The story “Good Country People”, by Flannery O’Conner is a work that uses characterization in a new and interesting way to help shape and present the characters of this story. One of the main characters is Hulga Hopewell, also known as Joy Hopewell. This characters name plays a very ironic role in the story. Through the use of such a peculiar name O’Conner helps to develop and build the characteristics of Hulga. In the story “Good Country People” the use of the name Hulga (Joy) Hopewell helps to further build upon the characterization of Hulga and give the reader a deeper understanding of the character.
society ridiculing her, for both her station and marriage status in life. Unlike Elizabeth Bennet,
Susie worries most about her gifted and petulant sister Lindsay. Lindsay is only one year younger but still is not told directly about what's happened to Susie; instead she hears telephone snippets and bits of conversations between her parents and the police. After hearing her father describe Susie's features, she asks her father not to lie to her, so he doesn't; but even answering her question, he can't face the truth of his words. Susie watches Lindsay sitting alone in her bedroom trying to harden herself. As the story unfolds, it is clear that Lindsay carries the hardest burden, because no one will ever be able to look at her and not think about Susie. By losing her sister, Lindsay is in danger of being robbed of herself.
upon by the neighbors in this community, however it was not known by the others outside of this
member to her family. That tragedy struck in her life. She decided to step back from the Lady
Charlotte is described as simple, plain, and petite and the daughter of a clergyman just like Jane. Whenever, Charlotte wanted to get away from her daily life, she would absorb herself
approval. In describing her years of baring her children and raising them, the reader can see just
herself to not have to ‘suffer’ her mother’s fate. She almost seems to be developing anxiety and
as if her father felt ashamed of her for not being someone’s wife after all of that time. Sandra was
The complete transformation continues after she is abandoned, and as “once an object of desire”, Charlotte’s “emaciated appearance” enables her from being valuable in any way, as the main purpose for her capture, pleasure, is unable to be satisfied (76). The connection between Charlotte’s corporeal appearance to the society's culture and ideology, solidify the depletion of her worth throughout her stay in America. She is seen as an “object” of “desire” and with no appeal left, she is of no use to the men in the novel. Rowson’s final depiction of Charlotte’s loss of self reflects in her pregnancy and how the unborn child becomes an “innocent witness” and physical image of her worth and “heir to […] shame” (62). The body is bought for nothing and so is worth nothing to be respected and acknowledged. Charlotte is detached from humanity at the hands of others and is merely an object to be used when one
Initially, Charlotte is exposed to a classroom pressure that causes her to behave in a certain way. She and her classmates respect Miss Hancock at this time, which
Charlotte continually disregards her dream of love and to belong to someone and surrenders to that which she believes will make society approve of her. Charlotte is the only character that appears to be level-headed when acting what seems to be ridiculous. She does not marry for love, but she still seems to be reasonable and she has thought through this decision. Charlotte arrives at approval from society, but only after she surrenders her dream to that of her superego and
In the film ‘the help’ directed by Tate Taylor who uses film techniques such as dialogue, costume, cinematography, and narration/voiceover to help exemplify the relationships between the characters, skeeter and her mother charlotte, skeeter and hilly and skeeter and the help which include Aibileen and Minnie
She was not upset the day her brother died, and felt no guilt for her feelings about him. "I was sad for them [her family] rather than over any loss of mine, because my brother had become a stranger to me. I was not sorry that he had died, but I was sorry for him because, according to his standards, his life had been thoroughly worth living" (p. 55-56).
As Lucie continues to care for her father she also has another dear friend she begins to help, Sydney Carton. Unlike Lucie, when the reader is first