The Ironies of Social Standards in Sister Carrie Essay Example For Students

The Ironies of Social Standards in Sister Carrie Essay To this day, Sister Carrie remains one of the most controversial novels of its time. The remarkably realistic characters and contentious situations created by Theodore Dreiser illustrate the double standards within a growing American society at the turn of the twentieth century. Naturalism plays a large part in the development of each character and their pathetic inability to evade their trivial fates Theodore. The perverse fascination and distaste surrounding this incapability mirrors a societys hypocrisy of its own social standards. For his first novel, Dreiser opted to paint a realistic portrait of America for what it really was- materialistic Gerber 52. The money ideal would be exposed as the great motivating purpose of life in the United States: ones relative affluence at any level of society determining the degree creature comfort one might enjoy, the measure of prestige one might own, and the extent of social power one might command Gerber 52-53. Sister Carrie completely reiterates Americas obsession with money because there is not one character whose own status symbol isnt determined economically Gerber 53. We will write a custom essay on The Ironies of Social Standards in Sister Carrie specifically for you for only $16.38 $13.9/page Order now At the end of the Civil War, big business boomed and there was now a preoccupation with conspicuous consumption Ward. Capitalism roared and consumers began to see each other for what they thought they really were: money. Dreiser first describes his Caroline Meeber not by her opinions or actions, but by what she owns: a small trunk, a cheap imitation alligator-skin satchel, and a small yellow snap purse Dreiser Sister 3. Although Carrie cannot afford a real alligator-skin satchel, she owns an imitation so that she appears to be something she is not Ward. False appearances are a reiterated theme throughout Sister Carrie. Schafer 2 Upon entering Chicago and meeting Drouet, the reader becomes attentive to Carries fascination with the upper class. In addition to representing consumerism, Carrie also serves as a symbol of the American middle class. Carrie is `ambitious to gain material things Ward. Entering a department store to find a job, Carrie leaves with an unsatisfied desire to own things that she cannot. Carrie sees how much the city has to offer her. She longs for the luxury and wealth of the other shop dwellers Balling 23. All of the fancy items tempt Carrie although she cannot manage to pay for any of them; thus a capitalist economy manipulates the desire of the consumer without ever completely satisfying it Ward. This unfulfilled yearning compels the consumer to work long hours just to struggle to buy more items Ward. With each purchase, the need for material things grows while never completely satisfying the consumer. Carries dream of satisfaction is hastily broken when she realizes she must work in an unpleasant job to get what she wants. In Sister Carrie, money is a main objective at the beginning of many relationships. Carries fascination in Drouet is instigated by his money. Handing her the money gives him the opportunity to touch her hand, the first step of physical intimacy with her Ward.  In a society in which wealth is associated with individual merit, Drouet begins to stir up yet another person into materialism. Through this, he can conduct his life on a splendid basis because Carrie looks to him with desire Balling 25. A world of possibilities is opened to Carrie through Drouet. She has now become an insider to the world of prosperity, excitement, and satisfaction Balling 29. Schafer 3 In meeting Hurstwood, Carrie can only look further upward. He is the symbol of the enlightened, capitalist man Ward. His life with Julia is one greater than Drouets. Unlike Hurstwood, Drouet is awkward and imitative in his dress and actions. This flashy lifestyle screams that he is performing a role Ward. Hurstwood spends just as noticeably, but he does it with a great deal of taste. Overall, while Hurstwood looks like the legitimate article, Drouet just comes off as a fake Ward. Carrie soon takes notice. Although they live a far more affluent lifestyle than Drouet and Carrie, Hurstwoods family is not satisfied. As Carrie craves nice clothing and trinkets, Julia and Jessica are saddened that they cannot afford a European summer vacation Ward. Again, the reader is introduced to the reoccurring theme of the compelling influence behind consumer society: unfulfilled desire Ward. .u63ce4743558b3809bb8eb5d72cf2326f , .u63ce4743558b3809bb8eb5d72cf2326f .postImageUrl , .u63ce4743558b3809bb8eb5d72cf2326f .centered-text-area { min-height: 80px; position: relative; } .u63ce4743558b3809bb8eb5d72cf2326f , .u63ce4743558b3809bb8eb5d72cf2326f:hover , .u63ce4743558b3809bb8eb5d72cf2326f:visited , .u63ce4743558b3809bb8eb5d72cf2326f:active { border:0!important; } .u63ce4743558b3809bb8eb5d72cf2326f .clearfix:after { content: ""; display: table; clear: both; } .u63ce4743558b3809bb8eb5d72cf2326f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u63ce4743558b3809bb8eb5d72cf2326f:active , .u63ce4743558b3809bb8eb5d72cf2326f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u63ce4743558b3809bb8eb5d72cf2326f .centered-text-area { width: 100%; position: relative ; } .u63ce4743558b3809bb8eb5d72cf2326f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u63ce4743558b3809bb8eb5d72cf2326f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u63ce4743558b3809bb8eb5d72cf2326f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u63ce4743558b3809bb8eb5d72cf2326f:hover .ctaButton { background-color: #34495E!important; } .u63ce4743558b3809bb8eb5d72cf2326f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u63ce4743558b3809bb8eb5d72cf2326f .u63ce4743558b3809bb8eb5d72cf2326f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u63ce4743558b3809bb8eb5d72cf2326f:after { content: ""; display: block; clear: both; } READ: Charles Dickens greatest novel EssayAfter Hurstwood and Carries affair and escape to New York, Hurstwood soon finds himself having to think carefully about small disbursements like rent and cab fare. Although he has sufficient money to invest in new businesses, he turns down many prospects because they are too low-class for him Ward. Not only is his money very important to him now, but so is his respectability. Having to live so frugally as he searches for a job humiliates him Balling 61. The importance of Hurstwoods reputation to himself underscores the materialism in America. Being who you are to yourself is not as important as being someone to others Gerber 60-61. Once Carrie meets Mrs. Vance, she reenters the world of conspicuous consumption Ward. As soon as she finds someone wealthier than she, Carrie again becomes displeased with her life. It seems as if Carrie then sets new goals for herself as she is exposed to new socio-economic levels Ward. Hurstwoods decline pushes Carrie further away from him. Mrs. Vances decision to cut off her connection with Carrie because of Hurstwoods appearance exposes the dehumanizing nature of consumer society Ward. While Hurstwood gradually sinks toward deprivation and suicide, Carrie once again moves foreword and appears on stage Thorp 472. Carries constant drag to something better was not to be denied Thorp 472. Her choice to leave him is almost completely motivated by finances, as was her decision to marry him Ward. The richer Carrie gets, again, the farther up she looks. Despite hardly knowing what to do with all of her money, however, she still suffers from unsatisfied desires Ward. Carries newfound theatrical success does not bring her happiness as she expected, just more urges. Although she has  now gained an identity that is independent of Hurstwoods and Drouets desire for her, she is still dependent on the desire of the public Ward. Even after Carrie has come so far, she still looks towards others opinions of her to make her happy. By the end of the novel, Carrie is still dissatisfied. She still experiences the unceasing discontent that is the major force behind consumerism Ward. A consumer-based society can only survive if there is always something more to want. With eyes so fixed on mountaintops yet to be attained, they never stop to wonder this way madness lies Gerber 53. As Carrie reaches the top, she and the reader no longer know what she desires. The brutal forces governing life dictate that any achievement permitted a human creature be diluted by dissatisfaction Gerber 56. At this time in America life had much to do with `chemisms and `magnetisms; it was dominated by invincible material forces; and of these the drives for power, money, and sex were primary Gerber. Sex and the relationships between men and women were solely based on finances, just as were Carries relationships with Drouet and Hurstwood. Even Dreiser himself expects Carrie to do nothing more than rely on a man. When a girl leaves her home at eighteen, she does one of two things. Either she falls into saving hands and becomes better, or she rapidly assumes the cosmopolitan standard of virtue and becomes worse Dreiser Sister 3. This statement also implies that Carrie or women in general uses seduction to get what she wants Thorp 472. Dreiser makes of her a symbolic figure who must sacrifice a certain amount of innocence in order to make progress of any kind. Thus Carries dream is the American Dream as well; it is a dream of rich finery, financial success and power Balling 30. When Drouet offers Carrie the twenty dollars, he is essentially buying the prospect for sex Ward. Because she owes him money, she feels tied to return his kindness with the only material object she owns- her body. Exposed of all its trimmings, Drouet and Carries relationship is no more than a form of prostitution. Because Carrie is paid more for her body than she is for her employment, she realizes that a womans most marketable product is sex Ward. .uc5b11c29873868d88a1fcefa2093902e , .uc5b11c29873868d88a1fcefa2093902e .postImageUrl , .uc5b11c29873868d88a1fcefa2093902e .centered-text-area { min-height: 80px; position: relative; } .uc5b11c29873868d88a1fcefa2093902e , .uc5b11c29873868d88a1fcefa2093902e:hover , .uc5b11c29873868d88a1fcefa2093902e:visited , .uc5b11c29873868d88a1fcefa2093902e:active { border:0!important; } .uc5b11c29873868d88a1fcefa2093902e .clearfix:after { content: ""; display: table; clear: both; } .uc5b11c29873868d88a1fcefa2093902e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uc5b11c29873868d88a1fcefa2093902e:active , .uc5b11c29873868d88a1fcefa2093902e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uc5b11c29873868d88a1fcefa2093902e .centered-text-area { width: 100%; position: relative ; } .uc5b11c29873868d88a1fcefa2093902e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uc5b11c29873868d88a1fcefa2093902e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uc5b11c29873868d88a1fcefa2093902e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uc5b11c29873868d88a1fcefa2093902e:hover .ctaButton { background-color: #34495E!important; } .uc5b11c29873868d88a1fcefa2093902e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uc5b11c29873868d88a1fcefa2093902e .uc5b11c29873868d88a1fcefa2093902e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uc5b11c29873868d88a1fcefa2093902e:after { content: ""; display: block; clear: both; } READ: AP by John Updike EssayWhile Carrie illustrates the life of a modern single woman, Julia demonstrates the typical, unhappy married women. Hurstwood attributes his wife as an ornament of his success by regarding her as one of his possessions Ward. Again the marriage serves as a contract to declare her job as a wife: to give Hurstwood sex in exchange for his money Ward. The pragmatic morality and hypocrisy of a males role in a marriage is apparent through Hurstwoods actions. While he keeps a close eye on Julia and all of her interactions, he does not condemn mens extramarital affairs; he only approves if they are carried out discreetly Ward. This disjunction between peoples  conduct and the figure they stage is maintained by a web of lies Ward. Paying close attention to Drouet as he compliments other women, Carrie takes note and tries to develop her identity largely based on what he craves. Through this imitation, she becomes simply a manifestation of masculine desire; Carrie substantiates the conventional idea that women are nothing more than role players Ward. Sister Carrie presents womens identity as virtually non-existent: men can be genuine, but women can only try to imitate Ward. Carrie, again, knows no identity without conceding to a man Markels 533. As a reflection of masculine desire, Carrie cannot express any desires of her own- except for her need for conspicuous consumption. Rather than feeling happiness from her own desires, Carrie is pleased only when others desire her Ward. Carries need for attention again upholds the conventional standard that a woman only has social standing when a man desires her Phillips 553. Dreisers approach of retelling life how it really has created a great deal of unexpected controversy. The sum and substance of literary as well as social morality may be expressed in three words- tell the truth Dreiser True 473. This statement made by Dreiser himself was in response to critics against the publication of Sister Carrie. The depiction of a fallen woman in a success story was considered completely immoral Riggio. As Dreiser entered the literary scene in the early 1900s, a conventional style of writing had already been set into tradition. The function of literature was to appeal to mans `higher nature, to inspire him through the depiction of mans capacity to achieve the ethical life to seek such a life for himself Pizer Dreisers. Basically, the didactic method of literature was there to create an ideal society. When Sister Carrie came along, most reviewers held upon the fundamental circumstances of the novel- a young woman has two forbidden sexual affairs without experiencing either material loss or moral degeneration Pizer Dreisers. Also, since God was not mentioned once in the novel, Sister Carrie was considered immediate grounds for dismissal Pizer Dreisers. Such debate surrounding a novel can really only prove one point: it is a story of real life, of their lives Notman 474. All of these situations- materialism, seduction, adultery, bigamy, and theft- were actually occurring in real life Thorp 469. This denial of Americans own lives further reiterates the hypocrisy in a growing capitalist society. In a brief essay entitled True Art Speaks Plainly, Dreiser concluded a true picture of life, honestly and reverentially set down, is both moral and artistic whether it offends the conventions or not Dreiser True 474. Dreisers Sister Carrie deals with the sordid side of everyday life. Although his characters are mixtures of moral and corrupt, unable to assert their will against natural and economic forces, he rarely passes judgment on them Theodore. These extraordinarily convincing individuals and the litigious circumstances created by Theodore Dreiser demonstrate the ironies within an  emergent American culture after the Civil War. Materialism and capitalism in a booming economy, conventional standards of men and womens roles, and the denial of the American public in response to the novel all prove that Sister Carrie was ahead of its time in portraying the authentic and pessimistic view of real existence.

The History of Black Women in the 1950s

The History of Black Women in the 1950s African-American women are an essential part of our collective history. The following is a chronology of events and birthdates for women involved in African-American history, from 1950-1959. 1950 Gwendolyn Brooks became the first African-American to win a Pulitzer Prize (for Annie Allen). Althea Gibson became the first African-American to play at Wimbledon. Juanita Hall became the first African-American to win a Tony Award, for playing Bloody Mary in South Pacific. January 16: Debbie Allen born (choreographer, actor, director, producer). February 2: Natalie Cole born (singer; daughter of Nat King Cole). 1951 July 15: Mary White Ovington died (social worker, reformer, NAACP founder).   Linda Browns father sued the Topeka, Kansas, school board because she had to travel by bus to a school for African-American children when she could walk to the segregated school for white children only.  This would become the  Brown v. Board of Education  landmark civil rights case. 1952 September:  Autherine Juanita Lucy and Pollie Myers applied to the University of Alabama and were accepted. Their acceptances were rescinded when the university discovered they were not white. They took the case to court, and it took three years to resolve the case. 1954 Norma Sklarek became the first African-American woman licensed as an architect. Dorothy Dandridge was the first African-Amerian woman nominated for a Best Actress Oscar, for playing the lead role in Carmen Jones. January 29: Oprah Winfrey born (first African-American woman billionaire, first African-American woman to host a nationally syndicated talk show). September 22: Shari Belafonte-Harper born (actress). May 17: In Brown v. Board of Education, Supreme Court ordered schools to desegregate with all deliberate speed - finds separate but equal public facilities to be unconstitutional. July 24: Mary Church Terrell died (activist, clubwoman). 1955 May 18: Mary McLeod Bethune died. July: Rosa Parks attended a workshop at the Highlander Folk School in Tennessee, learning effective tools for civil rights organizing. August 28: Emmett Till, 14 years old, was killed by a white mob in Mississippi after he was accused of whistling at a white woman. December 1: Rosa Parks was arrested when she refused to give up a seat and move to the rear of the bus, triggering the Montgomery bus boycott. Marian Anderson became the first African-American member of the Metropolitan Opera company. 1956 Mae Jemison born (astronaut, physician). Hundreds of women and men in Montgomery walked for miles to work rather than use the buses as part of the Montgomery Bus Boycott. A court ordered the University of Alabama to admit Autherine Juanita Lucy, who filed a lawsuit in 1952 (see above). She was admitted but was barred from dormitories and dining halls.  She enrolled on February 3 as a graduate student in library science, the first black student admitted to a white public school or university in Alabama. The university expelled her in March, claiming she had slandered the school, after riots broke out and the courts ordered the university to protect her. In 1988, the university annulled the expulsion and she returned to school, earning her M.A. degree in education in 1992. The school even named a clock tower for her, and featured her portrait in the student union honoring her initiative and courage. December 21: The Supreme Court ruled bus segregation in Montgomery, Alabama was unconstitutional. 1957 African-American students, advised by NAACP activist Daisy Bates, desegregated a Little Rock, Arkansas, school under the protection of military troops ordered in by the federal government. April 15: Evelyn Ashford was born (athlete, track and field; four Olympic gold medals, Track and Field Womens Hall of Fame). Althea Gibson became the first African-American tennis player to win at Wimbledon and the first African-American to win the U.S. Open. The Associated Press named Althea Gibson their Woman Athlete of the Year. 1958 August 16: Angela Bassett born (actress). 1959 March 11: Raisin in the Sun by Lorraine Hansberry became the first Broadway play written by an African-American woman - Sidney Poitier and Claudia McNeil starred. January 12: Motown Records founded in Detroit after Berry Gordy deferred working for Billy Davis and Gordys sisters Gwen and Anna at Anna Records; female stars from Motown included Diane Ross and the Supremes, Gladys Knight, Queen Latifah. December 21: Florence Griffith-Joyner born (athlete, track and field; first African-American to win four medals in one Olympics; sister-in-law of Jackie Joyner-Kersee).