In The Story of an Hour, the window is the main symbol.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

In The Story of an Hour, the window is what symbolizes Mrs.

Louise Mallard, the victim and messenger of this story, is the image of such a person....

What is the possible meaning of the story's last line?

New historicism is primarily concerned with the ways in which social power relations are embedded in language. Recognizing the textuality of history, critics agree that a range of texts, including literature, may generate subversive insights. However, they maintain that any potential for real subversion will be undercut and contained by the text itself. This significant principle of new historicist thinking emphasizes that ultimately there is no space in literature for effective resistance to authoritative social power. All texts will eventually contain and undermine their potential for subversion by submitting to and reinforcing the dominant social thinking of the day. Such customary pessimism for new historicist thinking has been the target of criticism, but practitioners nevertheless maintain that texts may point towards subversion, but they will surrender to the practice they expose. A new historicist approach to literary analysis will therefore illustrate the ways in which ideological practices always short-circuit any real challenge to prevailing power relations in society.

What is the thesis of "The Story of an Hour"? | eNotes

New historicism is influenced by cultural anthropology. Critics practise literary analysis with a method of ‘thick description’, a term coined by Clifford Geertz in his book (1973). Geertz explains this practice with an example of two boys winking. In essence, he argues that the thinnest description of their behaviour – a factual account without any interpretation – will deem the boys’ action an involuntary twitch of the eye. On the other hand, a thick description will suggest that the wink is deliberate behaviour that could be sending a message or code understood by the two boys. New historicists would decode the message with closer examination and contextual analysis to produce a thick description that incorporates a commentary and interpretation of the act and its power relations.

An Examination of the Story of an Hour by Kate Chopin

New historicists give equal critical weight to analysing the ways in which literature and historical texts negotiate social and political power. The literary text is not prioritized in any new historicist essay. Critics might examine the life of the author and look at traditional historical sources like newspaper reports, letters or journal accounts or cast their net more widely to look at medical or penal records, advertisements or other more obscure documentary sources. Analysing this variety of texts alongside literature enables new historicists to find evidence of widespread power structures operating in society. They then identify potential patterns of subversion that expose networks of power operating across texts. A combined critical focus on literature and historical texts permits the identification of what Greenblatt terms ‘social energies’, which he suggests are encoded across different types of text. Practitioners of new historicism established a pattern for analysis that often begins by citing a single documentary anecdote. The anecdote might initially appear far removed from the concerns of the literary text in question, but by analysing connections across the diverse texts, critics are able to actively expose similar social concerns and power relations in evidence in both. New readings of history and literature allow critics to demonstrate the ways in which pervasive power structures operate in different types of text within a particular society at a particular time.

Thesis statement for the story of an hour | set paper …

There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

The Story of an Hour Essay - 766 Words - StudyMode

Beyond the question of female independence, Louise seems to suggest that although Brently Mallard has always treated their relationship with the best of intentions, any human connection with such an effect of permanence and intensity, despite its advantages, must also be a limiting factor in some respects. Even Louise's physical description seems to hint at her personality, as Chopin associates her youthful countenance with her potential for the future while mentioning lines that "bespoke repression and even a certain strength." Although neither her sister nor Brently's friend Richards would be likely to understand her point of view, Louise Mallard embraces solitude as the purest prerequisite for free choice.

Thesis Of The Story Of An Hour - Essay About Culture …

Power and Michel Foucault’s interest in the ways in which this operates in society has been the main theoretical influence on new historicism. The examination of diverse texts can uncover the extent to which power relations organize and promote accepted social thought and behaviours through discourse – language that signifies a conventional and authoritative way of thinking acceptable to society at a particular time. New historicists argue that dominant discourses organize society in ways that make any challenge to endorsed patterns of thinking appear deviant. Greenblatt suggests that even ideas of selfhood are formed as a result of the power-based relations that are embedded in social discourse. He calls this self-fashioning and explains that subjectivity becomes less an act of autonomous self-creation and more the shaping of self to comply with an authoritative social power. In new historicist terms, subjectivity itself becomes a type of performance, with identities produced or fashioned to conform to mechanisms of social discipline that serve dominant cultural needs.