House of Mirth
The film revolves around the early years of the 20th Century and the changing faces of the economy hence the social response to such changes. It is predominantly a depiction of the lifestyle that most ladies opted for with the increase in urbanization and amassing of wealth by a few individuals.
Lily Bart, the chief character in the movie, is depicted as one who is highly influenced by the change in the social aspect of life due to urbanization. She is a pretty, intelligent young woman who sets out on a primary mission of getting a man who is wealthy and prominent for a husband. The young lady sets out in pursuit of her dreams regardless of the measures she takes.
Lily is swallowed by the social hypocrisy that is predominant at that time in New York. She takes advantage of her age and beauty to attract charm from men and stops listening to her heart and as fate would have it, she seemed to be involved in the right things but at the wrong time. From the onset, lily seems to be a strong willed woman who knows exactly what she wants in life. Indeed, she rejects the approaches by Lawrence; a young lawyer whom she feels does not earn enough for her to cope with. Lily strives to meet the societal expectations and conform to the predominant trend at the time, hence falls for riches and in the process, unfortunately, misses the true love of her life, Selden Lawrence. Her attitude and overzealous appetite for wealth and societal fitting leads her to self-destruction at the end and poor life and despair in life. No one wants to associate...
Denied marriage, the only other societal option is suicide. Society is the agent of her demise, not Lilly: "her life is not unpleasant until a chain of events destroys her with the thoroughness and indifference of a meat grinder." Goetz, Thomas H. "Flaubert, Gustave." World Book Online Reference Center. 2006. [1 Oct 2006] http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar200180. Biographical overview, provides insight into Flaubert's role as a uniquely realistic writer, thus stressing Emma's economic and moral
When Edith Wharton tells us that "it was the background that she [Lily] required," we understand that both Emma Bovary and Lily have a very important thing in common. They are first of all women in the nineteenth century society, fettered by social conventions to fulfill any kind of aspirations or ideals. A woman, as it is clearly stated in both novels, had no other means of being having
Gaze Seeing, Looking, Regarding When Mulvey (1975) wrote about the psychological importance of the male gaze, most women would have recognized in her description of the dynamics of phallocentrism and the male observation of women their own experiences. Mulvey argued that men use their ability an authority to look at women as a means of maintaining their power in a patriarchal society, and this use of the gaze is something that women
Emma likes the type of pulp, romantic and sentimental fiction condemned by Nabokov, the 19th century version of Harlequin Romances. Emma is not an artist of prose like her creator, she is a consumer of written culture in a very literal as well as a metaphorical sense, just as she consumes all sorts of material goods in her futile quest for fulfillment, and dies by consuming poison at the
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