Goodman Brown’s Loss of Faith in Hawthornes Young Goodman Brown Essay

Nathaniel Hawthorne wrote Young Goodman Brown based on morals and what Easterly in "Lachrymal Imagery in Hawthorne's 'Young Goodman Brown' " calls "spiritual maturity" (Easterly 339). In the short story, Goodman Brown, a young Puritan leaves his wife of three months to watch a witch ceremony in the forest. During this point in time, Puritans based their lives on teachings of religion and morality; therefore, witch-meetings were surely immoral, and they betrayed the commitment of God. Dwelling in the forest throughout the night, Goodman Brown experiences an event that changes his entire perspective of life. In one night, the event destroys "his relationship with his wife Faith, isolates him from his neighbors, and destroys his ability to worship God"(Easterly 339). Eventually, Goodman Brown dies without his faith, and "they carved no hopeful verse upon his tombstone; for his dying hour was gloom"(Easterly 339). Â   Before Brown leaves the house, Faith begs him to stay saying, "...put off your journey until sunrise, and sleep in your own bed to-night" (Hawthorne 298), but of course, Brown ignores her plea and continues his journey anyhow. In the forest, he meets a man with a staff "which bore the likeness of a great black snake" (Hawthorne 299), an ultimate representation of evil. Surely, Goodman Brown knows that the witch meeting appears to be his destination. Walking through the forest, he pays close attention to every tree and every rock. As he proceeds his journey, Brown sights Faith and his moral and spiritual adviser, along with Deacon Gookin and the minister. He then notices Goody Cloyse, an old "Christian woman" (Hawthorne 300), rushing through the woods. Surely Brown's suspicion begins to take over, now curious about... ... and spiritual maturity because he could not handle the fact that others worshiped the devil (those he certainly did not expect). In this, Hawthorne tells us that the man who sheds no tears lives the rest of his life a sad man, whose "dying hour was gloom" (Easterly 339). Â   Works Cited Easterly, Joan Elizabeth. "Lachrymal Imagery in Hawthorne's 'Young Goodman Brown.' " Studies in Short Fiction. 28 (1991): 339 Hawthorne, Nathaniel. "Young Goodman Brown." Literature: Reading, Reacting, Writing. Ed. Laurie G. Kirszner and Stephen R. Mandell. Fort Worth: Harcourt, 1997. 298-308. Â  Mikosh, Bert A. "The Allegorical Goodman Brown." An American Literature Survey Site. September 1996. Â  Segura, Giberto. "The View of 'Young Goodman Brown.' " An American Literature Survey Site. September 1996. (31 March 1999)

How Males Are Socialised Into Traditional Masculinities Essay

Explain and briefly evaluate how males are socialised into traditional masculinities Hegemonic masculinity describes the patriarchal working class males, those who have labouring or manual jobs. He has to be physically tough and dominant to assert his masculinity. He is definitely heterosexual, technically competent, is sexist and aggressive. Males are socialised into traditional masculinities by a variety of socialisation agents. The school is instrumental in the socialisation of males into traditional hegemonic roles. Becky Francis (2000) found that, although they were more harshly disciplined than the girls, boys’ behaviour was tolerated more by the teachers. This encourages the boys to demonstrate the traditional masculinities. Subject choice is also an important factor in male socialisation as they were traditionally gender biased. This was studied by Grafton in a comprehensive school in which he showed that there were only a limited number of placements available for those who wanted to study non-traditional subjects for their gender. This reduces interest in those subjects and guides males into the more traditional, craft subjects. Males are canalized meaning they are directed into playing with certain toys and activities. For example, boys may play football while the girls play ‘house’. While the education system is very important in the socialisation of males into traditional masculinities, the family is the main socialisation agent. Parents may encourage and reward behaviour that they deem appropriate and discourage that which they think is inappropriate. For example, parents may encourage their daughters to focus on their appearance and their sons to watch and support sports. Also, Oakley referred to the labels (For example, ‘princess’ and ‘pretty’ for girls; and ‘brave soldier’ and ‘strong’ for boys) as verbal appellation and says they teach the children society’s expectations. Children also imitate their parents because they are their significant others. They learn norms and values through this process. In addition, children learn important messages about gender identification through dress up games where they pretend to be their role models. While it is assumed that parents are successful agents in the socialisation of children, not all adults acquire the necessary skills for nurturing their children. Palmer (2007) suggested that childhood socialisation is not as effective as it was in the past. He proposed that this is because parents no longer spend enough quality time with their  children and are relying on ‘electronic babysitters’, like the television, which produce a ‘ toxic childhood’. The peer group, on the other hand, consist of people of similar status who come into regular contact with one another (for example, groups of friends and school children in the same year). It is and agent of secondary socialisation and is arguably the most influential for young people during adolescence. The peer group often impact gender-role socialisation. Skelton and Francis (2003), said that boys dominate playground space playing football while girls are on the margins, skipping or talking. This encourages boys into the traditional masculinities of noisy, ‘laddish’ behaviour. Frosh et al (2002) said that boys identified characteristics such as ‘hardness’, holding anti-school values and being sporty as those to aspire to. These were characteristics of hegemonic nature that would give them popular status. He also found that boys wanted to make their heterosexuality very clear to avoid being teased or bullied. Judith Rich Harris (1998) said that boys need to know which groups are popular, which are feared, and which are pitied. They need to understand what they can say and how they can act within their group. This shows that masculinity has to be carefully negotiated as they cannot afford to be too different. Each socialisation agent can be criticised but they all have a role in the socialisation of males into traditional masculinities but it seems they play their part at different times in the male’s life. Family is the primary socialisation agent which affects children the most at a young age. The peer group affects males in their adolescence and can often be more influential to the males than education and family at this time.

John Wayne s True Grit - 2952 Words

The Western genre been highly prevalent in Hollywood films for decades. Beginning with The Great Train Robbery in 1903, Western films have gained international many parts of Europe and Mexico in addition to the United States. One classic example of a Western feature (full length) film is True Grit (1969), which stars John Wayne as the strong, memorable protagonist, Rooster Cogburn. Although the film follows many filmic conventions regarding the formula of the Western genre, it also defies certain conventions, thus serving as an example of a revisionist Western. These qualities also carry over into the recent remake, True Grit (2010), which contains the same plot as the original while making use of modern cinematic techniques in order to make the film more exciting, dramatic and accessible for a modern audience. Prior to the release of True Grit (1969), John Wayne had played starring roles in countless other Western films, including Stagecoach (1939) and The Searchers (1956). 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