Analysis Of “A Jury Of Her Peers” By Susan Glaspell University Essay Example

In “A Jury of Her Peers,” Mrs. Hale and Mrs. Peters, like most women, are guided by emotion. When discussing a particular situation with another woman, it is expected that emotions will be involved. These women in the story unite and confront the dilemma of whether or not to disclose evidence relating to motive. They understand the significance of considering the emotions at stake, particularly when it involves convicting another woman for murder.

After realizing that silence following a joyful uproar is unquestionably negative, they agree that it is wrong for Mrs. Peters, who holds a higher social position due to her marriage to the sheriff, to conceal vital evidence that could undoubtedly secure Mrs. Wright’s conviction. Mrs. Hale, feeling an emotional bond with Mrs. Wright and compelled to help, recalls her own messy kitchen and takes offense when the county attorney, Mr. Henderson, remarks that Mrs. Wright was not skilled at housekeeping (paragraph 80).

Mrs. Hale realizes that Mrs. Wright was interrupted while doing something in the kitchen, just like Mrs. Hale herself when she had to leave her house quickly. This convinces Mrs. Hale that her housekeeping ability is not to blame. This emotional connection between Mrs. Hale and Mrs. Wright is strong. However, Mrs. Peters feels an even stronger emotional connection to Mrs. Wright. That’s why she ultimately decides to hide the evidence that could convict Mrs. Wright from the men. Mrs. Peters has experienced loss before, both in the form of losing her kitten and losing a child.

When one regards their animals as if they are their own children, any harm inflicted upon these animals can be extremely distressing. The significance of Mrs. Wright’s affection for the bird becomes evident when it is found in a beautiful box, showing just how deeply she cared for it. Upon uncovering the truth about the bird’s demise, the women decide to shield the men from this knowledge in order to spare the already distraught Mrs. Wright further anguish. Prior to her marriage, Mrs. Wright, also known as Minnie Foster, used to possess a singing ability, which was later replaced by a pet bird.

Mr. Wright proceeds to eliminate yet another form of singing, the bird, after having already done so with a previous form (paragraph 244). The bird serves as a representation of Mrs. Wright’s personality before her marriage, and its death symbolically signifies the killing of Minnie Foster once again. This leads the two women to feel sympathy towards Mrs. Wright and reinforces their decision to withhold evidence of the dead bird. As for the men, they are searching for evidence of motive in order to convict Mrs. Wright. While the women are gathering Mrs. Wright’s belongings, they come across an unfinished quilt with misplaced stitching.

Hale decides to make Mrs. Wright happy by fixing her stitching. The women also find out that Mr. Wright was killed in the same way as the bird. Mrs. Peters remembers when her kitten was killed in front of her and she wanted to “hurt” the person responsible, but was held back. This helps her understand Mrs. Wright’s emotions and she becomes more sympathetic. Despite being “married to the law,” Mrs. Peters allows her emotions to control her when she chooses to hide evidence of motive, just like Mrs.

Hale’s decision to assist Mrs. Peters in concealing the evidence is driven by her sympathy. Like many women, Hale and Peters are guided by their emotions. As they discuss the motive for murder, they deeply consider the emotional implications, especially when a fellow woman is to be accused. Throughout the story, their emotions guide their actions and ultimately lead them to the choice of keeping the only evidence that reveals motive hidden. If this evidence were to be disclosed, it would undoubtedly result in Mrs. Wright’s conviction, as motive is the only missing factor.

Book Of Eli: Media Worldview Analysis

For example, question 1, describe the worldviews of all the main characters. Type your answer to each question directly below the question. The combined word count of your answers to all four questions should total 500-750 words. Reference the movie on the reference page at the end of the worksheet. Here is a link that will show you how to format the reference for the movie. Http://owl. English. Purdue. Deed/owe/resource/560/11/ Complete this worksheet.

Title of the movie being reviewed: Book Of Eli Question 1 .

What worldview or worldviews are represented in this movie in the main characters?

Be sure to look at all the main characters, not just the star. Choose from the worldviews studied in this course (naturalism, secular humanism, atheistic existentialism, eastern pantheism, New Age, Christian Theism). Provide example from the movie that support your identification of the worldview(s). What specific attitudes, actions and behaviors lead to that conclusion? The worldview that is represented in this movie was that of a Christian one because Eli relied on God and his faith to lead him on his journey.

He prays to God, and carries the Bible around with him and reads it everyday. One pacific scene shows Eli explaining his calling to his friend Solar where he stated that he was led on this journey because a voice in his head told him to head West find a safe place to store the Bible.. He walked and walked as he had a mission to fulfill. She asked how he knew where he was going; He explained to her that he was walking by faith and not by sight. After Lei’s work was done, Solar continued the mission that Eli had started, and set out to continue the works of God.

This furthermore led me to believe that both he and Solar had a Christian worldview.

Question 2. Were the characters true to their worldview?

This can be difficult to assess when you are making assumptions to begin with, but I want to see you demonstrate the following type of reasoning: “This person seemed to have a worldview of naturalism because he said that science is all there is, he seems to determine his moral behavior by what was convenient and expedient in the moment, and said there is no afterlife.

However in a time of crisis he prayed, so this seems to be inconsistent with his previous behavior and speech. ” Demonstrate that you understand the worldviews and what behavior would be consistent with beliefs Of a certain worldview. The characters in the film I believe stayed true to their worldview because neither of them changed their ways. Eli continued to walk and walk to find a safe haven for the Bible. He had obstacles along the way, but he stayed focused on the mission that he had been called to do.

Carnegie, which was someone who tried to antagonize Eli for the book stayed true to his worldview which was I believe to be that of a atheistic, because he, nor his men, had no concern for human life. They were after the book and would do anything to get it, and killing was no exception as that was displayed when they killed that elderly couple in their home. Finally, Solar stayed true to her worldview as worldview as well because she took on the same beliefs of Eli. She was like his proto. She helped Eli on his mission, and later continued the mission on her own.

Question 3. What obstacles deterred the characters from living out the worldview?

Explain. There were many obstacles that deterred Eli and Solar from living out there worldview because Carnegie and his men tried to kill them for the Bible. Eli tried to avoid troublemakers, but trouble still found him. Eli had to kill those who wanted to kill him. One scene in particular shows where he was ravening, and he came up on a lady who appeared to be stranded and needed his help. This, in actuality, was a deterrent to get him robbed and killed for his food, clothes, and weapons.

When Solar came along she saw that he was a noble man of God and wanted to follow him. He advised her that she was not ready to go on the journey with him. Even after him telling her no, she went anyway. This actually made it easier for Carnegie to find him because she had not been trained nor ready to fulfill the mission that Eli had been on. When Carnegie finally located Eli, he advised Eli to give the Bible to him. Once Eli refused, he shot Eli. He then succeeded in taking the Bible, but it was of no use to him when he discovered that it was written in Braille.

Even after Eli was shot, he continued to walk to fulfill his mission. Once he fulfilled his mission, Solar had been equipped with the knowledge to not only survive, she proved that she was a disciple who was now able to take on her own mission as well.

Question 4. What mental, emotional, or spiritual reactions did you have to the movie?

Do you agree with any worldview that the movie presents? Why or why not? While watching this movie, I had a spiritual connection to it because t showed just how good and dedicated his disciples were to God.

Analysis Of “The Story Of An Hour” By Kate Chopin

Dawn George The Story of an Hour In “The Story of an Hour” Kate Chopin challenges close readers to re-examine the connotations associated with death and life. For most readers, death represents an ending: a time of sadness and sorrow, while life is a joyous new beginning. However, in this story, the author portrays death as life and life as death: demonstrating the incongruity between what readers may expect and what actually occurs.

Presenting Brently Mallard’s death as the commencement of Louise Mallard’s life and his unexpected return to life as her death, underscores Chopin skillful use of this ironic twist to shift the readers’ expectations and gain their willing suspension of disbelief. Immediately she confronts the readers’ expectations of how a young woman should react to the horrific news of her husband’s premature death. The expectation of society is that she would collapse with grief and bewilderment as the whole foundation of her life torn asunder.

Fully expecting this reaction, her family took “great care” in breaking the news as “gently as possible” (157). However, the protagonist “did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance” nor did she deny the truth of it (157). Mrs. Mallard did meet the expectations of those around her when she “wept, with sudden wild abandonment, in her sister’s arms” but when that moment of grief passed she removed herself from their comfort and “went away to her room alone” challenging the expectation that this young woman would need her loving family to guide her through this crisis (157).

As Mrs. Mallard sits alone in her room, her thoughts do not follow the course a reader may expect when they find life rather than contemplating death. When reading a scene filled with grief, readers may expect to find shades of grey, and language overflowing with the imagery of winter: barren landscapes with nary a whisper of a living creature, bare trees, and grey skies filled with snow or rain. However, as the young hero sits in a comfortable armchair gazing through an open window, she notices “the tops of rees that were all aquiver with the new spring life,” she smells the “delicious breath of rain,” and hears the “distant song [of] countless sparrows” (157). Challenging the readers’ assumptions, by using the imagery of spring the author shifts the focus from death to life, from an ending to a beginning, and prepares the audience for Mrs. Mallard’s epiphany that commences her new life. While observing these signs of life, the widow feels “something coming to her and she wait[s] for it, fearfully,” this “[thing] reaching out [to] her through the sounds, the scents, and the color that [fills] the air” is her recognition of her new being (157).

As she begins “to recognize this thing that was approaching” and strives “to beat it back with her will” she is wrestling with her own expectations of what is socially or morally acceptable (157). The widow consciously tries to repress what is not suitable, but she is “powerless” to do so (157). “When she abandon[s] herself a little whisper [of] [a] word escape[s]…. free, free, [I am] free (157-58). She experiences a terrifying joy of discovery as she gives herself over to this emerging need, just as “patches of blue sky [break] through the clouds” (157).

By abandoning herself to her burgeoning desire, new life flows through her as “her pulses beat fast and the coursing blood [warms] and [relaxes] every inch of her body” (158). She is “drinking in the very elixir of life” and reveling in the power and excitement of, for the first time in her life, “[living] for herself” with no “powerful will bending hers” (158). She recognizes this desire, so long repressed, “as the strongest impulse of her life,” and she discovers nothing else matters save “this possession of self-assertion” (158).

This epiphany gives birth to her new life: comprehending her desire to be “body and soul free” and embracing the opportunity fortune or fate has given her (158). In another ironic twist, Chopin’s hero does not see the emptiness in the coming years without her husband, as one would expect of a new widow and although she would mourn him, “she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely” and “spread her arms out to them in welcome” (158). This new and sudden realization of her unknown yearning for personal liberty opens her future into one of her own making. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own” (158). Overwhelmed at the change in her perception of life, the hero “breathe[s] a quick prayer that life might be long” and then realizes with shock that “only yesterday she had thought with a shudder that life might be long” (158). As Chopin’s character rises to rejoin her family, she is now Louise: an individual with a name of her own, no longer only “Mrs. Mallard,” or merely her husband’s wife, she is a new creation.

As Louise descends the stairs, she carries herself “unwittingly like a goddess of Victory” with a light of “triumph” in her eyes, only to have that victory wrenched from her before she gains the first floor when her husband appears alive and well (158). The author’s final and most compelling twist of irony comes with Brently Mallard’s reappearance: his life demanded her death. Most in society might think Louise should be overjoyed at his unexpected return, however, once again Chopin surprises the reader.

Upon seeing her husband, all the fears and feelings the hero had recently set aside overcame her and her heart gave away from the terror of them. The doctors give voice to the opinion that the shock of her husband’s reappearance stopped Louise’s heart with a “joy that kills,” but attentive readers will know the truth: once a character comprehends and embraces an epiphany, life changes intrinsically and there is no returning and so, Louise’s horror at encountering the object of her previously unquestioned self- suppression causes her heart to stop (158).

Chopin’s use of irony in “The Story of an Hour” continually shifts the readers’ focus from the expected to the unexpected. By reversing the privilege of binary opposition of death and life, she forces the readers to “wake up” and pay attention to where she is leading them. Her skillful use of irony sets the expectations of the readers on their ear and requires the readers to view the world of Louise Mallard from a new and different perspective. Work Cited Chopin, Kate. “The Story of an Hour. ” 1894. The Story and Its Writer. Comp. Ann Charters. Boston: Beford/St. Martin, 2003. 157-58

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