Annotated Bib & OUTLINE

The proposals by the father and brothers –in-law to Ruth who is married to one of the brothers to become a prostitute in the family business raises uproar within the audience. This level or moral bankruptcy is further aggravated when the two brothers and father –in-law express their sexual desires towards Ruth (Kim 164). The woman is viewed as a sexual object that is free to be accessed by any man. The proposal to become the family whore is selfish and serves the purpose of securing the family business rather than upholding good morals within the family. This moral vacuum reveals a sexual objectification of women within the British society.

Pinter characterizes the mother figure as an individual who violates all the moral principles of the British culture. Although she is based within the domestic realm she ironically violates the patriarchal rhetoric that sustains a dysfunctional marriage. The play is characterized by the betrayal and infidelity from the family matriarch Jessie who was their mother. Although Jesse is expected to play the role of the family whore she is supposed to separate the sexual nature of the job from her emotions (Alogaili73). When she creates an emotional bond with a client is considered as cheating. This form of betrayal leads to conflict and a disintegration of the family unit.

Pinter challenges the ethical dimensions of domestic violence, verbal abuse and promiscuity in the characterization of the male figures towards the female characters in the play. For example, Lenny narrates of old women he has punched in the past and prostitutes he has thought of killing. Max who portrays the least sexual energy is mocked as being a weak man. Max in turn attempts to assert his dominance over Sam by feminizing and calling him names such as tit, maggot and grub. Sex is therefore portrayed as a tool and a basic human instinct that should not be restricted from the male members of the society. The complex nature of the male characters leaves the audiences shocked and forces them to introspect about their personal morals.

The family attitude towards marriage is that of a mere label. This challenges the stereotype of a faithful wife who is constantly competing against a younger mistress. Ruth epitomizes a marriage filled by lust, betrayal and abuse. This makes marriage an institution that lacks the emotional and visible bonds of love. When Ruth is introduced to her husband’s family she is immediately labeled as a slut while Lenny is considered a pimp (Almaaroof 884). These forms of verbal abuses and violence within the family are said to be morals that are taught by the mothers or the female matriarch in the family (Almaaroof 5). It also reveals how men use sexual aggression to victimize women.

WEEK 11-B OF the homecoming Discus sexual power in The Homecoming.

The homecoming opened its doors to the Adlywch theatre in London in 1965 (Clarke 26). The story rotates around the main character of Ruth a mother of three who comes visiting her in-laws from America with her college professor husband called Teddy. The sheer lack of another female character or mother figure within her husband’s household leaves her yearning to take up the role of the family matriarch. She decides to become the family whore in order to conform to the idealized figure of a family matriarch and authority figure.

Pinter uses the home setting to show how familial relationships are controlled by the people in authority. This power is shown through a symbolic father in law who is painted as a temporary guardian to this power. The roles of being a mother and wife make it difficult for them to become successors to the throne. Therefore, Ruth uses sex as a weapon for negotiating her ascent to the throne (Clarke 42). The seductive nature of Ruth helps her prevail in conflict situations that lead to a harmonious interaction between them and the male characters in the play. She is able to reclaim her matriarchal authority in the home by reconstructing the memories of an idealized mother.

Pinter characterizes women as objects who are disempowered by lack. These relationships are faced with power imbalances that lead to abuse and violence. Pinter therefore reveals how family relationships can be negotiated through literal or figurative meanings to gain power and control. The female characters are juxtaposed with the male in a power battle of the wills (Kim 155). Instead of victimizing his women characters by subjecting them to constant violence and torment, the women are characterized as sexually liberated, financially independent and authority figures within the family. The struggle to have power and authority over the woman becomes part of the mating rights that awakens the animal instincts within the male characters.

The character of Ruth harmonizes the sexual, domestic and professional nature of the woman into one ideal woman. Ruth is characterized using the role or a prostitute or whore to the family business. This might be considered the lowest hierarchy of the women roles because these women are characterized as objects. The male figures also fight for attention from this kind of woman by trying to dominate her using sexual favors. This makes the woman a source of competition for the male figures. However, the character of Ruth uses this kind of attention to gain her financial freedom through contractual agreements for properties and servants in exchange for sexual favors.

WEEK 10-A OF the Homecoming as an embodiment of moral collapse and the dysfunctional modern family.

The proposals by the father and brothers –in-law to Ruth who is married to one of the brothers to become a prostitute in the family business raises uproar within the audience. This level or moral bankruptcy is further aggravated when the two brothers and father –in-law express their sexual desires towards Ruth (Kim 164). The woman is viewed as a sexual object that is free to be accessed by any man. The proposal to become the family whore is selfish and serves the purpose of securing the family business rather than upholding good morals within the family. This moral vacuum reveals a sexual objectification of women within the British society.

Pinter characterizes the mother figure as an individual who violates all the moral principles of the British culture. Although she is based within the domestic realm she ironically violates the patriarchal rhetoric that sustains a dysfunctional marriage. The play is characterized by the betrayal and infidelity from the family matriarch Jessie who was their mother. Although Jesse is expected to play the role of the family whore she is supposed to separate the sexual nature of the job from her emotions (Alogaili73). When she creates an emotional bond with a client is considered as cheating. This form of betrayal leads to conflict and a disintegration of the family unit.

Pinter challenges the ethical dimensions of domestic violence, verbal abuse and promiscuity in the characterization of the male figures towards the female characters in the play. For example, Lenny narrates of old women he has punched in the past and prostitutes he has thought of killing. Max who portrays the least sexual energy is mocked as being a weak man. Max in turn attempts to assert his dominance over Sam by feminizing and calling him names such as tit, maggot and grub. Sex is therefore portrayed as a tool and a basic human instinct that should not be restricted from the male members of the society. The complex nature of the male characters leaves the audiences shocked and forces them to introspect about their personal morals.

The family attitude towards marriage is that of a mere label. This challenges the stereotype of a faithful wife who is constantly competing against a younger mistress. Ruth epitomizes a marriage filled by lust, betrayal and abuse. This makes marriage an institution that lacks the emotional and visible bonds of love. When Ruth is introduced to her husband’s family she is immediately labeled as a slut while Lenny is considered a pimp (Almaaroof 884). These forms of verbal abuses and violence within the family are said to be morals that are taught by the mothers or the female matriarch in the family (Almaaroof 5). It also reveals how men use sexual aggression to victimize women.

WEEK 11-B OF the homecoming Discus sexual power in The Homecoming.

The homecoming opened its doors to the Adlywch theatre in London in 1965 (Clarke 26). The story rotates around the main character of Ruth a mother of three who comes visiting her in-laws from America with her college professor husband called Teddy. The sheer lack of another female character or mother figure within her husband’s household leaves her yearning to take up the role of the family matriarch. She decides to become the family whore in order to conform to the idealized figure of a family matriarch and authority figure.

Pinter uses the home setting to show how familial relationships are controlled by the people in authority. This power is shown through a symbolic father in law who is painted as a temporary guardian to this power. The roles of being a mother and wife make it difficult for them to become successors to the throne. Therefore, Ruth uses sex as a weapon for negotiating her ascent to the throne (Clarke 42). The seductive nature of Ruth helps her prevail in conflict situations that lead to a harmonious interaction between them and the male characters in the play. She is able to reclaim her matriarchal authority in the home by reconstructing the memories of an idealized mother.

Pinter characterizes women as objects who are disempowered by lack. These relationships are faced with power imbalances that lead to abuse and violence. Pinter therefore reveals how family relationships can be negotiated through literal or figurative meanings to gain power and control. The female characters are juxtaposed with the male in a power battle of the wills (Kim 155). Instead of victimizing his women characters by subjecting them to constant violence and torment, the women are characterized as sexually liberated, financially independent and authority figures within the family. The struggle to have power and authority over the woman becomes part of the mating rights that awakens the animal instincts within the male characters.

The character of Ruth harmonizes the sexual, domestic and professional nature of the woman into one ideal woman. Ruth is characterized using the role or a prostitute or whore to the family business. This might be considered the lowest hierarchy of the women roles because these women are characterized as objects. The male figures also fight for attention from this kind of woman by trying to dominate her using sexual favors. This makes the woman a source of competition for the male figures. However, the character of Ruth uses this kind of attention to gain her financial freedom through contractual agreements for properties and servants in exchange for sexual favors.