I had no dignity. I stumbled about like a baby or a drunken man," (Ellison)
He comes incredible close to touching but it misses him. The light is "minute and far away" (Fitzgerald 22), as Nick tells us
The elephant is also a symbol for humanity in general, emphasizing the notion that no one should suffer under the rule of anyone else. Asker maintains that the elephant "comes to represent a complex symbol of the Burmese people and the tide of historical contradiction that threatens (literally and metaphorically) to overwhelm the colonial ruler" (Asker 154)
He literally hates where he is and is aware that those he feels pity for hate him. He realizes that he is an "absurd puppet" (Orwell 338) wearing a "mask" (338)
"Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an 'ideal ego' seen on the screen. She declares that in patriarchal society 'pleasure in looking has been split between active/male and passive/female'" (Chandler, "Lara Mulvey," 2000)
"Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an 'ideal ego' seen on the screen. She declares that in patriarchal society 'pleasure in looking has been split between active/male and passive/female'" (Chandler, "Lara Mulvey," 2000)
"Mulvey argues that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an 'ideal ego' seen on the screen. She declares that in patriarchal society 'pleasure in looking has been split between active/male and passive/female'" (Chandler, "Lara Mulvey," 2000)
The 1976 documentary Pumping Iron directed by George Butler which chronicles the early phases of Schwarzenegger's bodybuilding career suggests that Schwarzenegger's posture of fitness was hardly natural, but was instead carefully orchestrated and constructed as the look of any woman, despite the posturing hyper-masculinity of the competitive bodybuilding world. "After fifteen years of lifting in gyms nationwide, I've come to believe that the terms 'health and fitness' and 'hardcore bodybuilding' have little in common," said one former bodybuilder (Denham 2008, p
' "As they practice swelling their muscles and striking poses -- all the time looking at themselves -- the body-builders have the self-absorbed look of fashion models. In some cases -- particularly with one contender, Louis Ferrigno -- the mournful expression peering out of all those deltoids, triceps and latissima dorsi calls up an image that skitters around a while before it is pinned down" (Eder 1977)
Once shy and afraid of girls, he is shown as a warm and confident man flexing biceps with his two toddlers. In a revealing scene, he acknowledges, without self-pity, his early feelings of aloneness and how bodybuilding was his key to a sense of personal worth and public recognition" (Hause 1977)
He was also a far cry from the skinny Austrian boy whose father, Gustav, a policeman and a one-time member of the Nazi Party, intimidated and sometimes beat him, favoring his other son, Menhard, according to published accounts of Mr. Schwarzenegger's life" (Weintraub & LeDuff 2003, p
This strategy is successful as others look upon him as something different from themselves, noting that something that a "simple black veil, such as any woman might wear on her bonnet, should become such a terrible thing on Mr. Hooper's face" (Hawthorne 634)
When Hooper exclaims that he sees upon every visage a black veil, it can be no one's fault but his own, according to Morsberger. Morsberger states that in Hooper's "morbid obsession with depravity" (Morsberger 460), he becomes "guilty of something akin to Hawthorne's Unpardonable Sin, except that his preoccupation is more emotion than intellectual" (460)
A. Santangelo believes that Hawthorne was concerned with a delusional state of innocence in that no one can be innocent in this world "because man has a propensity for evil that musty be understood" (Santangelo 61)
He is showing himself to the world behind a veil, which causes the world to perceive the worst. Hooper is an artist of truth conveying to the "truth to his fellows at whatever cost to himself by the most effective means he knows" (Strandberg 573)
Montressor is able to lure Fortunato into the cellar by appealing to his love of wine. Poe writes Fortunato "prided himself on his connoisseurship in wine," which Montressor exploits to his own advantage (Poe 274)
Troy is against the idea of Cory playing any type of sport or even going to school instead of learning a good working trade; he remembers the way that baseball and the world treated him because of his color, and he thinks it is foolish for Cory to think that things have changed. Critic Sheri Metzger notes that, "Troy has become blind to the changes of the past ten years," and remains trapped in his own perspective (Metzger pp
As noted by white feminist historian Marilyn Frye: "As a white woman I have certain freedoms and liberties. When I use them, according to my white woman's judgment, to act on matters of racism, my enterprise reflects strangely on the matrix of options within which it is undertaken" (Frye 1983, p
"The uniqueness of the African-American female's situation is that she stands at the crossroads of two of the most well? developed ideologies in America, that regarding women and that regarding the Negro." (Gray 1999, p
Often black women were the sole breadwinner for a family devastated by slavery and discrimination. The 'new sexism' that some women playfully indulge in today, laughing with irony at the image of a white, cartoon femininity, is a luxury that black women on the 'front lines' of struggle cannot enjoy (Thomas 2010)