Archive for November, 2012

(In Spring 2009, I took a Critical Thinking course, and our final project was to pick an issue and defend it with a research paper and a speech. I chose the wonderful and sensitive topic of premarital sex. This will be a sensitive topic for some, but I’m just sharing what I wrote. Don’t be offended. I think I approached the ideas and viewpoints pretty well.)


Sex is everywhere. In fact, it is highly likely that not a day goes by without each person thinking about some form of sexual idea. Growing older and especially since I have moved into the life of a university student, I discovered that concept of sexuality is exponentially gaining recognition and discussion. I hear about it in all shapes and forms, learning about sexual decisions, engagements, and pregnancies among my friends  . Recently, I myself have encountered the decision on whether sex is acceptable in a situation. Through extensive consideration and research, I have found that with today’s perspective, premarital sexual intercourse can be justifiable in a mature relationship in which the couple is in a state of genuine commitment.

Compared to 50 years ago and continuing on farther into the past, society today has gone through a major shift in ideals and practices, sexuality being one that is very prominent. In the past, the man would control and define the degree of sexuality with the woman exclusively as a humble servant (Johnson & Masters, 6). The double-standard that men were encouraged to gain many premarital “conquests” while women were strongly demeaned and reprimanded for promiscuity is significantly lessening (Hynie & Lydon 448). Now women can venture out of the traditional domestic nest and take charge of their own lives and bodies. In addition, the media fuels a large fire of widespread and public sexual content. We see it everywhere in books, commercials, advertisements, games, TV shows, movies, and more. Television shows in the 1950s and 60s  such as “The Honeymooners” and “I Love Lucy” portrayed couples having separate beds in typically unseen bedrooms with touching each other barely implied, if at all. Now two-thirds of American shows on TV include some form of sexual content. In current films, there is an increase of sensual subject matter found in PG and PG-13 ratings compared with those of the 90s (Friedman). All of this considered, “each individual is now forced to fashion a private set of moral and ethical values, which it is hoped, will sustain him over the years” (Masters & Johnson 183). With our culture changing its standards of what is acceptable where sex is concerned, it is natural that we see premarital intercourse practiced more often.

Even though it is seen everywhere, sexual relations before marriage are most ideal between couples that are mature and have significant life experience. Out in the world making a name for themselves through college education and onward, people beyond age 18 have more knowledge of society and its impending circumstances and decisions. In those years, they will have gone through a wide variety of relationships and interactions with the opposite sex. Knowledge and understanding of sexuality is an important prerequisite before engaging in it. Despite this, there is a steady increase of sex among adolescents. In 1988, 25% of females and 33% of males had sex by age 15 (Francoeur 109). A strong chance exists that an even higher percentage of young adults that age are experiencing it today. Adolescents participating in premarital sex are like 13 year-olds moving on to college after middle school. They have plunged into a new world of complex subjects, skipping fundamental life lessons in between that would have better prepared themselves. Standards and expectations change drastically. Parents and authority no longer have the same impact, leaving the young teenagers to build their own standard of living without guidance (argument by analogy). There is a notable difference between someone living on his or her own and another still residing with parents. “Teens should be taught character education, goal-setting, communication skills and consequences of premarital sex” (Friedman). When an individual is more informed and aware of the act, sex before marriage can be reasonable.

The most important aspect of a relationship that engages in premarital intercourse is found when the two people are in a state of genuine commitment with each other. Commitment is a beautiful connection between two people being assured in one another, agreeing to rely on each other, and making an effort to nurture the relationship further. Each “entrust[s] one’s physical and emotional well-being to that [other] person; it is an act of faith and acceptance of vulnerability” (Masters & Johnson 257). Caring is vital: concerning over, being solicitous of, and paying attention to the other’s needs in a loving manner. It is proposed that there is a progression of love in a relationship towards the ultimate goal of commitment. First comes passion and sexual attraction, then the partnership progresses to intimacy, and finally reaching genuine commitment (Hynie and Lydon 449). Often the line between intimacy and commitment can be blurred, and couples may believe that sex is acceptable in a state where they feel understood, validated, and cared for, which may not necessarily be real commitment. Nonetheless, the majority of people say that they wait until they find the right moment, the right reason, and the right person. These may vary from person to person, but giving oneself to another in the most complete way is a wonderful in celebrating the merging of two mates. Even if it is before marriage, sexual intercourse in a devoted and committed relationship is justified.

However, there is a popular argument against premarital sex made by the Catholic Church, and that is marriage is the only true form of commitment in which sex is justifiable. Matrimony is a holy sacrament, binding the souls together in a permanent and spiritual way. It says, “I give myself to you forever, and I unite myself to you. I want to join with you and with God in creating, raising, and educating children” (Bonacci 33-34). When engaging in sex, a hormone, oxytocin, is released and creates a sense of commitment, “blurring the vision” of irritations and “super gluing the heart to another person” (33). The first time a woman has sexual intercourse, the image of her partner is “imprinted” on her mind in a very strong and permanent way (86). What happens if the other person doesn’t become the spouse? It is more important to wait and exercise control, being faithful and respectful to the husband or wife yet to be discovered. That way there will be no comparisons and memories; virgins can learn and explore the beauty of the act together. Also, when the couple is not married there is a possibility that they will not remain together. Leaving someone behind creates a sense of loss, betrayal, being used, inadequacy, abandonment, and depression. Breaking off a romantic relationship involves leaving the other person. Therefore ending a partnership causes a sense of loss, betrayal, being used, inadequacy, abandonment, and depression (argument by causes). If premarital sex is involved, these feelings are magnified even more. When married, you don’t have to worry about STDs or single parenthood. A teenage girl having to endure pregnancy complicates life, making it difficult to achieve previous personal goals and creates physical, emotional, and spiritual risks (46). Her education and career are put on hold to accommodate a new life. With another perspective, premarital sexuality can put tremendous pressure on a relationship. Disagreements and hurt feelings can become even more magnified. When a couple is joined in the sexual bond, it distorts the perspective and “the brain is no longer in charge; feelings take over, drowning out logic” (77). This can be hazardous when the relationship is abusive. There will be tremendous difficulty to see reason and escape the situation when sex is involved. To put it bluntly, “a ‘committed’ unmarried relationship means basically that ‘I promise not to date anyone else until I dump you’” (79). Therefore, sex outside of marriage isn’t true commitment and shouldn’t be practiced.

That is a perfectly valid argument against premarital intercourse. However, there are additional points that accept it. In third-world countries, women can be in such a state of impoverishment that they are forced into sexual relations and prostitutions, dangerously exposing themselves to the high risk of AIDS. Everywhere but the Church promotes the use of condoms as a main way to help prevent the disease. Ideas are changing somewhat in the Catholic Church, finding that in certain situations where life is being threatened, condoms may be deemed appropriate. Pope Benedict XVI may even consider easing the policy (Katel). Marriage may be vows of commitment and fidelity, but there is still the chance of divorce. All relationships can end. Matrimony may be more secure than an unmarried relationship, but people can still change and wish to leave each other. In a way, partnerships involving sex but without the marriage contract can be beneficial in the sense that discovering and breaking off incompatibility. That way the trauma and suffering possibly involving the children need not be necessary (engulf and devour). On another stance, consider the partnerships that have previously cohabited and engaged in premarital sex and now desire to commit more permanently through marriage. The Church really has no business or right to pry into their personal decisions and condemn them. Instead, they should celebrate the courage of the couple to commit in this new manner. Canon law actually forbids denying the sacrament of Matrimony. In these times, marriage is being delayed through the 20s to incorporate establishing life and career, and young people don’t tend to wait that long to engage in intercourse. Therefore, these two people ready to take this next step “need understanding and encouragement rather than draconian rules” (Greeley). For the right reasons and consideration, premarital sex shouldn’t be so condemned but sought to be more understood.

In conclusion, due to the change in society’s standards and views, when a couple has reached maturity, significant life experience, and in a state of genuine commitment between the two, premarital sexual intercourse should be reasonable. “Intimate relationships should be based on love, that love justifies sexual activity, and that sex with love is a more fulfilling human experience” (Francoeur 106). Sexual intercourse is “our most intimate way of relating to another person…reflecting all the things that mean warmth, love, affection, and security to us…in a real way, some of the purposes and meaning of life” (Masters & Johnson 29). This can occur when outside of marriage. If you think about it, is marriage truly necessary for this commitment to take place? With more exploration into the realm of sexuality, more discoveries will be made in this complex aspect of life.



Works Cited

Bonacci, Mary Beth. Real Love. San Francisco: Ignatus Press, 1996.

Francoeur, Robert T, ed. Sexuality in America: Understanding Our Sexual Values and Behavior. New York: Continuum, 1998.

Friedman, J. (2005, September 16). Teen sex. CQ Researcher, 15, 761-784. Retrieved April 17, 2009, from CQ Researcher Online, <http://library.cqpress.com/cqresearcher/cqresrre2005091600>.

Greeley, Andrew. “Let’s stop harassing couples who finally commit.” U.S. Catholic 66.6 (June 2001): 24. Academic Search Premier. EBSCO. Emerson Library, St. Louis, MO. 17 Apr. 2009 <http://library3.webster.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,cookie,url,uid&db=aph&AN=4464239&site=ehost-live&gt;.

Herold, Edward S., and Marilyn Shirley Goodwin.. “Adamant Virgins, Potential Nonvirgins and Nonvirgins.” Journal of Sex Research 17.2 (May 1981): 97. Academic Search Premier. EBSCO. Emerson Library, St. Louis, MO. 17 Apr. 2009 <http://library3.webster.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,cookie,url,uid&db=aph&AN=5687078&site=ehost-live&gt;.

Hynie, Michaela, and John E. Lydon.. “Commitment, intimacy, and women’s perceptions of premarital sex and contraceptive readiness.” Psychology of Women Quarterly 21.3 (Sep. 1997): 447. Academic Search Premier. EBSCO. Emerson Library, St. Louis, MO. 17 Apr. 2009 <http://library3.webster.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,cookie,url,uid&db=aph&AN=9710106103&site=ehost-live&gt;.

Katel, P. (2007, January 19). Future of the Catholic Church. CQ Researcher, 17, 49-72. Retrieved April 17, 2009, from CQ Researcher Online, <http://library.cqpress.com/cqresearcher/cqresrre2007011900&gt;.

Martin, Paige D., et al. “EXPRESSED ATTITUDES OF ADOLESCENTS TOWARD MARRIAGE AND FAMILY LIFE.” Adolescence 38.150 (Summer2003 2003): 359-367. Academic Search Premier. EBSCO. Emerson Library, St. Louis, MO. 17 Apr. 2009 <http://library3.webster.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,cookie,url,uid&db=aph&AN=11066250&site=ehost-live&gt;.

Masters, William H., and Virginia E. Johnson. The Pleasure Bond: A New Look at Sexuality and Commitment. Boston: Little, Brown and Company, 1974.

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(Another music review I wrote when I was studying in Vienna, Austria. This one is dated April 10, 2011.)


For a change of pace, I went to the Wien Konzerthaus to experience the Aron String Quartet performing several different works. The hall in which they performed was lovely. The ceiling had such intricate design and framework, and the dimensions were excellent for carrying sound.

The performance began with a String Quartet piece by Hanns Eisler. It was certainly twelve-tone and had the 20th Century aspects of atonality about it. I don’t listen to very much atonal music and found this particular piece unsettling and disturbing. I could almost picture a scene with demons dancing around a fire in a forest with the incessant plucking, climbing, stark and sudden dynamic contrasts. There was some form to it that told a story, however disjunct it was.

Next on the program was Maurice Ravel’s String Quartet in F-Major. The first movement, Très doux, or very soft, opened in a very refined and stately style as the first theme was introduced, a stark contrast to what we had previously heard. I felt as if it was describing the nature scene outside of a French estate, following the fluttering adventures of a butterfly. The second theme just floated through the air in wonderful strains, especially from the first and second violin. Movie soundtrack composers may have been inspired by this because I notice similar patterns and musical phrases from shows I have seen. It builds into a frenzied echo of the first theme in a much wilder approach, then settling back into the original feel and flow. Most of the players were expressive as they were performing, except for the viola. He seemed too focused in on the music pages to evoke it through his facial and body expressions. The movement ends on a slight variation of the main theme, slowing to a pause.

Suddenly, the strings burst through in a very catchy theme that they pluck. It makes me think of a more folk, playful, and adventuresome theme. The second movement is written Assez vif, or brisk, which certainly makes sense. I really enjoy watching the first violinist who incorporates his entire body into his performance and expression. His feet are constantly moving, and sometimes they even lift of the floor as he reels back in musical immersion. There are brief allusions to the stated themes in the beginning of the movement throughout as it moves into a slower and darker mood then eventually builds up again into the free-flowing and initial eager outpouring.

The third movement, Très lent or very slow, lives up to its name. The beginning sounds almost like it’s in a harmonic minor key and proceeds with subtlety that echoes a vague resemblance of the first theme but then alters it in a more somber sense. It is very tragic, and you can feel such emotion pouring forth from it. This could almost portray Autumn as things linger as they fade away. You can almost see the wind rustling the fallen leaves in the music. The movement ends after another visitation to the altered first theme lingering in the air with a beautiful chord.

The final movement in this selection jolts you out of your reverie quickly, as it is called Vif et agité, lively and agitated. It is very busy and wild, in a sense. You get the sense that everything is turning in circles about you and building up more and more powerfully. Echoes of themes from the first and second movements burst forth in sudden instances. The idea of leaves being carried on the wind could also be described with this music except in a more intense and motivated sense. One leaf in particular might be carried through the air in winding circles all around the extent of the estate, re-visiting themes and areas previously mentioned in Ravel’s piece. The drama builds until the very last moment with a very delightful ending.

The final piece was Brahm’s Clarinet Quintet in B Minor. The Aron Quartett was joined by Daniel Ottensamer on clarinet. It was an enchanting and dramatic piece. I admit, most of my attention was focused on the clarinetist due to his good looks. That being said, I’m truly being honest when I say that he is the most talented clarinet soloist that I have ever heard. He has amazing tone quality and mastery of technique. When he climbed into the high register, I just sighed happily at the purity of his sound. It did not once break or sound airy like so many clarinets that I hear. I thoroughly enjoyed this musical adventure.



❤ Me

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I’m Addicted

I’m addicted to

This feeling of falling hard

For someone special


It’s something so new

That I’ve never felt before

To this strong degree


But I must be slow

So I do not jinx this hope

That you could be mine



❤ Me

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(I wrote this my senior year in high school, back in October 2007.)

A visit to the movie theatre can be a wonderful experience filled with laughter, tears, and amazement. Purposes for watching films can be for educational means, social reasons, or romantic endeavors. The mood of an exiting crowd is a good determining factor of whether the movie was meaningful or simply average. Audience members often walk out discussing whether they found it good or bad, the purpose being light discussion and not analytical dissection.  However, truly great films leave the audience in silence and wonderment. Sometimes it takes several minutes before a viewer can relate his or her opinion. When a film and its elements forever impact the lives of people, a classic is born. The Lord of the Rings trilogy is a phenomenal example of a timeless tale of fantasy and an epic quest for the triumph of good over evil. Forever will the three films be regarded as legendary when considering their elements of tradition and archetypes as well as their unique style that captures the heart of audiences everywhere.

There are patterns in all aspects of the arts that connect themes and ideas. Basic plot archetypes are a perfect example. In The Lord of the Rings, four hobbits Frodo, Sam, Merry, and Pippin experience rites of passage that forever change their lives. Naïve and simple-minded, the four join a fellowship dedicated to the destruction of the One Ring, a terrible weapon of power created by the Dark Lord Sauron, without weighing the consequences that the quest will bring. Throughout the perilous thirteen-month journey filled with separation and war, they learn the value of friendship, courage, and diversity. At the end, the hobbits are seen as mature and quite able to defend their beliefs and loved ones. The idea of learning lessons is a perfect way to relate one form of art with another.

True love and its obstacles is another element of plot that finds a way into forms of art in every corner of the earth. Aragorn, ranger of the north and heir to the throne of the great city of Gondor, lived among the enchanting race of elves for a time. During his stay in Rivendell, he fell in love with the beautiful Arwen Undomiel, the only daughter of the Lord Elrond. To the dismay of her father, she was willing to give up her immortality in order to spend her life with Aragorn. The war of the ring tore the two lovers apart, Aragorn joining Frodo’s quest and Arwen left to hope that someday she will be reunited with her true love. In the end, Aragorn is crowned king and marries Arwen, uniting both races in a consummation of love and faithfulness for years to come. In virtually all novels and films, the concept of love and devotion is woven into the storyline of the entire work.

Characters, both good and evil, can follow standard archetypes as well. The Lord of the Rings has plenty of examples of standards of individuals and their personality types. Frodo Baggins is a romantic hero that takes it upon himself to bear the burden of the One Ring and embark on a quest to destroy it in the fires of MountDoom from whence it was made. Throughout the long journey, he must rely on personal strength and endurance in order to survive and escape the enemy forces. Frodo is innocent, young, and not without flaws. Very small in stature and at times easily corruptible, he steadily succumbs to the poisonous temptations of the ring, growing weaker and weaker. Romantic heroes, such as Frodo, never brag of their status and maintain a dignity about themselves that inspire culture shifts.

Several other common characters of good can be found in the film. Sidekick Samwise Gamgee is not physically heroic, but he is Frodo’s most valuable and trusted companion throughout the quest. His inspiration and encouragement lead the hero to be the best he can be. Gandalf is the wise old one; he is a philosopher and scholar that is a spiritual guide to all who encounter him. The wizard experiences death and rebirth, being sent back to the lands of Middle Earth to complete his task of aiding Frodo. Arwen is likened to the Madonna, an innocent virgin that is not familiar with the evils and shadows of the world. It is her beauty and vulnerability that help inspire love and hope among the fellowship of the ring. The idea behind these characters is mirrored in all forms of art.

Just as there are beings of good, evil creatures and characters are found throughout The Lord of the Rings. The Dark Lord Sauron is the shadow, an uncivilized and all-powerful being consumed with the desire to dominate all life. He is not clearly seen and appears as a horrific, lidless eye. It is the mention of him and his land of Mordor that ignite fear into all who hear of him. The One Ring can be classified as the seductress. It lures all who come across it into its trap. The wearer of the ring can become invisible and live an unnatural long life, both appealing commodities. As time wears on, the bearer becomes consumed by the ring’s power and is never the same again. Another character archetype is the trickster, portrayed in the film as Gollum. He was once a ring bearer and is reduced to a conniving, thieving creature bent on procuring the One Ring for himself. He uses manipulation, cunning, and deceit in order to reach his goal, not considering anyone other than himself. It is his success in the end at stealing the ring away from Frodo that leads to his death and the ultimate destruction of evil in Middle Earth. Characters such as these and many other types truly add to the tradition of tales passing through all generations.

Although elements of tradition are crucial in defining a masterpiece, it is the individuality of the work of art that sets it apart from others and makes it wonderfully unique. Director Peter Jackson incorporated the breathtaking scenery of New Zealand to depict the lands of Middle Earth, including enchanting forests, vast plains, and majestic mountains. Many different plots were artfully intertwined in a way that made perfect transitional sense throughout the three films. All digital effects were spectacular and brought the world of Middle Earth and its diverse creatures to life. The epic battle scenes are very authentic with varying innovative styles of fighting. ComposerHowardShore created an enthralling film score that incorporated enchanting contributions of famous vocalists and instrumentalists such as Enya, Annie Lennox, Sir James Galway, and Renée Fleming. The Return of the King won the title of Best Picture at the 2004 Academy Awards. All of these aspects promote the monumental and legendary status of the three films.

The Lord of the Rings trilogy left an impact on me personally that forever changed my perception on life and goals for the future. They opened my eyes to the epic battle and fantasy genre of film and novels that have nestled their way onto my shelves of priceless treasures. It was so wonderful to dive into entirely new worlds with new experiences, creatures, and intricacies that made my own standard American life pale in comparison. Because of the fantastic musical scores of the films, my collection of movie soundtracks has grown immensely. I have a dream of one day being able to play the flute in an orchestra or sing in a choir that records for a soundtrack as well. I have made the goal of pursuing acting as a career due to the wonderful portrayal of the characters by the actors. I can’t imagine what my life would have been like if I had never seen the films.

True works of art will withstand the sands of time and endure forever in the hearts of all. Screenwriter Philippa Boyens wrote a fantastic quote intended for Sam in The Two Towers describing the elements of great stories. “…The ones that really mattered. Full of darkness and danger they were. And sometimes you didn’t want to know the end. Because how could the end be happy?” All successful tales are woven in a way that captures an audience, enthralling them and immersing them into a storyline filled with sacrifice, death, hope, and love. “Those were the stories that stayed with you. That meant something.” Elements of plot and characterization intertwine among all stories, allowing people to relate what they observe in art to factors in their own lives. “Folk in those stories had lots of chances of turning back only they didn’t. Because they were holding on to something. That there’s some good in this world…And it’s worth fighting for.” Faith and hope inspire all to overcome trials and obstacles. Without those elements, life would be colorless. It is the driving force of all who aspire to be great. The Lord of the Rings achieves the goal of influencing generations and remaining a source of individuality and tradition for all time.

❤ Me

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(I wrote this literary analysis about two French books entitled Ourika, by Claire de Duras and L’Amant, by Marguerite Duras in December 2009.)

Les émotions sont les aspects les plus puissants mais aussi fragiles de l’esprit. Elles inspirent, motivent, et nous protégeons des influences malheureux dehors. Mais elles ne peuvent pas fonctionnent proprement toujours. Quelque fois nous ne pouvons rien de les contrôler. Ce n’est pas la faute de l’individu, juste une chose ingouvernable. Souvent les gens, nos familles, et nos amis ne comprennent pas comment réagir à notre comportement. Les lecteurs notent les états déprimants, étranges, et aussi fous dans les livres d’Ourika, par Claire de Duras, et l’Amant, par Marguerite Duras. Chaque personne a des réactions uniques au conduit des personnages principales. Mais c’est très facile de les juger sans la compréhension. Comment peut-nous réussir de les comprendre les personnages sans se tromper ce que les auteurs voudraient nous faire voir?

Dans l’œuvre de Claire de Duras, Ourika est une jeune fille de Sénégal qui a grandi dans une maison française et riche. Un jour elle réalise qu’elle n’est pas comme les autres gens de sa classe, particulièrement la différence de race. Sa naïveté était détruite, et elle a succombé à la dépression. La souffrance restait avec elle pour le reste de sa vie. Mais ce n’est pas comme elle ne voulait pas de guérir.  Elle a dit au médecin, « Vous venez voir une personne bien malade…à présent je désire guérir, mais je ne l’ai pas toujours souhaité, et c’est peut-être ce qui m’a fait tant de mal. » (de Duras 4). Son oppression est plus mentale qu’on croit en générale. Et je ne crois pas qu’il était complètement sa faute. Elle fait référence à sa maladie comme « …une oppression continuelle…n’ai plus de sommeil, et la fièvre ne [la] quitte pas. » (4) Aussi, « l’âme vivait encore, mais le corps était détruit » (4). Souvent dans les désordres mentaux, le corps physique ne répond pas à ce que l’esprit veut. La réponse du médecin était frustrante. Il ne comprend pas pourquoi elle refuse de changer des pensées qui peuvent l’aider à réussir son potentiel, et Ourika le sait. Elle a répondu, « Les chagrins que j’ai éprouves…doivent peut-être si étranges, que j’ai toujours senti une grande répugnance à les confier » (5). Quand on révèle une partie fragile de soi-même, on risque beaucoup. Tout le monde n’est pas sympathique aux sentiments des autres, et c’est facile de préjuger. « Il n’y a point de juge des peines des autres, et les confidents sont presque toujours des accusateurs » (5). Tristement à la fin, Ourika n’accepte pas l’aide du médecin. Il a dit, « Je continuai à lui donner des soins : malheureusement ils furent inutiles…elle tomba avec les dernières feuilles de l’automne » (45). Les gens qui souffrent ne succèdent toujours à guérir, spécialement quand ils ne demandent pas de l’aide.

Il y a aussi des instances quand une personne surpris les autres avec leur comportement. La narratrice dans l’Amant, de Marguerite Duras, est un exemple très vivide et mémorable. Elle a les relations dysfonctionnelles avec sa famille et à l’âge de quinze ans et demi, elle rencontre un homme chinois qui a vingt-sept ans et explore la sexualité avec lui pendant plusieurs mois. Sa vie est pleine d’imagination et aventures qu’elle aime de partager sans honte. Les autres, particulièrement sa mère, ne la comprend pas, et « elle sait qu’il ne la connait pas, qu’il ne la connaître jamais, qu’il n’a pas les moyens de connaître tant de perversité » (Duras 48). La narratrice accepte ses différences, même en disant que « c’est dans cette vaillance de l’espèce, absurde, [qu’elle] retrouve la grâce profonde » (117). Peut-être on considère qu’elle n’est pas stable, mais elle aime son imagination et ne veut qu’elle parte. Le bonheur des moments de sa vie ne reste avec elle pour toujours. Elle a des instances de tristesse complète. Quand son petit frère et son enfant sont morts, elle a dit, « Je ne reconnaissais rien, je n’ai plus existé sauf la douleur » (127). Il y a beaucoup des difficultés pour les lecteurs de la comprendre pendant le roman, mais son esprit est très complexe, trop compliqué pour les autres de juger.

Les émotions dans les deux textes m’ont touchée personnellement, et j’ai sympathisé avec leurs situations. Je souffre d’un désordre mental, moi-même, et je peux voir comment elles ne peuvent pas vraiment contrôler leurs actions. Dans ma vie, il y a des instants quand c’est difficile pour les personnes qui me connaissent de me comprendre ou aider. Mais il y a une force interne dans chaque individu qui peut réussir à gagner dans la vie, plus haut des malheurs, et reste ouverte pour les aides de dehors.




❤ Moi

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