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Where are you going where have you been interpretive essay

Arnold Friend and the narration are seducing due to the invasion and creation of space within the story.

While this is certainly true, I would argue that seduction functions in much the same way as horror and that horror lends itself to the seduction of the story. While Connie is seduced, the audience is seduced by the thrill and horror of suspense.

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Of equal concern however, is the lack of spacial limitations. In other words, writing a fictional narrative creates both a figurative and literal space in which characters and actions reside.

  • In other words, writing a fictional narrative creates both a figurative and literal space in which characters and actions reside;
  • The information Arnold has is a representation of the interpretive space knowledge creates;
  • While Connie is seduced, the audience is seduced by the thrill and horror of suspense;
  • Bucknell University Press, 1985;
  • Seduction, Space, and a Fictional Mode.

Even the creation of two distinct imaginative spaces, home and the outside world causes a subtle seduction. Not only does Arnold literally stand outside the home but he is also representative of the outside world and alternate reality Connie has created. More space is created between Connie and Arnold through his sunglasses.

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However, the physical space between Connie and Arnold shrinks as he leans toward her and the screen door which she allows to close becomes the only flimsy barrier between them.

Connie and her innocent naivety could be any teenager, making her relatable and minimizing the distance between the story and reality. Framing the story in reality allows allows Oates to build a readily accessible interpretive space.

  • She is trapped in the space between her terror and the calling for help Oates 136;
  • Connie must further grapple with space as she attempts to call for help;
  • He tells her, "I took a special interest in you, such a pretty girl, and found out all about you;
  • In other words, writing a fictional narrative creates both a figurative and literal space in which characters and actions reside;
  • The information Arnold has is a representation of the interpretive space knowledge creates;
  • Not only does Arnold literally stand outside the home but he is also representative of the outside world and alternate reality Connie has created.

The years between the two are not the only distances between them. Connie actively seeks freedom and an individual identity yet her sister is content to work at her old high school and live at home.

As the imaginative space between Arnold and Connie narrows the scope for interpretive space widens. The information Arnold has is a representation of the interpretive space knowledge creates. Yet this is the exact physical space that Connie craves from her family. Connie must further grapple with space as she attempts to call for help.

Expert Answers

The phone becomes the liminal point between safety and horror. The terror of such a vast expanse between the two paralyzes her.

  1. However, the physical space between Connie and Arnold shrinks as he leans toward her and the screen door which she allows to close becomes the only flimsy barrier between them.
  2. Connie actively seeks freedom and an individual identity yet her sister is content to work at her old high school and live at home.
  3. More space is created between Connie and Arnold through his sunglasses. Yet this is the exact physical space that Connie craves from her family.

She is trapped in the space between her terror and the calling for help Oates 136. Seduction, Space, and a Fictional Mode. Bucknell University Press, 1985. University of Nevada, Las Vegas.