Identity in Theodore Dreiser’s Sister Carrie

Identity in Theodore Dreisers Sister Carrie is noticeably tie in to the shoddy world of action.         The characters sense of self seems to be found entirely on the money and other commodities he or she possesses; it is in any case portrayed to be ceaselessly enacted as a arrayation place. Social identities be no more real than acted roles on stage, since they are all performed. Dreiser structurally contrast the rising and move; success and failure of Carrie and Hurstwood by dint of 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 upward and downward movements of each Carrie and Hurstwood, are directly overlapped, showing how they represent a single somebodys life kind of than two separate bes. In chapter 38, Dreiser draws a n analogy between the showcase of work Carrie is doing and the common laborers. He states, Girls who good deal survive in a line and carry pretty are as numerous as laborers who can swing a pick (276). This is the job that Carrie produces, one that is expendable and meaningless.

Working in a ditch is far press down than being in a Broadway show in footing of status, still the work is compared as if identical. Later in the falsehood Hurstwood overhears a job as a motorman, which is also great to the refreshful because it is a staged event. Hurstwood is facing reality for the setoff beat with this strike. Though in these two jobs they both demand the role of acting and Carries motions get her more stardom as Hur! stwoods 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: OrderEssay.net

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