Abstract This paper explains that, with her recognizable Asian face, intense interviewing tactics and controversial techniques, Connie Chung has been a staple in broadcast news reporting for almost four decades. The author points out that, in the early 1990s, Chung became one of the most recognizable faces on television when she went back to CBS to be the anchor and correspondent of "Saturday Night with Connie Chung" and the Sunday edition of the "CBS Evening News". The paper relates that, in 1995, the reason for Chung's dismissal ranged from her poor work relationship with Dan Rather, to her controversial interviewing techniques, to charges of sexism by Chung.
From the Paper "Living in Washington, D.C., the Chung family was like any other family - celebrating holidays, enjoying picnics, and attending school. Like many Chinese families, education was very important to the family. One of the best educators for Chung was the television. As a child, she would pretend the vacuum hose was a microphone and would make up interviews with people. Chung attended Montgomery Blair High School in Silver Spring, MD, and then went on to pursue at first Biology and then Journalism at the University of Maryland. Since their family had no sons, Connie wanted to be the successful daughter to carry the family name."
Abstract This paper analyzes the main character, Connie, in "Where Are you Going, Where Have you Been?" by Joyce Carol Oates. The author describes the character's experiences in the novel and her social situation in a background of violence.The author reveals how Oates uses violence, especially violence towards women, in her writing.
From the Paper "Carol Oates, the author of a number of distinguished books in several genres, is one the most productive, versatile, serious and modern writer of America. Her stories are the image of violence and tragedy. She is praised because of her versatile writing, varied production and prolific publishing. ?Her work is characterized by often unbearable violence, and this violence emphasizes her characters' struggles to define themselves against their oppressive environments."
Abstract In the short story "Where Are You Going, Where Have You Been", a pretty teenage girl, Connie, is severely frightened by a predatory male character whose terrifying evil is reminiscent of Little Red Riding Hood's "Big Bad Wolf". This paper examines how through descriptions of Arnold Friend, his accomplice Ellie Oscar and the fear of this pair that fills Connie, Joyce Carol Oates uses the concept of evil, as represented by Arnold and Ellie, as an omnipresent, fairy tale-like symbolic force that exists only in relationship to Connie as prey.
From the Paper "In 'Where Are You Going, Where Have You Been' Joyce Carol Oates seems to define evil not only through the actions of the evildoer(s), but also from within the imagination of the victim. Oates "describes" the embodiment of evil as that of the predatory older men in the gold jalopy, especially the more talkative and aggressive one, a shaggy-haired individual who calls himself (ironically) Arnold Friend, though he is anything but a friend. As Connie grows more frightened of Arnold's escalating threats, she eventually allows her own imagination to run wild, to the point where she can neither think clearly anymore, nor even manage to use her own telephone to call the police. "
Abstract This paper examines how the innocence of youth is characterized perfectly in Joyce Carol Oates? short story, "Where Are You Going, Where Have You Been"? It looks at how the character of Connie discovers who she is and how she does things apart from her family to help her find her identity. It shows how Connie experiences new, stimulating emotions that are difficult for her to understand and how she illustrates the naivete of teenagers who wish to be grown up.
From the Paper "There are several statements that Connie makes that reveal her innocence. Connie is still like a child because she says that her mother "make me want to throw up sometimes" (328). Connie is also naive because she thinks she is getting away with something significant when she lies to her mother. Her false sense of pride is illustrated when she wonders if it is "cruel to fool her so much" (330). In addition, when Arnold Friend approaches her, she is friendly to him. For example, when Arnold starts talking about Bobby King, she relaxes and tells him that he is "kind of great" (332). She also asks him, "What's all that stuff painted on your car"? (333). These statements indicate that her guard is down and she is more not concerned with the idea that this mysterious person might hurt her."
Abstract This paper examines the controversial book "Lady Chatterley's Lover" by D.H. Lawrence which is full of social, political and cultural implications. It looks at how, by focusing on the forbidden relationship between Lady Connie Chatterley and Oliver Mellors, Lawrence reveals a great deal about the structure and politics of post-war society. It discusses how although the main theme of the book is love, the unproductiveness, inhumanity and ugliness of life in a local mining community play a large role and how the political elements of the book are clearly demonstrated by Lady Chatterley's life in a society devoted to making money.
From the Paper "The Chatterleys' marriage was main theme in the story, as society unfairly viewed its failure as the fault of Lady Chatterley, who had a difficult time maintaining a relationship with a husband who was half paralyzed and half crazy. She looks to Mellors to make her feel alive again. However, the prosecution fails to realize that the couple is building a strong relationship that has a good chance of leading to a successful marriage. They can only point finders and accuse the couple of immorality."
Tags: oliver, mellors, connie, marriage, love, society
Abstract Connie Panzarino's "The Me in the Mirror", an autobiographical account of her life as a writer and activist born with a rare disease known as Spinal Muscular Atrophy, is an inspiring story of one woman's struggle for survival and achievement. However, from the point of view of women's and disability studies, inspirational studies are not by themselves particularly significant. This paper will argue that what renders Panzarino's work noteworthy to students and professionals in this field is her repeated transgressing of societal taboos surrounding women and disability. As will be seen, Panzarino's focus on her body as a site of resistance - in particular, her assertion of her sexuality as a disabled woman - informs her theoretical critique of the associated constructs of patriarchy, ableism, racism and homophobia.
Abstract This paper examines Joyce Carol Oates's short story, "Where Are You Going, Where Have You Been"?, which was written in 1966, and how, twenty years later, it was made into a movie entitled "Smooth Talk", the winner of the 1985 U.S. Film Festival for best dramatic picture. It looks at how Oates extends reality with her character, Arnold Friend, based on the real life of Charles Schmid, who cruised teenage hangouts, picking up girls. It also shows how the producer of "Smooth Talk" also takes detours from the road of reality by further developing the characters of Connie's mother, father, and older sister, June. In particular, it examines how the two endings differ greatly.
From the Paper "While the physical characteristics seem similar, however, the description of Connie's sexual nature differs, playing an important part in the development of the final scenes of both the story and the movie. While the writer of Smooth Talk portrays Connie as a flirt and a tease, she, nevertheless, resists going "all the way" with the boys she cruises with on summer nights. This makes the compelling seduction by Arnold Friend at the screen door that much more chilling as she faces rape and the loss of innocence to someone she hardly knows. In contrast, by implying in her short story that Connie is already sexually active, author Joyce Oates deepens the terror of the screen-door meeting by focusing not on just the sexually persuasive nature of Arnold Friend but also on the demonic trance-like state he uses in order to control his victims."
Abstract This paper examines the story "Where Are You Going, Where Have You Been?" by Joyce Carol Oates and seeks to show that, taken allegorically, this story does not speak of temptation to sin but rather speaks of the call to transcend and to become initiated. It attempts to show that this fascinating story is not merely a realistic allegory of growing out of childhood, nor a tragic story of rape and murder, but also a sophisticated modern-day retelling of the coming of Dionysus and the calling of the Maenad. It looks at how Arnold Friend is a type of Dionysus and how his call to Connie parallels the call of the mad god to his Bacchae and to the initiates in his mysteries.
From the Paper "Understanding Arnold Friend as an exemplar of Dionysus opens up far greater insight into the allegorical and mystical elements of this story. Dionysus was widely worshiped in the Greco-Roman world as a savior and an initiator into the mysteries of the self. (Freke & Gandy) He brought madness and death, certainly, but always this chaos was part of "the beauty and horror inextricably tied to the process of Becoming," (Mcginty, 165) and though he was a god of death he was also a god of resurrection who was commonly compared to Jesus by early Christian writers and their pagan contemporaries. (Freke & Gandy) With this in mind, several elements of the story may be re-evaluated. "
Abstract In this article, the writer notes that Connie Field's documentary 'The Life and Times of Rosie the Riveter' explores a world and a social context far removed from the world of working women today in the early 21st century. As such, its use as a non-typical resource for study might appear surprising. However, as this essay argues, many of the issues addressed in this documentary with respect to women and work - choice, racism, the dichotomy of domestic and paid labor - continue to be issues confronting women today over a half-century later. From an inclusive political economy perspective, this essay argues the thesis that the experiences of the women represented in 'The Life and Times of Rosie the Riveter' are reflective of broader, large scale social phenomena in regard to the differential treatment of women's labor in our globalized capitalist economies and the state structures that support these economies.
Outline:
Introduction
Rosie the Riveter in an Historical Context
Choice, Opportunity and the "Breadwinner Ideal"
Opportunity and Status of Women's Labour
Conclusion
From the Paper "When we understand women's labour in this historical continuum, we gain insights into the larger structural and economic forces shaping not only opportunities for women but also the exploitation of women's labour, and the restrictions placed upon women's choices by capitalist power structures. The fact that women in the 1990s worked to ensure family survival in much the same way as did women in the 1930s is indicative of the deep structural forces that have determined women's labour opportunities over time. Moreover, this historical contextualization allows us to understand the depiction of women and work in The Life and Times of Rosie the Riveter in a more complex way. Many women, and in particular women from low-income families, who were often coincidentally women of colour and/or recent immigrants, have had to work in the paid labour force before the Second World War. The significance of the historical events outlined in Connie Field's documentary is not so much that women were in the paid labour force for the first time but that the nature of their labour, and their standard of recompense, was radically different from that which they "enjoyed" in the years before the Second World War."
Abstract The paper discusses and summarizes "Where Are You Going, Where Have You Been?", Joyce Carol Oates's giddily frightening short story about a teenage girl's terror when confronted with the character of the wolf-like predator Arnold Friend. The paper describes Connie's thoughts and feelings and how they ultimately determine the story's outcome.
From the Paper "Arnold's threatening words and actions while outside Connie's doorstep are foreshadowed early on when he warns Connie after first noticing her outside a drive-in restaurant: "Gonna get you, baby" (p. 2279). From then on, Arnold's quest to "get" Connie feels to Connie, in its dangerous intensity, like the predatory evil of the scariest fairy tale characters, e.g., the Big Bad Wolf. Shaggy-haired Arnold who drives "a jalopy painted gold" (p. 2279) first notices Connie at a "drive-in restaurant where older kids hung out" (p. 2278). Like Connie, the reader becomes frightened by the appearance, words, and actions of Arnold and Ellie Oscar. Both seem to Connie, suddenly, like evil incarnate when they arrive at the front door and refuse to leave."
Abstract This paper contends that since Joyce Carol Oates' story, "Where Are You Going, Where Have You Been", is based, in part, on a real-life series of rapes and murders, we can only guess that the when the character Connie opens the screen door, her ultimate demise has begun. The paper discusses how the Oates short story gives rise to the fact that women have, to some degree, achieved parity in dating, but sometimes are still prey to manipulating males who consider women as "the weaker sex" and how it is the rights of women that seem to continue to be in jeopardy.
From the Paper " Now, having seen some factual comments and suppositions about men versus women, some questions about Oates' short story need to be examined: Why was Connie "ripe" in the sense that there was this flirting with danger with an "older man"? One glimmer of this comes at the very opening, where Connie is continually brought down by her mother: "You think you're so pretty?" (Oates 117). If one's parents put you down and some "older man" comes on to you, what young girl wouldn't be flattered and interested- at least, at first. Next, why did she let him, and later on Ellie, into the house? Surely, her parents had warned her about never letting a stranger in. Again, it is the fact that Connie was getting attention she had not previously received. She dreamed about boys, even went out for hamburgers with one, when she was supposed to be in the movies with one of her girl friends. "
The following paper is a critical analysis of Joyce Carol Oates? "Where Are You Going, Where Have You Been?", a short story that plays upon the one aspect almost all of us have gone through; that of entrance into puberty.
Abstract This paper explores Oates? story regarding that of a pretty young girl Connie who lives with a rather bland family. The author examines through the narration of the story the way Connie perceives her people.
From the Paper ?The story is basically about how a young woman deals with adolescence. The most difficult stage of life for all beings as some might say, an expert wrote in Gale encyclopedia says, "? Adolescence is a border between adulthood and childhood, and as such it has a richness and diversity unmatched by any other life stage. ... Adolescents are travelers, far from home with no native land, neither children nor adults. They are jet-setters who fly from one country to another with amazing speed. Sometimes they are four years old, an hour later they are twenty-five. They don't really fit anywhere.?
Abstract This paper explains that In Joyce Carol Oates' popular short story, "Where Are You Going, Where Have You Been", the seduction of the teenage Connie by Arnold Friend is accomplished through his exploitation of the ideology that was transmitted through the medium of popular rock music. The author points out that the story is set in the American 1950s against the backdrop of drive-ins, the ever-present music conveys a superficial understanding of romantic relationships that forms the basis of Connie's understanding of her emerging sexuality. The paper relates that the prevalence of music in the text lends a mythological or fairy-tale quality to the narrative, which in large part describes the seduction to take place. The paper concludes that, due to the prevalence of a superficial understanding of the world and human relationships that is constructed by pop music culture, Friend is able to use the ideals of such songs as an illusion for his predatory nature.
From the Paper "Arnold Friend disguises himself in the clothing and mannerisms of the youth of the period, but does so in a manner that seeks not only to imitate others but to embody the ideals projected through the music. His arrival at Connie's house is connected to the music that Connie has been listening to inside her room, immediately creating an illusion of common interest: his transistor radio play "the same program that was playing inside the house." This serves to draw Connie out, initiating a brief discussion of the DJ that is on. Friend appears just a shade different enough from the other boys to create interest."
Tags: seduction, fairy-tale, rock, sexuality, illusion
From the Paper "INTRODUCTION
The documentary "Rosie the Riveter" by Connie Field and the book Rosie the Riveter Revisited by Sherna Berger Gluck refer to a period in American history that can be considered the beginning of a major shift in the role of women. During World War II, when millions of men were conscripted or voluntarily joined the armed forces, defense plants in the United States had to continue producing needed armaments and other goods for the war effort. At the time, relatively few women worked outside the home, and even fewer would have worked in factories like those producing airplanes and other military goods. This changed as a female work force was enlisted to see to it that production did not decrease in this time of emergency. The women who took these jobs found a new sense of accomplishment, freedom, and.."
Abstract This paper focuses on Panzarino's struggle and experiences as a disabled person when she was a child until she reached adulthood. In addition to the discussion of her life as child to an adult (which is included in her book, "The Me in the Mirror"), Panzarinos? life as an activist (feminist and advocate for equality among "able- bodied" and disabled people) is also discussed, since her revolutionary thoughts and ideas about "disability oppression" presents a valuable position for people who are also physically disabled like Panzarino.
From the Paper ""The Me in the Mirror" is an autobiographical work written by Constance Panzarino, a writer, activist and artist who talked about her life as a disable cause by the rare disease Spinal Muscular Atrophy Type II. Connie Panzarino was born on November 26, 1947 in Brooklyn, New York, and her book chronicles her life as a child growing and living with the said muscular disease. The book is divided into different sections that focus on various topics, and her narration is not a chronicle of her life from childhood to adulthood, but rather, Panzarino touched various aspects of her life as a disabled person. In addition to her struggle for physical mobility, her book speaks of her struggles also as a woman who is disabled, as an individual doing passionate work for her fellow disabled individuals, and most importantly, her fight against the concept of ?Ableism,? a term that she coined to describe the belief that people have more power and more right to things when they?re stronger and more able. In effect, Panzarino's fight against ableism is her way of destroying what she terms as ?disability oppression.? "
