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Madame Bovary 5 - Paper

Madame Bovary 5


I think Hedda is the forerunner of the quintessential film noir chic--simultaneously tough and weak, scheming, continuously dissatisfied, and bored with her own lot in life. She never really loves, but rather consumes. She needs attention and has a pathological fear of being rejection. She designs the entire plot that culminates in her old flame's suicide because it is something to do--a game--and one that revolves around her. Her own suicide galvanizes this idea--she notes her husband's growing affections for his level headed assistant and realizes (probably always has) that her impulsiveness is peavish. She is also suspect--the game has been foiled for her and she is getting old (no ...

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an example of "role reversal"?
And while quite willful, she proves incapable of action on her own (until her suicide). She manipulates, then lives vicareously through others--which looks a lot to me like a take on conservative stereotypes, a quite UNreversed woman who can't gone amuck. She *fantasizes* male creative action, and identifies with it (though she can't even manage that--her fantasy is of herself mirrored in the glory of her hero, with ivy leaves in his hair--the perfect, worshipful female!) Yes, she denies her innate, feminine creative role, childbearing (how often are we reminded of this?!)
Concerned Supreme Court nominees need only refer to the precedent set in the last scene of Henrik Ibsen’s Hedda Gabbler, where Hedda admits, “I am in your power, Judge Brack. You have me at your beck and call, from this time forward.” Then she shoots herself in the head. That’s the archetypal nineteenth-century woman saying “yes” and meaning ...

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Madame Bovary 5. (2007, May 5). Retrieved December 23, 2024, from http://www.essayworld.com/essays/Madame-Bovary-5/64416
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PAPER DETAILS
Added: 5/5/2007 11:10:39 PM
Category: English
Type: Premium Paper
Words: 446
Pages: 2

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