This word, yin, is a Chinese word that denotes the meaning of a number of adjectives such as obtuse, intriguing, savvy, sly, deceptive, hidden, chilly and concealed. If, for example, a person desires to produce an expository text about women and about how women relate to each other and interact with each other within a particular society in order to discover the effect or the effects of this societys culture on what may be either facts, myths, or misconceptions about women yin could very well be the main source of this papers fundamental theory. In yin, in this single word yin, there is much to find in its very meaning on what defines scholastic matters which pertain to feminism, feminist theories and practices, and gender psychology.
In the two paragraphs above, the aim of this paper has been subtly revealed and introduced. This paper aims to discuss what is apparent and non-apparent in how females interact with each other. Analyzing female-to-female interactions functions for this papers objective, an objective which can be stated here in this way to present which aspects of gender psychology with special focus on the female gender- have remained unchanged. The goal of this analytical text is that of locating just how women form interactive unions which lead women towards a specific social position, one that is ultimately defined by empowerment. This paper makes use of two kinds of artistic genres in order to obtain the actualization of its aim, objective, and goal. Of the said kinds of genres, one is a literary genre (Trifles by Susan Glaspell) while the other, a film, stems from popular forms of entertainment media (Dolores Claiborne).
Case One Glaspell vs Alkaly, Holstein and Marsh
Susan Glaspells Trifles is an embodiment of yin. Glaspells Trifles is also the anti-yin. In Glaspells play, the obvious dramatic situation represents the denotative meanings of yin because readers of the said play are able to fully encounter the deep significance of yin towards the end of Trifles. The firm and decisive actions of Glaspells Mrs. Hale and Mrs. Peters seem to communicate that the essence of yin, what is obtuse, intriguing, savvy, sly, deceptive, hidden, chilly and concealed in the play is to be found in that box that Mrs. Hale takes with her as she and Mrs. Peters prepare to leave the abode of Mrs. Wright. Yet, what Mrs. Hale decides to do holds the meaning of anti-yin in an almost undeniable way.
It is too big. She opens box, starts to take bird out, cannot touch it,
goes to pieces, stands there helpless.
Sounds of a knob turning in the other room. Mrs. Hale snatches the box
and puts it in the pocket of her big coat. (941)
These female characters, Mrs. Peters and Mrs. Hale, decide to commit a crime with very little hesitation. These fictitious women coldly steal from justice and the law. These fictional characters chose to do what common criminals often do- almost as if Mrs. Peters and Mrs. Hale had merely acted on a whim in order to give way to freedom, freedom for the character of Mrs. Wright. Mrs. Peters and Mrs. Hale albeit their being fictional women in a work of fiction, inadvertently lead the readers or the viewers of Trifles to this particular conclusive judgment these women are neither to be sanctioned nor are they to be regarded as undesirable members of society. Mrs. Peters and Mrs. Hale stand for everything that is righteous even as the plays reader and viewers are not impervious to the highly paradoxical significance of Mrs. Hales and Mrs. Peters joint decision. Within the realm of a fictional reality that had been artfully created by Glaspell for dramatic plot of Trifles, it is apparent that women shall unite against violence, against injustice, against abuse, against degradation, against oppression, against marginalization, and against the sanctimonious habits of men, when women find good reason to act in ways which contradict the many misconceptions about them. Such misconceptions can be attributed to the many centuries of having women find themselves living in cultural environments which chose to have women suffer the weakness forced on them by men because of patriarchy, masochism, and male chauvinism.
What is not apparent in Trifles in relation to how females form interactive unions in order for them to stand where women can only be appraised as being empowered members of society, capable of enduring the effects of mens follies those follies which are likely to cause damage-, capable of surpassing men in reference to the very height and reach of male deception, in the simplest of ways and in a quaint fashion that conceals the depths of malice and mischief which women can verily fall into.
Sheriff Do you want to see what Mrs. Peters is going to take in (The Lawyer picks up the apron, laughs)
Country Attorney Oh, I guess theyre not very dangerous things the ladies have picked out. (Moves a few things about, disturbing the quilt pieces which
cover the box. Steps back) No. Mrs. Peters does not need supervising. For that
matter a sheriffs wife is married to the law. Ever think of it that way, Mrs. Peters ( 941)
In Glaspells Trifles, the fictional women instinctively unite for a good reason. Together, Mrs. Peters and Mrs. Hales create an end where there is a triumph gained because they are women who are believed to be weak, so much so that they are unwittingly allowed to commit a crime and the crime which these fictional females choose to commit for a noble reason, begets a kind of sheer poignancy due to the feminine nuances (tears, sympathy, fickle mindedness, impulsive action) portrayed by Mrs. Peters and Mrs. Hales in order to strategically unveil that one biblical allusion which allows for Glaspells Trifles to remain relevant, like how a poet is rendered immortal and without question always only due to the small detail of his being or her being a poet.
Mrs. Hale and the box that she takes is Eve and the apple in the Garden of Eden saying Come, I am woman. You must trust me. Look at me, there is nothing not to trust. And so, Adam perceives her as only a woman who is capable of no harm. In doing so, as biblical allusion would have it, Adam was the first of men, who unassumingly empowered Eve a woman who did not mean to do harm. Eve, the impulsive female who ruined paradise for Adam Eve, a woman whose crime had given way to freedom freedom for men and woman alike, in this world so far from that biblical heaven and yet because of possibility and lack of probable cause Susan Glaspells Trifles shows us that where and when there can be freedom and how a return to that biblical heaven occurs. Especially when it is a woman who has caused oppressive chains to unbound. Like Mrs. Hale, Mrs. Peters, Mrs. Wright and that little box.
Case Two Susan Gaskells Trifles and Stephen Kings Dolores Claiborne
Dolores Claiborne, a film, was released in 1995. The similarities between Trifles and Dolores Claiborne can be located in the nature and significance of the kind of friendship which was shared by Dolores Claiborne, a maid, and Dolores employer, Vera Donovan. In Dolores Claiborne , viewers and readers find a fictional female character who faces the possibility of having to live out her remaining days in jail she has been accused of murdering the elderly Vera.
Like Susan Gaskells Trifles, Dolores Claiborne- the source of this film adaptation was penned by suspense writer, Stephen King- supports the argument that females will join forces, women who unite in order to form interactive circles will choose to commit a crime for a noble reason and for a good reason.
Stephen Kings Dolores Claiborne, finds an unlikely ally and an unlikely friend in the person of her employer who happens to be a female character who represents the same concepts which the yin and the anti- yin in Susan Gaskells Trifles pronounce in the aforementioned plays dramatic situation.
Susan Gaskells Trifles and Stephen Kings Dolores Claiborne both weave the biblical allusion of Eves serendipitous deception of Adam, as the delicate thread that subtly binds images and scenes almost ever so hidden a woven thread- so that when the essentially sublime point that these artistic works share, is finally revealed, the very same paradoxical justification of a crime committed for the sake of a greater good which may come as a result of the reasonable crime inspires wonder, awe, and belief.
Dolores Claiborne is not as hermetic in nature as Susan Gaskells Trifles for the difference is contributed by the admirable tenacity of Vera Donovans character. Vera suggests what Dolores must do in order to give way to freedom. Freedom for Dolores from her abusive husband and freedom for he daughter, Selena, who has been a victim to her fathers misuse of his position in the patriarchal setting of Stephen Kings Dolores Claiborne.
Dolores realizes that she is about to enter into an understanding with Vera that has everything to do with the meaning of , conspiracy to commit a crime, and like Gaskells character, Mrs. Hale, Dolores succeeds in her fervent and passionate desire to render her chains and the chains of her daughter ultimately unbound. She uses the same feminine nuances (tears, sympathy, fickle mindedness, impulsive action) found in Gaskells Trifles to retrieve the freedom which should be hers and the freedom that must be returned to Selena. Dolores moves towards freedom with the graceful movements of a female leopard who offers the comfort of death to her husband in the likeness of a bottle of whiskey. Another trifle, another small thing that proves the enduring quality of this immortal metaphor there is freedom to be found everywhere, even in the smallest of follies made by the smallest of men whenever women decide that it shall now, all, come to an end. And society cannot help but to pardon a crime that allows for a return of some biblical Eden to the likes of abused and tormented women such as Dolores Claiborne and Mrs. Wright.
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