Identity in Theodore Dreiser’s Sister Carrie

Identity in Theodore Dreisers Sister Carrie is noticeably connect 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 everlastingly enacted as a establishation agency. Social identities be no more real than acted roles on stage, since they be all performed. Dreiser structurally contrast the rising and move; success and failure of Carrie and Hurstwood through 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(a) and downward movements of each Carrie and Hurstwood, are directly overlapped, showing how they represent a single somebodys life earlier than two separate bes. In chapter 38, Dreiser d raws an analogy between the eccentric of work Carrie is doing and the common laborers. He states, Girls who good deal brook in a line and carry pretty are as numerous as laborers who can swing a pick (276). This is the job that Carrie issue forths, one that is expendable and meaningless.

Working in a ditch is far press down than being in a Broadway show in footing of status, all the same the work is compared as if identical. Later in the falsehood Hurstwood sign ups a job as a motorman, which is also great to the reinvigorated because it is a staged event. Hurstwood is facing reality for the seto ff fourth dimension with this strike. Thou! gh 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: OrderCustomPaper.com

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