Age Of Innocence Coursework

Age Of Innocence Coursework-35
Winsett is a journalist and much less wealthy than any member of New York's better society.Winsett is "not a journalist by choice;"he was a man of letters, untimely born in a world that had no need of letters." Newland and May meet him on their honeymoon; he's the tutor of Mrs. Later, he meets Archer in New York and he describes himself as Count Olenska's secretary, the man who helped Ellen escape from the Count.

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Thematically, it depicts the conflict within the heroine, as Lyn Pykett has observed about the characteristics of New Woman writing, “between a fluid and charging experience of subjectivity and the fixed identity imposed by conventional social gender roles” (57).

As is typical of New Woman fiction, the novel portrays Ellen’s dilemma between her love for Newland and her freedom With its treatment of the themes of womanhood, marriage and divorce, the text also displays important stylistic characteristics of New Woman fiction, in which “in place of the wise and witty sayings, and the moral and social guidance of the omniscient narrator, we find a decentered narrative, and (particularly in marriage-problem novels) a polyphonic form in which a multiplicity of voices and views on current issues are juxtaposed” (57).

Yet, she is conniving, described as the huntress Diana, and conspires to control Newland throughout the novel. Newland falls in love with her for her defiance of social convention.

She is consistently desribed as innocent and pure, dressed in white.

by analyzing the ways in which the text delivers—through its dialogic narrative—a fragmented, ambiguous and contradictory depiction of New Womanhood.

It advances two broad arguments: first, I argue that the novel displays many of the characteristics of New Woman fiction, both thematically and stylistically.

She falls in love with Newland but is silently banished back to Europe by her family.

Archer's close friend, a "clever" person he talked with at the club.

the previously overlooked complexities in the novel’s decentered narrative, notably its dialogic form in which a multiplicity of contending voices and perspectives on women, marriage and divorce are juxtaposed.

By adopting this theoretical and methodological stance, by depicting Ellen’s performances of shifting subjectivities (the rebel who is seeking a divorce, the unfortunate victim of an unfaithful husband, the lover who desires a new life), the novel not only undermines the dominant ideologies of Victorian womanhood but also disrupts the image of the radical, independent New Woman who challenges social conventions.


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