In What ways is Sexuality portrayed as central to the conflicts of the individual-v-society in Ken Kesey's 'One flew over the cuckoo's nest' and Tennessee Williams 'A street car named desire'?

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In What ways is Sexuality portrayed as central to the conflicts of the individual-v-society in Ken Kesey’s ‘One flew over the cuckoo’s nest’ and Tennessee Williams ‘A street car named desire’?

The capacity of sexual feelings within the individual is central to both the development and fundamental basis of any significant character. As observed in both ‘One flew over the cuckoos nest’ (AKA Cuckoo’s nest) and ‘A Street car named desire’ (AKA. St. car) sexuality emerges as a principal device used in defining a character to the audience. By the reliance on and close association of the text with the stereotypical characters found within society, the characters presented to the audience can be made more identifiable with. The physical description of a character can therefore be said to be symbolic of its sexuality, “Broad across the jaw…shoulders and chest” and in likening a description to a stereotype “I fight and fuh..too much” this can be greater reinforced. As you can see the physical description of McMurphy is twinned with boastful memoirs of his masculinity via his sexual prowess. This also being evident in St. car with the introduction of the character Stanley Kowalski, “blood stained package” is symbolic of the instinctive masculine act of the hunter-gatherer, this in collaboration with the description that precedes it “Roughly dressed in blue denim work clothes” suggests to the audience that Stanley, like McMurphy is a strongly masculine heterosexual male. The connotations that stem from the appearance of both characters reinforce their image, thus assigning them with the recognisable stereotype of a virile and rebellious male. Their appearances can consequently be said to be greatly symbolic of their role within the narrative. The use of colour is also symbolic of character sexuality “Red hots!!” or “face and neck the colour of oxblood leather”, Red is symbolic of passion and is connected to McMurphy and Stanley, whereas the colours “ivory” and “pale blue” are used in describing the weaker characters that deny sexuality. The individuals’ role within the narrative is dependant on the conflict that arises, in these texts, due to variations within their own sexuality and society’s subsequent reactions. Sexual imagery also surrounds the characters; McMurphey and Stanley further giving, once more, indication of their sexuality “big stiff thumb” or “having those coloured lights going”, more subtly there is also animalistic imagery “Stanley stalks fiercely”. The images constructed are emblematic of the characters sexuality in the same way as the physical descriptions previously. Sexuality being established in a variety of ways to then allow a character to be fully established, in doing so a character can be categorized into a stereotype which means the audience can then envisage a potential outcome by using the rules of conventionalism that are assigned with a stereotype. Despite the typecast of these two characters through sexuality, the narrative that surrounds each is unique. This uniqueness allows the fight each one pursues against society “The Combine”, to be individualised, thus enhancing reader/audience interest. Alternatively, the similarities that do exist between the two characters; the stereotypical appearance and personality, demands a degree of familiarity, thus enabling the audience to relate, making the theme of both the novel and the play cathartic and reflective upon society.

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Both of the texts raise questions regarding society and the need for conformity, meaning characters that are deviant are forced into conflict with themselves or society. This idea is reflected in both texts in two forms, including homosexuality and insanity. The character Harding from Cuckoo’s nest and the sub-character of Blanches boy husband in St. Car are both representative of the sexual prejudice in society against homosexuality, addressed by both texts. Harding is described in a femine manor “Slim ivory hands”, insinuating that he is a repressed homosexual; again validating that appearance symbolises and reflects sexuality. The introduction of ...

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There is some thoughtful analysis here with some well-made and well-supported points, though with some weakness in conclusions drawn. The concluding paragraph is a fair attempt to summarise the main findings of the discussion, relating these back to the statements in the introduction. Paragraph and sentence construction are frequently weak, with some poor punctuation, but generally the lexis is up to the job. 3 stars