Where Are You Going Where Have You Been Identity Analysis

Edna Pontellier possessed something rich and unworthy. Edna’s disregard for the individuals and society’s opinion did not force her to remain oppressed in the parrot’s cage nor become reluctant to the ocean. Edna’s heroic individualism liberated the chains that plagued her from flying and swimming into freedom and the discovery of Edna’s identity. All individuals experience various sorts of transitions in their life, whether it’s emotionally, physically, or mentally. It was Edna Pontellier’s journey of a thousand miles, new experiences and beginnings that led to the benefit of self- rule and sovereignty.

Is the classical representation of a monster. That is, he is an amalgamation of features and attributes which resemble the protagonist and their faults. Connie wants to be mature, to which Arnold obliges from a sexual aspect and not a romantic one. Arnold is a man with a mashup of both young an old. His pattern in speaking seems to match that of the current generation of adolescents, and the persona he presents is that of teenage boy, even claiming to be eighteen.

The pursuit of dreams has played a big role in self-fulfillment and internal development and in many ways, an individual 's reactions to the perceived and real obstacles blocking the path to a dream define the very character of that person. This theme is evident in Zora Neale Hurston’s Their Eyes Were Watching God, which is about the search for identity. A woman of a mixed ethnicity resides in several communities, each playing an important role and serve as crucial influences on her life. During the story, she endures two failed relationships and one good relationship, dealing with disappointment, death, the wrath of nature and life’s unpredictability.

In the culture we live in today, we are bombarded with ideas and images of “what we should be”. We are expected and obligated to modify ourselves in order to live up to social expectations and to feel accepted by others. It is the fear of being an outcast that pressures us to mask our true identity. Therefore, in an American culture, one can form an identity and still remain true and authentic to oneself through nonconformity and self-reliance. Jon Krakauer’s novel Into the Wild portrays Chris McCandless’s journey of discovering his true identity through the idea of nonconformity.

In the coming of age story “Where Are You Going Where Have You Been?” Joyce Carol Oates uses symbolism, conflict, and the third person to foreshadow fifteen-year-old Connie’s unfortunate, yet untimely fate. While one may think that the conflict stems from Connie’s promiscuity, it is clear to see her promiscuity is only a result to a much bigger conflict, her mother’s constant nagging and disapproval, alongside the lack of attention from her father. the author paints a vivid picture of what happens when a fifteen-year-old girl such as Connie goes elsewhere to find to find the love, attention, and approval that she lacks at home. All which is vital for her growth and wellbeing as a person.

Arnold Friend’s Biblical Allusions In “Where Are You Going, Where Have You Been?”, Joyce Carol Oates tells a story of a young, innocent teenage girl, Connie who enjoys listening to music and begins exploring her sexuality and being with boys “the way it was in the movies and promised in songs” (Oates 198). In fact she catches the attention of Arnold Friend one night while at the mall meeting up with a boy. Not knowing he would appear in her life, Arnold strangely shows up at her house assuming they made plans to get together. His character is seen as the devil.

In Joyce Carol Oates fictional short story “Where Are You Going, Where Have You Been?” the majority of the story lies beneath the surface. More specifically than just the story, you realize that there is more to the character Arnold Friend than what may appear. The author has always remained silent and ambiguous about the real meaning of Arnold Friend’s true nature and she leaves room for the readers to make their own interpretation of him. Readers can analyze Arnold Friend and see him as the devil, he could just be the personification of popular music imagined by Connie in a dream, but Arnold Friend could also be the result of drug use.

In her short story "Where Are You Going, Where Have You Been?", Joyce Carol Oates utilizes a variety of literary devices to strengthen the story in its entirety. This short story is essentially about a 16-year-old girl named Connie and the conflict between her desire to be mature and her desire to remain an adolescent. Throughout the story, the audience sees this conflict through her words in addition to through her behavior. The audience is also introduced to Arnold Friend, a rather peculiar man, who essentially kidnaps her. This short story by Joyce Carol Oates functions and is additionally meaningful because of her usage of literary devices.

The short story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates can be interpreted in a multitude of ways due to its ambiguity. A psychological lens, however, provides the most accurate viewpoint for analyzing the story as it clarifies certain obscure scenes and actions of Connie. One psychological issue of Connie that is easily inferred from the beginning of the story is her insecurity about her looks. Connie constantly worries about the way that she looks and takes any opportunity to do so, “craning her neck to glance into mirrors or checking other people's faces to make sure her own was all right” (1).

Oates states, “Everything about her had two sides to it, one for home and one for anywhere that was not home: her walk that could be childlike and bobbing, or languid enough

In addition, the search for self-identity is viewed as important in today’s society. Thus, these confliction attributes lead the reader to identify Edna as morally ambiguous. Categorizing complex characters as purely good or purely evil is not one of the easiest of tasks. As a result, it is best to characterize them as morally ambiguous. In Edna’s case, she is morally ambiguous due to her romantic affiliations and role-defying actions, but both are immensely vital to Kate Chopin’s “The Awakening” as a complete whole.

They all Just Went Away PAST Purpose: Joyce Carol Oates purpose for writing this personal narrative was share an experience from her youth that has affected her to this day. She recalls back to her younger years where one family was subjected to seemingly endless criticism and judgement solely based on rumors then transitions to her interactions with a member of that family many years later. She discusses how she believed the rumors to be true at one point even though there was no evidence to support them. Oates sought to illustrate the effect of rumors and the validity of that information on the subject at hand.

But he himself is almost a reflection of her sharing such similar traits only he comes out as the winner which is the ironic part. A big clue to Arnold representing what Connie doesn’t like is when he says “None of them would have done any of this for you” praying on her feeling of being unappreciated. Arnold is not only a demon in a physical from but also Connie’s eternal demon as

Alienation is the process of feeling lonely due to someone 's lack of experience that separates them from society. As a result, characters in The Dubliners collection by James Joyce, such as “Araby” and “The Dead”, suffer from alienation. Joyce explores the feeling of being the “other” through its main character Araby from “Araby” and Gabriel Conroy from “The Dead”. Araby and Conroy are both very different from being young or old,uneducated or educated, and poor or wealthy. These characters show us in their story’s how doesn 't matter which lifestyle choice one makes because no matter what no one can escape from that one moment in your life where one feels as if they do not

It is both a term and theme that is clearly evident throughout the entire collection of Joyce’s work Dubliners. The following essay informs us, the reader, of many characters in Joyce’s Dubliners who feel this sense of entrapment