Analysis Of More Room By Judith Ortiz Cofer

These are the seven metaphors in The house on Mango Street I found the most effective. “It’s small and red with tight steps in front and windows so small you’d think they were holding their breath,” page 4. By personifying the house and describing it as holding its breath, it gives you an idea on how cramped it was. “Until then I am a red balloon, a balloon tied to an anchor,” page 9. Esperanza is lonely because she doesn’t have a best friend and feels like she’s tied down by her siblings. “At school they say my name funny as if the syllables were made of tin and hurt the roof of your mouth,” page 11. This describes the struggle of having a foreign sounding name in the United States that most people can’t pronounce. “It’s like all of a sudden he let go a million moths all over the dusty furniture and swan-neck shadows and in our bones,” page 20. This describes how music can feel bigger than sound and you can

Houses, the final symbol, are where someone lives and are therefore echoes the soul of the occupant. The fact that Edna has multiple homes is important because they reflect her changing state of mind. Edna vacations in several houses in The Awakening: the cottages on Grand Isle, Madame Antoine’s home on the Chênière Caminada, the big house in New Orleans, and her “pigeon house”. Each of these houses serve as an indication of her progress as she experiences her awakening. Edna portrays the image of a “mother-woman” on Grand Isle, and to make sure she is the perfect social hostess in New Orleans. While living in the cottage on Grand Isle and in the big house in New Orleans, Edna does not look beyond the confines of these traditional roles.

She is upset by the loss of the day even though her mother attempts to distract her with a garden of flowering violets, her father also attempts to comfort her. Finally, she returns to sleep after dinner. Her memory is a positive memory and the motif if the violets are used to link the past and present as it will help her get through her dark times. In the visual her memory is included, and he mother confronting her is one of the main images that she remembers from this. The image of her mother comforting her is a very important one, as it establishes the role and persona of a mother at the time and how women in that era were seen as to stay home look after children and the men went out and worked to support the

The text is very descriptive and loaded with symbols. The author takes the opportunity to relate elements of setting with symbols with meanings beyond the first reading’s impressions. The house that the characters rent for the summer as well as the surrounding scenery are introduced right from the beginning. It is an isolated house, situated "quite three miles from the village"(947); this location suggests an isolated environment. Because of its "colonial mansion"(946) look, and its age and state of degradation, of the house, a supernatural hypothesis is implied: the place is haunted by ghosts. This description also suggests stability, strength, power and control. It symbolizes the patriarchal oriented society of the author’s time. The image of a haunted house is curiously superimposed with light color elements of setting: a "delicious garden"(947), "velvet meadows"(950), "old-fashioned flowers, and bushes and gnarly trees"(948) suggest bright green. The room has "air and sunshine galore"(947), the garden is "large and shady"(947) and has "deep-shaded arbors"(948). The unclean yellow of the wallpaper is

Figurative language is very important within a piece of writing, but specifically in this passage imagery creates so much more detail within the character’s emotions. The first big piece of imagery would be when Granny thinks about all the time and work she has put in with the upbringing of her children and how they resemble her in many ways. Later on in the passage, the author talks about when Granny worked digging post holes and the hardships women had to face. This brings out the overwhelming emotion given off by Granny of all the hardwork she has given within her life and the fact she feels confident and wanting to show off all the work if she had a chance. We see how Granny really feels about John and how she wants to “brag” about her life and all the good things that she accomplished. Even at the end of the passage when she says “It made her feel like rolling up her sleeves and putting the whole

The house is different from other houses in the sense that, it didn’t allude to a real house. The house is an image of many ideas

According to the CCSS, fifth grade students should, “determine the meaning of words and phrases as they are used in a text, including figurative language, such as metaphors and similes.” 100 Cupboards uses a good amount of literary techniques, especially metaphors. For example, Uncle Frank yells, “Scrub the bones!” to Henry as he walks upstairs for bed. This is Uncle Frank’s way of saying, “Brush your teeth”. (pg. 12) Another example of a metaphor is when Uncle Frank describes Henry as “white grass”. (pg. 218) He goes on to say, “Like when you leave a board in the yard. You pick it up after a couple of weeks and the grass underneath is all white and yellow. No sunshine. Only Henry’s been under a board in the yard for longer than a couple of days.” (pg. 218) His uncle used this figure of speech to describe Henry’s lack of desire to engage in any recreational activities. I will help students understand the meanings behind each metaphor and encourage them to look for other ones in the book. They will write down any metaphors they find in their writing journals.

b) This play has several strong themes. Identify one of them. How does the symbol of the house contribute to the theme? Support your answer with two references to the play.

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

A subtle use of symbolism occurs when the mother uses the iron. The iron is described to have never made direct contact with the ironing board this is because a piece of clothing in the way acting as a barrier. This is the same in relation to the narrator and Emily, the mother can never show Emily the love she wants and needs because over time so man barriers has come between them. In addition to the iron, another use of symbolism occurs at the convalescent home that Emily is brought to after she gets ill. This in turn represents the mother’s inability to properly take care of her daughter. The balcony that the girls stand on is an emotional representation of the distance that has now surfaced from the lack

After being crushed with deep sorrow over the death of his beloved Ligeia, the narrator moves into a decaying abbey to leave behind his lonesome house. Although he leaves the exterior of the house untouched, the narrator decorates the interior with strange but lavish furniture. “The furnishings take on the shapes and colors of his fantastic dreams” as he attempts to cope with his loss (Kincheloe). This supports the idea that the narrator would rather live in his own colorful fantasy (like the inside of his house), than engage in the dark reality (as represented by the outside of the house). Losing Ligeia meant the narrator lost his fulfillment in life; which is why his reality is now gloomy and undesirable. Not only does is the furniture an example of dream imagery, the walls of the desolate house also have a dream effect. The moving images on the walls cause the house itself to seem restless and alive. The narrator imagines this because it represents himself; always on the edge of monstrosity with each changing mood. As he hallucinates on opium, his sense of reality and fantasy is put together as one. With each furnishing, a looming memory of Ligeia haunts him as he reminances her during his opium dreams.

Similes are used by Carlson to give a surreal feeling of a blissful beautiful place “the meadow in front of the cabin was all yellow sage grass in shadow and the high friction of the air moving in the trees sounded like water over a spillway” (Carlson 296). And the only feeling the Father could think of to express how that felt was “like being airborne”(Carlson 296). It’s a place where every family member can feel at home and completely blissful. Diction is used by Carlson to pass down tradition that only their family would carry on, such as “slumgullion” (Carlson 297), a soup of their mother’s creation “with knots of sausage and thick carrot coins and tomatoes”(Carlson 297). Symbolism is also used by Carlson to tie in tradition even more with the “percolator”(Carlson 300), the use of a coffee maker ahead of its time in 1958, but it symbolizes the history that the cabin holds and also symbolizes the family’s status, a percolator back in 1958 wasn’t a common thing in most households, especially in their vacation

In Raymond Carver's 'The Bath' and rewritten version of the story entitled 'A Small, Good Thing', the author tells the same tale in different ways, and to different ends, creating variegated experiences for the reader. Both stories have the same central plot and a majority of details remain the same, but the effects that the stories have upon the reader is significantly different. The greatest character difference is found in the role of the Baker, and his interaction with the other characters. The sparse details, language and sentence structure of 'The Bath' provide a sharp contrast emotionally and artistically to 'A Small Good Thing'. In many ways, 'The Bath' proves to have a more emotional impact because of all that it doesn't say;

  In the play, descriptive language teaches the audience more about the surroundings than what the characters are actually saying to one another.  "I've not been in this house--it's more than a year" (6), Mrs. Hale tells the county attorney.  It is a very run down house, and the audience discovers there are no signs of anyone really ever being happy.  The kitchen is dirty, and the women begin to feel uneasy about being in a house where there is nothing but darkness and coldness.  The darkness is to signify how alone and empty Mrs. Wright was feeling while living with her husband.  Mrs. Wright did not feel wanted, and she felt like all hope was lost which the audience recognizes with the help of Mrs. Hale's saying, "...he was a hard man, Mrs. Peters.  Just to pass the time of day with him.  Like a raw wind that gets to the bone" (11).  Mrs. Hale conveys these important details to Mrs. Peters, which proves that the environment in the Wright house was dark and dreary.  The audience can imagine living in house where there is nothing but solitude and misery.  The solemn atmosphere makes the readers start to understand how lonely and depressing living in the house actually was.

In Wright and An alto's houses, a powerful sense of insides is generate by opacity. Which, in Falling water is express in roughly dressed stone masonry walls and, in Villa Mairea. By white-painted, solid walls. The transparency of glass windows in both houses thereby connect the two. In both houses, the architects created a strong sense of insideness yet, at the same time, devised ways to connect inside and outside and thereby create a robust continuity between the two. This inside-outside relationship can be translate into environmental and architectural experience in four different ways: (1) in-betweeness; (2) interpenetration generated by inside; (3) interpenetration generated by outside; and (4)