenth Century Literature, Science and Ideology. n.p.: 2015.
17. Sumer, Sema Zafer. “The Birth Of A New “Self” And A New “Identity” In Kate Chopin’s Short Stories.” Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 28 (2012): 192-196.
18. Tewelde-Negassi, Sara. “The Denotation of Room and Its Impact on the Construction of Female Identity in Kate Chopin’s the Awakening.” Gender Forum, 45 (2013): N_A.
19. Wan, Xuemei. “Kate Chopin’s View On Death And Freedom In “The Story Of An Hour.” English Language Teaching 2.4 (2009): 167-170. ERIC. Web. 28 Aug. 2016.

Relevant Questions about Feminism in Kate Chopin

1. How does “Feminism in Kate Chopin” challenge traditional gender roles and expectations in her works, and what techniques does she employ to portray female characters as agents of their own lives?
2. In what ways does “Feminism in Kate Chopin” contribute to feminist discourse through her exploration of marriage and motherhood, and how do her narratives critique societal norms surrounding these institutions?
3. How does “Feminism in Kate Chopin” navigate themes of female sexuality and desire in her writings, and what broader feminist insights can be gleaned from her portrayal of women’s agency in expressing their sexual selves?

Introduction: Postmodernism in Steps Under Water by Alicia Kozameh

Postmodernism in “Steps Under Water” is exemplified through Alicia Partnoy’s utilization of fragmented narrative structures and metafictional elements to deconstruct linear storytelling and challenge traditional notions of truth and reality. During the twentieth century, the oppression perpetuated by dictatorships in Latin America generally exerted control over individual bodies, subjecting activists to transformative processes that rendered them objects of the state through mechanisms of fear, discipline, and punitive measures. The state often rationalized such violence under the guise of achieving societal order. For instance, in Argentina, the military dictatorship that governed the country from 1976 to 1983 precipitated a period of civil strife. The pervasive violence that ensued served as the backdrop for a plethora of literary works in Argentina (Diaz 3-5), profoundly impacting the nation’s political, economic, and intellectual landscapes and catalyzing a surge in literary productions that grapple with these realities. These literary endeavors portray regimes that systematically tortured individuals and employed fear as a tool to silence dissenting voices. Notably, female writers played a significant role, not only through active resistance but also by articulating the themes of violence and power within their literary works. These writers defied the oppressive system, subverting social norms and asserting their agency, thereby demonstrating their resilience, creativity, and fortitude in addressing the challenges of the era. In the mid-twentieth century, women writers emerged as prominent figures within a burgeoning tradition of female-authored literature, which delineated their own experiences as political activists.

Trauma and Postmodernism in Steps Under Water

In the 1980s, Alicia Kozameh embarked on a literary endeavor, fictionalizing her memories to portray the harrowing experiences of women imprisoned during the Argentine “Dirty War,” a poignant example being her work “Steps under Water,” which firmly establishes her presence within the realm of postmodern literature. Through this novel, Kozameh adopts a self-reflexive stance, not only by acknowledging the reader’s encounter with her own authorial voice within the narrative but also by crafting a historiographic metafictional narrative. This approach echoes the sentiments articulated by Linda Hutcheon, a seminal figure in postmodern literature, in her seminal work “Historiographic Metafiction: Parody And The Intertextuality Of History.” Hutcheon elucidates the concept, stating that historiographic metafiction strives to position itself within historical discourse while retaining its autonomy as a work of fiction. This form of fiction operates as a form of ironic parody, imbuing both historical and fictional intertexts with parallel significance within the reimagined textual landscape. Kozameh’s “Steps under Water” thus serves as a poignant reevaluation of the history witnessed by herself and countless other women in Argentina, offering a powerful testament to the transformative potential of literature in reclaiming and reinterpreting collective narratives.

Metafiction and Postmodernism in Steps Under Water

Similar to historiographic metafiction, Kozameh employs fragmentation as a quintessential postmodern narrative technique in her work. Throughout “Steps under Water,” the narrative structure undergoes a continuous shift, transitioning from first-person to third-person narration, devoid of a linear progression of events, thereby leaving the reader uncertain about the temporal context of the unfolding action. Notably, Kozameh chooses to commence the novel with its concluding scene, and subsequently concludes with the same moment, bookending the narrative with chapters titled “A Way Back.” This deliberate fragmentation serves as a poignant reflection of the fragmented nature of memory, as experienced by a woman recalling a profoundly traumatic experience. Indeed, as Alicia Partnoy asserts, the use of fragmentation as a narrative device finds resonance particularly among women writers who have endured repression, offering a powerful means of conveying the fragmented and disjointed nature of lived experiences shaped by oppression and trauma.

The repression endured by Kozameh during her three-year ordeal as a political prisoner of the Argentine “dirty war” finds poignant reflection in her main character, Sara, who similarly experiences imprisonment and torture. Kozameh deliberately chooses a female protagonist, Sara, with the intention of epitomizing the collective experience of women throughout Argentina who underwent similar ordeals, including herself. In “Steps under Water,” Kozameh vividly portrays the grim reality of this dark period in Argentine history, illustrating how fear, murder, torture, abduction, and imprisonment were wielded as political tools by the state to suppress dissenting voices.

The novel‘s second chapter starkly depicts Sara’s abduction by police officers who employ fear as a means of coercion and torture. Kozameh poignantly captures Sara’s anguish as she grapples with the uncertainty surrounding her husband’s fate, narrating, “They forced their way in and asked for Hugo. They laughed. She didn’t answer. We know. We had to kill him” (10). Sara’s tormentors exploit her vulnerability, subjecting her to psychological and physical torture in a bid to extract obedience and coerce her into divulging her allegiances. Kozameh masterfully delineates the intersection of physical and psychological pain endured by Sara, highlighting the profound psychological trauma inflicted upon her alongside the physical torment. The narrative also delves into the gendered dimensions of torture, underscoring how the female body becomes a locus of control and domination. Through Adriana’s voice, Kozameh emphasizes the brutality inflicted upon women, with Adriana inquiring, “Did they work you over much? They really let you all have it” (23), further illuminating the systematic violence perpetrated against women as a means of asserting power and control.

Female Body and Postmodernism in Steps Under Water

In “Steps under Water,” Kozameh deftly explores the themes of the female body, discourse, and power in Latin America, utilizing vivid scenes to depict the oppressive tactics employed by policemen to torture the women held captive in the basement. Additionally, Kozameh makes a deliberate reference to Jorge Amado’s novel “Teresa Batista cansada de guerra” (Home from the Wars), a work by a Brazilian writer renowned for its exploration of oppression against the female body. This intertextual reference serves as a deliberate choice, highlighting the significance of literature in providing solace and resistance for the women in the basement (Kozameh 35). The shared experiences of oppression depicted in both novels resonate deeply with Sara’s narrative and the plight of the other incarcerated women.

Kozameh’s portrayal of pain is distinctly gendered, conveyed through narratives that articulate the social, political, and economic transformations experienced during the military dictatorship. Through a collective voice that transcends individual perspectives, the women in the basement oscillate between personal and collective narratives, contributing to a broader discourse that challenges the dominant canon. This linguistic agency becomes a potent tool for empowerment as women become politicized and actively engage in discourse that challenges existing power structures.

The actions of the women in the basement, whether it be concealing information from the policemen or finding moments of respite, resemble a choreographed performance, akin to a play where each participant intuitively knows their role and timing. This collective choreography serves as a manifestation of women’s empowerment through embodied language, affirming their agency and resilience in the face of oppression. “Steps under Water” thus emerges as a compelling testament to women’s strength and solidarity in navigating the turbulent waters of dictatorship and oppression.

Body Language and Postmodernism in Steps Under Water

In “Steps under Water,” Alicia Kozameh employs not only body language but also testimony as crucial tools to document her experiences as a living witness to oppression. Through the act of remembering, Kozameh engages in a process of individual vindication, affirming her continued existence in the face of adversity. As Benay Blend contends, Kozameh’s recollection of her experiences serves as a means of asserting ownership over her identity, reclaiming agency, and resisting the forces that seek to subjugate her (143) (78). Kozameh’s moral imperative as a witness is rooted in her rejection of the oppression she endured during her imprisonment and her determination to confront those who seek to strip her of her freedom. She advocates for women to share their stories through their own characters and language, thereby asserting their presence in a society that has historically silenced their voices and suppressed their rights to freedom and human dignity. For Kozameh, the dominant discourse transcends mere patriarchy; it encompasses the pervasive influence of a military dictatorship that systematically denies individuals their rights to speak out and challenge the prevailing narrative. Through her testimony and advocacy, Kozameh endeavors to dismantle this hegemonic discourse and pave the way for a more inclusive and equitable society.

Conclusion: Postmodernism in Steps Under Water

In addition to embodying various aspects of postmodernism, “Steps under Water” can also be interpreted as a feminist novel, addressing themes of repression against women and the pervasive influence of a phallocentric society. The portrayal of Sara and her fellow “compañeras” in prison serves as a collective representation of the countless women who endured violence and torture under oppressive regimes. Through their collective struggle, Kozameh highlights the women’s yearning for freedom to assert their identities, express their voices, and uphold their beliefs.

Within the confines of the prison, Kozameh transforms the space of torture and death into a sanctuary for culture, wherein Sara and her companions defiantly resist the attempts of their oppressors to silence and dominate them. Through various forms of artistic expression such as plays, workshops, knitting, and drawing, the incarcerated women reclaim agency over their lives and maintain their language as a form of resistance. These creative endeavors not only serve as a means of survival but also as a testament to the women’s resilience and determination to assert their humanity in the face of dehumanizing conditions.

In “Steps under Water,” Kozameh portrays the incarcerated women as creators of their own lives, albeit within the constraints of their imprisonment. Despite the challenges they face, they forge connections, find solace in each other’s company, and strive to keep their spirits alive through acts of collective resistance. Ultimately, the novel serves as a powerful testament to the strength and solidarity of women in the face of oppression, offering a poignant exploration of feminist themes and the enduring quest for freedom and self-expression.

Works Cited: Postmodernism in Steps Under Water

1. Kozameh, Alicia. “Alicia Kozameh.” Contemporary Authors Online. Detroit: Gale, 2008. Literature Resource Center. Web. 27 Aug. 2023.
2. Blend, Benay. “The Writer as Witness: Latin American Jewish Women’s Testimonio In The Works Of Marjorie Agosín, Sonia Guralnik, Alicia Kozameh And Alicia Partnoy.” Women in Judaism: A Multidisciplinary Journal 4.2 (2007): MLA International Bibliography. Web. 28 Sept. 2022.
3. Diaz, Gwendolyen. Women and Power in Argentine Literature. Austin: University of Texas Press, 2007. Print. pp. 314-315.
4. Hutcheon, Linda. A Poetic of Postmodernism. New York: Routledge, 1988. Print.
5. Hutcheon, Linda. “Historiographic Metafiction: Parody And The Intertextuality Of History.” Intertextuality and Contemporary American Fiction. 3-32. Baltimore: Johns Hopkins UP, 1989. MLA International Bibliography. Web. 3 Oct. 2022.
6. Partnoy, Alicia. “Steps Under Water.” The Women’s Review of Books Nov. 1997: 26. Literature Resource Center. Web. 27 Aug. 2022.

Introduction: Post Modernity

Mary Klages has neatly differentiated among three terms: modernity, modernism, and postmodernism to define post modernity. Regarding modernity, she suggests that it encompasses all the “ideas which influenced the artistic movement” (Klages 28) of modernism. She further asserts that modernity aims to create “order” out of “disorder,” which she identifies as centered around “rationality” and the rationalization of ideas associated with modernism. Klages derives this concept of “order” from two other concepts: Francois Lyotard’s “totality” and Derrida’s “totality,” aiming to bring modern society to stability and completeness through “grand narratives.” These grand narratives, she argues, serve to reinforce the “belief system and ideology,” which are fundamental in establishing stability and order within a society. According to her, this period began around 1750, marked by the emergence of modernity-driven ideas such as the free market, the establishment of new American democracy, concepts like the superman and freedom of expression, evolutionary theories, and advancements in medical science, psychoanalysis, and anti-war sentiments.

Modernism and Post Modernity

Modernity, as a conceptual framework, encapsulates the pursuit of “order,” “stability,” and “totality” within societal structures. Modernism, then, manifests as the artistic and literary movement that emerges in response to the ideological underpinnings elucidated by modernity. From a literary perspective, modernism manifests through distinct attributes, including impressionism or impressionistic techniques, subjective explorations akin to the Romantic tradition, utilization of first-person narrative employing techniques like “stream of consciousness” as exemplified in James Joyce’s “Ulysses,” employment of third-person narrations as seen in the works of Ernest Hemingway, and the utilization of fragmented structures to construct cohesive poetic compositions, as evidenced in T.S. Eliot’s “The Waste Land.” Moreover, modernist literature favors spontaneity and creativity over rigid formalism, thereby reflecting a departure from conventional literary norms.

The thematic undercurrent within modernist works often evokes a profound sense of melancholy or disillusionment with the prevailing state of affairs. Such sentiments serve as the artistic expressions of the tumultuous transitions and existential uncertainties brought forth by the overarching ideologies of modernity. Indeed, the emergence of modernism marks a pivotal epoch wherein novel literary forms and genres are crafted to reconcile the apparent chaos inherent in the modern condition with the human impulse towards order and coherence.

While delineating precise temporal boundaries for the modernist period proves challenging due to its fluid and multifaceted nature, scholars approximate its inception around 1910, with its zenith extending from the 1930s to the 1970s. This timeframe encapsulates the vibrant and dynamic landscape wherein modernist literature flourished, exemplifying the artistic response to the socio-cultural upheavals and existential inquiries characteristic of the modern era.

Postmodernism and Post Modernity

In delineating the transition from modernity to postmodernity, the shift from embracing “grand narratives” to the valorization of “mini-narratives” marks a fundamental departure in both philosophical and educational paradigms. Postmodernism, as a cultural and intellectual movement, signifies a rejection of overarching meta-narratives that seek to impose universal truths or ideologies, instead advocating for the recognition and validation of diverse, localized perspectives and experiences. This shift from the global to the local reverberates across various domains, including education, where functional knowledge takes precedence over the traditional dichotomy of “good” or “bad” knowledge. Functional knowledge, characterized by its emphasis on practical skills and utilitarian application, underscores the importance of experiential learning and adaptive training methodologies.

At the forefront of educational transformation in the postmodern era is the pervasive influence of digitalization, epitomized by the widespread integration of computers for the dissemination, acquisition, and storage of knowledge. The advent of digital technologies not only revolutionizes the educational landscape but also underscores the centrality of information access and technological literacy in navigating contemporary socio-cultural realities.

Furthermore, postmodernism accentuates the significance of fragmentation as a counterpoint to the grand narratives of modernity. This emphasis on fragmentation, coupled with the rejection of overarching narratives, engenders a fertile ground for the proliferation of fundamentalism, wherein localized ideologies or belief systems assert themselves in opposition to perceived global homogenization.

Within the realm of literary discourse, the postmodern ethos fosters a dynamic interplay between globalization and regionalism. The ascendancy of literary “mini-narratives” serves as a conduit for the globalization of regional voices, facilitating the dissemination and recognition of diverse cultural perspectives on a global scale. Consequently, regional writers find newfound resonance and popularity beyond their immediate geographical confines, contributing to a rich tapestry of global literary expression characterized by its plurality and heterogeneity.

Works Cited

1. Klages, Mary. Literary Theory: The Complete Guide. Bloomsbury Publishing, 2017.

Relevant Questions about Post Modernity

1. How has postmodernity reshaped our understanding of truth and knowledge in various fields such as literature, art, and philosophy?
2. In what ways has postmodernity challenged traditional structures of power and authority, particularly in political, social, and cultural contexts?
3. Can we identify any emerging trends or movements within postmodernity that offer potential paths forward in navigating its complexities and contradictions?

Introduction: “On Being Brought from Africa to America”

Phillis Wheatley, upon initial reading of “On Being Brought from Africa to America,” may appear as an ordinary black poetess, composing poetry during a time when it was challenging for even white women to engage in such literary pursuits. However, what distinguishes her among her contemporaries is her intellectual prowess and her adeptness at writing with connotative meanings that suggest multiple interpretations. While superficially, many of her poems seem to offer flattering portrayals of prominent figures of her time, beneath the surface lies an imperceptible undercurrent of rebellion, expressed in veiled terms that require a nuanced understanding to fully grasp. Some may argue that her rebellion is a restrained response to the shifting societal norms of her era. This rebellion manifests through her employment of irony in her poems, her references and allusions to Greek literature, and her continual invocation of God and longing for the freedom she once possessed.

Praise and Rebellion in “On Being Brought from Africa to America”

Wheatley employs irony in her poetry, often appearing to shower excessive praise while subtly critiquing societal norms. In “On Being Brought from Africa to America,” she begins with the line “‘Twas mercy brought me from my Pagan land,” which, upon closer examination, reveals the irony of being forcibly brought to America as a slave rather than through any genuine act of mercy or divine purpose. This irony becomes even more apparent in the line “Their color is diabolic die,” highlighting the discrimination based on skin color rather than any benevolent intentions. Similarly, in her poem “To the Right Honourable William, Earl of Dartmouth,” she speaks of “Fair Freedom rose New England to adorn,” expressing a yearning for freedom that she ultimately attained, as evidenced by her pointed query, “Wonder from whence my love of Freedom sprung.” Through these seemingly benign remarks, Wheatley’s rebellious nature shines through, challenging societal injustices and advocating for freedom and equality.

Rebellion in “On Being Brought from Africa to America”

Phillis Wheatley’s rebellion extended to challenging the accepted norms of her Puritan era by openly referencing and praising ancient Greek culture, which was unconventional during that time. In her poem “To Maecenas,” she boldly invokes Homer and the celestial gods, a departure from the prevailing Puritan attitudes that frowned upon such references to pagan beliefs. Wheatley’s inclusion of references to the Muses, Virgil, and Patroclus in the same poem further underscores her defiance of literary conventions.

Additionally, while expressing gratitude to God in her poems, Wheatley subtly critiques earthly authorities, as seen in her acknowledgment of being brought to America safely yet referring to it as “The land of errors.” She also challenges racial discrimination by asserting in her poem “To the Right Honourable William, Earl of Dartmouth” that all humans are “lovely copies of the Maker’s plan,” implying that racial discrimination is a human construct rather than a divine decree. Such bold assertions reflect Wheatley’s rebellious nature and her willingness to express unconventional thoughts, ultimately establishing her as a prominent and recognized poet despite her origins as a slave.

Conclusion: Rebellion in “On Being Brought from Africa to America”

In short, Phillis Wheatley lived in a time when expressing thoughts contrary to prevailing norms was highly challenging. However, she defied these norms and garnered the support of her masters in breaking the taboos of poetry writing, despite being a slave girl. Her poetry carries imperceptible strains of rebellion, portraying her as a true trailblazer of her era. Not only did she break the chains of slavery, but she also achieved great renown for her literary contributions.

Works Cited: “On Being Brought from Africa to America”

1. Wheatley, Phillis. “On being brought from Africa to America.” The Open Anthology of Earlier American Literature 435 (1773).

Relevant Questions about “On Being Brought from Africa to America”

1. How does Phillis Wheatley’s poem “On Being Brought from Africa to America” challenge prevailing attitudes towards race and religion in colonial America?
2. In what ways does Wheatley employ irony and satire to address the themes of freedom, identity, and religious conversion in her poem?
3. How does Wheatley reconcile her Christian faith with the experience of being forcibly brought from Africa to America as a slave, and how does this reconciliation shape the overall message of the poem?

Introduction: Parable of the Sower

In fictional works such as Parable of the Sower set in the future, there’s often a tendency to depict a bright and optimistic picture of future. This world is portrayed as bleak, dark, and crime-ridden. The story unfolds in 2024 in Robledo, a town located about twenty miles from Los Angeles. In this dystopian setting, misery, hunger, diseases, and numerous societal problems prevail. Due to widespread insecurity and corruption, communities have erected walls around themselves for protection against criminals and miscreants.

Depleted natural resources have led to scarcity in essential items such as food, fuel, and water. Many impoverished individuals cannot afford sufficient water for washing clothes or taking showers. The struggle for survival has intensified, with people now fighting and killing each other not for money, but for basic necessities like water and food. As the protagonist of the novel, Lauren Oya Olamina, reflects: “The police,” my father told them, “may be able to avenge you, but they canʼt protect you. Things are getting worse. And as for your children… Well, yes, there is risk. But you can put your guns out of their reach while theyʼre very young, and train them as they grow older. Thatʼs what I mean to do. I believe theyʼll have a better chance of growing up if you can protect them.”

Bad Conditions in Parable of the Sower by Octavia Butler

The reader experiences these harsh conditions through the perspective of Lauren Oya Olamina, who embarks on a journey with her father, a Baptist preacher and teacher, in search of a church. However, Lauren does not adhere to the traditional beliefs of her father; instead, she begins composing poems about her own imagined concept of God. In her newly formed religious ideology known as “EARTHSEED,” God transcends the conventional human or supernatural form and is instead depicted as a force embodying change. As she articulates in one of her poems:

All that you touch,

You Change.

All that you Change,

Changes you.

The only lasting truth

Is Change.

God

Is Change

Her disbelieve in her father’s God is because that she see in streets that many male, female and children are dying because of hunger and

All struggles

Are essentially

power struggles.

Who will rule,

Who will lead,

Who will define,

refine,

confine,

design,

Who will dominate.

All struggles

Are essentially power struggles,

And most are no more intellectual

than two rams

knocking their heads together.

Money and Power in Parable of the Sower

In “Parable of the Sower,” we witness the segregation of society, with wealthy and powerful individuals distancing themselves from those who have less power and money. Through Lauren’s poems, we uncover the struggles faced by people as the rich seek to control increasingly scarce resources. The book offers insight into human nature, revealing how our desires and selfish motivations drive our actions. Through its exploration of societal dynamics and human psychology, readers gain a deeper understanding of human behavior in various circumstances.

Works Cited: Parable of the Sower

1. Butler, Octavia E. Parable of the Sower. Grand Central Publishing, 2023.

Relevant Questions about Power in Parable of the Sower

1. How does Octavia Butler explore the concept of power in “Parable of the Sower,” particularly in terms of individual empowerment and societal control?
2. What role do power dynamics play in shaping the relationships between characters in “Parable of the Sower,” and how do these dynamics evolve throughout the story?
3. In what ways does the protagonist, Lauren Olamina, navigate power structures within her community and beyond as she develops her own belief system and gathers followers?