Lillian Hellman's The Children's Hour takes place in an all-girl boarding school. The play was written and produced in the early 20th century and takes place either then or within a few generations earlier. Two friends, Karen Wright and Martha Dobie, have poured their life's energy and savings in to a rural farmhouse, converted into an all-girls' boarding school they have named the Wright-Dobie School.
Clearly, Martha and Karen enjoy what they do and do it for the love of the children and passion for teaching, as opposed to doing it for financial gain, political status, or even to spread a particular type of religious propaganda as the school is secular and not sponsored by a religious organization. The school is moderately successful and they retain a good number of girls, but as expected in any school, Karen and Martha eventually contend with students with behavioral problems like Mary Tilford. Mary acts out in class and outside class, beyond what would normally be considered innocent "mischief." She is spoiled, starts to get her schoolmates in trouble, has no respect for authority or discipline, and compulsively lies. Karen and Martha struggle with disciplining Mary.
One day, Mary claims to be ill and sees the local doctor Joe, who happens to be Karen's fiance. While the doctor examines Mary, Martha and her aunt Lily, described as a "plump, florid woman of forty-five with obviously touched-up hair" and clothes that are "too fancy for a classroom," get into a petty argument revealing the underlying tension between the two related to their finances and different points-of-view (I, i). As headmistresses and sole teachers in the small school, Karen and Martha depend on a few relatives for financial support including Martha's aunt Lily, as well as Mary's grandmother and caregiver, Amelia. The relationship between Martha and Lily is apparently strained, with the latter revealing a strong narcissistic streak throughout the play.
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( Enderson) Nathanson and Cantor (2000) concur with this assessment and also make the important point that "…the negative consequences of violence to victims are seldom shown on television" (Nathanson & Cantor, 2000, p. 125) This study refers to the way that older cartoons tended to diminish the consequences and results of extreme violence. "Many children's programs-especially the so-called classic cartoons (e.g., "Bugs Bunny," "Woody Woodpecker")-present violence in a
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