Sociology term papers-Term paper on A&P

下面为大家整理一篇关于Sociology term papers-Term paper on A&P代写范文，供大家参考学习。“a & P”是一个关于自由和异化这两个概念之间的冲突的故事，通过女孩们“亵渎”的进入a & P，这两个概念突然面对面。这段摘录的真正趣味在于这种对抗的不同维度，因为它基于三种主要的对抗类型，依赖于美学，经济学和社会学。

The reason for Sammy's withdrawal was due to his sudden abandonment of his sense of freedom was also well published in the sentence: In addition to swimsuit walking among the three girls I detected in the third slot the free behavior of the girl with Sammy's era of slavery.

In conclusion, "A & P" is a story about the conflict between the two concepts of freedom and alienation, which suddenly come face to face through the girls' "profane" entry into A & P.

What's really interesting about this excerpt is the different dimensions of this confrontation, because it's based on three main types of confrontation, depending on aesthetics, economics, and sociology.

The aesthetic side of the story is against youth (symbolizing beauty) and aging (corrupting everything and making people ugly). This, of course, refers to the contrast between the girls' angelic beauty (with strong erotic overtones) and the loathed, browless faces of their mid-fifties with rouge on their cheekbones.

The economic level of the story is based on the business activities in the city and the conflict between the girls from the beach laziness: like I said, we are in the middle of town, if you stand in our front door you can see two Banks and Congregational Church (symbol, to some extent, the narrow ethics) and newspaper shops and three real estate office and about old age of 2067 side-door tearing up the central street, because the drain was bad. We're not on the Cape of Good Hope; We're just north of Boston, and no one in this town has seen the ocean in 20 years.

The third dimension of the story, the sociological dimension, begins with the previous dimension. It's against people suffering under job alienation or social norms, against girls who look like they look like they look like they have no past, no story, no family, no social status. This is especially evident as we read: a few household slaves with curling irons even look around as they push their wheelbarrows past to make sure they're seeing the right thing; Anyway, these are usually women with six children, their legs are full of varicose veins, and now her hands are empty, no rings or bracelets, bare as God made them, I don't know where the money came from.

All of these antagonisms can lead to verbal conflict between the girl and the manager, during which the pressure of social norms becomes unbearable, especially for Sammy. But I wouldn't describe his decision to resign as an irrational one, driven solely by his desire to be the queen's unexpected hero

On the contrary, I think the contrast exposed by the girl entering A & P had A strong trigger effect on him. Of course the girl's behavior was very aggressive, but it helped Sammy to make his decision.

In fact, I'm sure that Sammy is mentally ready to regain the freedom that he probably never had. This fact can be inferred from Sammy's very critical description of his life. He is aware of his alienation, which is manifested in the mechanical tissue of the A &P channel, the light bulb, the six packs of candy, the plastic toys wrapped in cellophane.

He is also aware of the social pressure from the family (now, the sad part of the story comes, at least my family says it's sad, but I don't think it's sad; Sammy, you don't want to do this to your parents) and his manager (he [Rangel] doesn't like my smile).

So Sammy's decision was very fair and brave. His future became uncertain, of course, because he gave up this dead end job, but that was the price of freedom, because he didn't become an iron man like Lengel (and perhaps to some extent like all of us), as the last two sentences imply:

I looked back at the big window, and over the bags of peat moss and aluminum lawn furniture that lay on the sidewalk, I could see Rengel in my place, inspecting the sheep. His face was dark gray, and his back stiffened as if he were just an iron injection.

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