Identity in Theodore Dreisers Sister Carrie is noticeably cerebrate to the shoddy world of action. Â Â Â Â Â Â Â Â The characters sense of self seems to be ground entirely on the money and other commodities he or she possesses; it is in any case portrayed to be constantly enacted as a maintaination social function. Social identities be no more real than acted roles on stage, since they atomic number 18 all performed. Dreiser structurally contrast the rising and move; success and failure of Carrie and Hurstwood with their performances. Chapters 38-42 in Sister Carrie, exhibit the contrast between Hurstwoods theatrical aspects of the strike and Carries chorus line in the theater through Hurstwoods role and performance in the strike and Carries performance on stage. Dreiser, through the upwardly and downward movements of each Carrie and Hurstwood, are directly overlapped, showing how they represent a single somebodys life quite an than two separate existences . In chapter 38, Dreiser draws an analogy between the typesetters case of work Carrie is doing and the common laborers. He states, Girls who good deal fend for in a line and carry pretty are as numerous as laborers who can swing a pick (276). This is the job that Carrie make waters, one that is expendable and meaningless.
Working in a ditch is far press down than being in a Broadway show in footing of status, unless the work is compared as if identical. Later in the falsehood Hurstwood pops a job as a motorman, which is also great to the fabrication because it is a staged event. Hurstwood is facin g reality for the setoff m with this strik! e. Though in these two jobs they both demand the role of acting and Carries motions get her more stardom as Hurstwoods motions get him further into his downfall. This shows the rise of Carrie and how she is taking over the role... If you call for to get a full essay, order it on our website:
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