A Theme of Victimization in The Thing Around Your Neck explain this as an act of destiny...necessity decreed by History, or Economics, or the Unconscious, or any other great powerful general idea. Each story subtly captures the lives of Nigerians, especially women who struggle to identify their roots in a displaced space. The stories selected from the collection can be grouped into the second basic position of the victim, since the victimization of personal and intimate experiences is excused by other false and immutable causes. Such an idea claims that the mental state of the characters is incapable of moving to the other two positions because they feel the need to be victims of such conditions in their lives, which keep them locked in position two forever. Each of the stories talks about the characters' psychological anxiety which, due to a frenetic environment and political unrest, causes the social and family prejudices they encounter in their daily lives with which they struggle to cope. There are notable female characters who are thrust into similar circumstances, desperate and eager to take a stand to secure their physical and psychological space in life. Even if some of them try to move from the worst to the best, they feel trapped in the fists of a society predominantly occupied by men and their values. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get an original essay Nearly half of the stories are set in Nigeria, where the characters witness social and political differences, and the other half announces the reason for migration mainly towards America, a land which fascinates as much as repels African immigrants. All of these stories describe victims of Position Two, unable to change their situation, despite their attempts to change it. The women in the stories end up being pushed away or uprooted, as there is less space to express their own wishes and desires. All attempt to sacrifice their past in the hope of a new life full of promise, but are pushed to witness the entrapment, physical and psychological, that becomes even more inevitable, especially for immigrants. According to Heather Hewett, the collection of stories has, the stability of the author's view on the psychic spaces that can erupt between close friends and family often produces a heartbreaking effect. Many (but not all) of her characters are women who suddenly find themselves estranged or emotionally displaced and must find the inner strength to confront these distances. Among the stories set in Nigeria, “A Private Experience” features the immediate and brief companionship of two women of contrasting economic, social and religious backgrounds, facing the same social crisis that results from a violent religious conflict in the country. Women are at serious risk of losing a family member when they find shelter in an abandoned store. Chika, a wealthy Igbo Christian practicing doctor, worries for her revolutionary sister Nnedi, while the poor Hausa Muslim woman, who saves Chika, prays for her lost daughter, who was selling peanuts during the riot. The difference in their social and economic status does not change the current problem they are experiencing. Chika feels intimidated, because she thinks that "riots like this are what she read in the newspapers." Riots like this are what happened to other people. The womanA Hausa Muslim woman, who has witnessed many such incidents in her daily life, prays with vain hope. Women's mutual understanding is strengthened by inner compassion towards their families, rather than by the selfish and irrational behavior of men who encourage violence in the name of religious intolerance. The former produces a kind of mutual bond for a peaceful existence, the latter poses a threat to survival. Adichie's story also reveals the bitter secondary status of women who are unable to control devastating conflicts, but who can barely survive by carrying memories of compassion. The women's private cries show her passive acceptance of surviving amid the consequences of the violence and turmoil of her society, as she could only renounce her fate as a "work of evil." It also shows that his “explanation shifts the cause from the real source of oppression to something else.” Women's experience is limited by passivity, as they can only wish for things to happen and not to happen, as they are far from changing their powerless situation. The Hausa woman can only pray to God or curse the destructive forces of society. She is unable to improve her condition, but she experiences inevitable victimization. Chika has no serious belief in the omniscient presence, and so his awareness of the absurdity of life is reflected in the lines: Later, the family will offer masses again and again so that Nnedi will be found safe, but never for the rest of Nnedi's soul. And Chika will think of that woman, praying with her head on the dusty ground, and she will change her mind by telling her mother that offering masses is a waste of money. That this is just a fundraiser for the church. The passage echoes his loss of faith and his long resignation about the futility of existence. Women are like the severely damaged objects in this type of male-created violence, and they are like the "silent witnesses", who do not have to resist but are subject to all dangerous consequences. There is still unrest and anxiety about the repercussions of the violent conflict surrounding them. A sense of evanescence swirls around them with uncertainty about the future. Only women carry bitter memories because they are emotionally dependent on sharing and caring for other human beings. The narrator shows how this type of violence is constituted by the oppressive socio-political ideologies of the ruling classes, and how the interpretation of the source of violence is underestimated as riots triggered by ethnic tensions. It is understandable that the two women, whatever their differences, share a debilitating common situation that cripples their survival. Although there is a positive bond between the women, memorable for a lifetime, unexpected human loss leaves permanent marks on the incongruous nature of survival itself. Jumping Monkey Hill tells the story of a young writer Ujunwa, who is selected to participate in the African Writers' Workshop organized by a domineering white patriarch, Richard. When each participant is asked to write a story for his publication, Ujunwa reads his story about a young girl who left her banking job for the client who insisted on having sex in exchange for policies. The organizer of the workshop, Edward, who has obscene intentions towards Ujunwa, points out an error in his story as inauthentic and implausible, as it does not reflect the real lives of Nigerians. Edward who represents dominant patriarchal white men, who show their arrogance and dominance overblacks struggling to become emboldened. Young women like Ujunwa face sexual abuse and threats throughout society controlled by men in high positions. The source of oppression lies in social institutions that devalue women as objects of sexual desire. Ujunwa is a social victim at risk of economic, cultural and sexual exploitation. Ujunwa feels helpless against the white chauvinist Edward because she is disappointed by the unmistakable attitude of her fellow Africans towards his sexist attitudes. Feeling betrayed by them, she asks, “Why don’t we still say anything? This kind of attitude is why they might kill you and round you up in townships and demand passes from you before you can walk on your own land! Her expression of displeasure towards Richard is simply seen as "anger", as she can no longer complain. The author explains that "often, black women's opposition is characterized as personal, and there is little recognition or concern for the larger issues that may be at the root of the anger and hostility perceived by black women. » The idealization of white Western values by black African men becomes a huge disadvantage for black women because they suffer double victimization. Regarding the victor-victim role explained by Atwood, Edward assumes the former, as he derides her story as "agenda writing" that does not reflect the original lives of Africans. Although his arrogance is revealed through his hypocritical and prejudiced remarks when reviewing his story: “Women are never victims in this crude way and certainly not in Nigeria. Nigeria has women in high positions. The most powerful minister today is a woman. Ujunwa could not openly show her anger at him because she is locked into the need to earn a living as a writer. This also implies that freedom of speech is also crippled along with her soul, as she feels that the victim role is inevitable. Although Ujunwa escapes her previous humiliating banking job that required her sexual servitude, she must face another new form of subjugation from the condescending Edward. The lack of choice leads him to accept his own victimhood as the sources of survival become a question. More clearly, “it is the necessity decreed by the economy” that Ujunwa presupposes his own need to be a victim. This is another type of psychological entrapment, as the story shows the real condition of unemployed women struggling to overcome poverty. “The American Embassy” presents another attempted exile of a woman who lost her child at the hands of cold-hearted soldiers who are searching for her journalist husband for writing an article against the head of state. While she attempts to flee on an asylum visa to America, due to the death of her son Ugonna, she ultimately fails, lacking any evidence to produce to prove the government's involvement in his murder. The despotic arrogance of the military regime spoiled this woman's “new life” that she had led since the birth of her son. The main character of The American Embassy resembles what Atwood calls in her analysis "the ultimate victim of social oppression and deprivation." The basic game of Position Two is the Victor/Victim role. The anonymous woman is obviously a victim of Nigeria's oppressive politics, where the victors are the men who work at the head of a despotic government that crushes its detractors and those who oppose it. The horror of merciless violencewitnessed by the mother shows the difficult situation of survival in the country. The memory of the tragedy cannot be erased from mental space so easily. Adichie shows the mother's grief: Dr. Balogun... had refused to give her more tranquilizers because it was quite easy for him to say that, as if she knew how to keep her mind blank... as if she invited these images of her son Ugonna's chubby little body collapsing before her, the splashes on his chest so red she wanted to scold him for playing with the palm oil in the kitchen. It is Ugonna's mother who is directly affected by the autocratic regime in Nigeria. Adichie shows how the lives of Nigerians were in crisis, their sudden transformation as they could not have any control over their lives. A reversed situation arises in a shorter period of time and gives rise to the anxiety of an inexorable destiny. Adichie shows the reduced existence of the civilians by designating them in a condensed sentence to show the transience of their lives: “Two days ago, she had buried her child in a grave near a vegetable garden in their ancestral town of Umunnachi... the day before, she had driven her husband in the trunk of their Toyota... which smuggled him out of the country... And the day before, she did not need to take an ID photo; his life was normal... This generates in her a permanent guilt for failing to protect her son, and feels even more guilty for even saving her selfish husband to escape Nigeria, leaving her son's life in the balance for the moment. She has been deprived of the voice to demand justice, since it is orchestrated by the corrupt politician in the state. A wave of indelible guilt washed over her as “She held Ugonna's body, rested her cheek against his calm chest and realized that she had never felt so ashamed. She had let him down. All the losses and guilt are reserved for women like her, as she imbibes more from her family than from her husband, who quickly runs away without caring for his family. Adichie presents the discouraging condition of people who flee their own homeland and seek refuge in the other, which is not entirely favorable to their arrival. The civilians' desperate attempt comes from a lack of choice. This shows how people are designed to take quick solutions and accustomed to the circumstances of life. The man standing next to her in the visa queue recommends what might have been the common suggestion of desperate Nigerians who want to rid themselves of the tainted nation in order to survive peacefully: "It sounded like the voices who surrounded him, the people who helped... Tell them about Ugonna, what he was like, but don't overdo it, because every day people lie to them to get asylum visas, about deceased parents who were never even born. Make Ugonna real. Cry, but don't cry too much. Men like the so-called political activist husband become fugitive and reckless in times of crisis. The journalist husband who is ostensibly courageous and patriotic is the one who selfishly rushes away, leaving his family behind in danger. When Ugonna's mother arranges for his safe escape from the country, he does not even speak a word of care to his family until he reaches the other country safely. Adichie says women are emotionally connected to their families, unlike men, who always present themselves as individuals who are committed to the welfare of society as one of the "truly brave men." to save Nigeria, even if “it was not courage, it was simply excessive selfishness”. 136. The social and political participation of women is considered.”.

Essay / A Theme of Victimization in The Thing Around Your Neck explain this as an act of destiny...necessity decreed by History, or Economics, or the Unconscious, or any other great powerful general idea. Each story subtly captures the lives of Nigerians, especially women who struggle to identify their roots in a displaced space. The stories selected from the collection can be grouped into the second basic position of the victim, since the victimization of personal and intimate experiences is excused by other false and immutable causes. Such an idea claims that the mental state of the characters is incapable of moving to the other two positions because they feel the need to be victims of such conditions in their lives, which keep them locked in position two forever. Each of the stories talks about the characters' psychological anxiety which, due to a frenetic environment and political unrest, causes the social and family prejudices they encounter in their daily lives with which they struggle to cope. There are notable female characters who are thrust into similar circumstances, desperate and eager to take a stand to secure their physical and psychological space in life. Even if some of them try to move from the worst to the best, they feel trapped in the fists of a society predominantly occupied by men and their values. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get an original essay Nearly half of the stories are set in Nigeria, where the characters witness social and political differences, and the other half announces the reason for migration mainly towards America, a land which fascinates as much as repels African immigrants. All of these stories describe victims of Position Two, unable to change their situation, despite their attempts to change it. The women in the stories end up being pushed away or uprooted, as there is less space to express their own wishes and desires. All attempt to sacrifice their past in the hope of a new life full of promise, but are pushed to witness the entrapment, physical and psychological, that becomes even more inevitable, especially for immigrants. According to Heather Hewett, the collection of stories has, the stability of the author's view on the psychic spaces that can erupt between close friends and family often produces a heartbreaking effect. Many (but not all) of her characters are women who suddenly find themselves estranged or emotionally displaced and must find the inner strength to confront these distances. Among the stories set in Nigeria, “A Private Experience” features the immediate and brief companionship of two women of contrasting economic, social and religious backgrounds, facing the same social crisis that results from a violent religious conflict in the country. Women are at serious risk of losing a family member when they find shelter in an abandoned store. Chika, a wealthy Igbo Christian practicing doctor, worries for her revolutionary sister Nnedi, while the poor Hausa Muslim woman, who saves Chika, prays for her lost daughter, who was selling peanuts during the riot. The difference in their social and economic status does not change the current problem they are experiencing. Chika feels intimidated, because she thinks that "riots like this are what she read in the newspapers." Riots like this are what happened to other people. The womanA Hausa Muslim woman, who has witnessed many such incidents in her daily life, prays with vain hope. Women's mutual understanding is strengthened by inner compassion towards their families, rather than by the selfish and irrational behavior of men who encourage violence in the name of religious intolerance. The former produces a kind of mutual bond for a peaceful existence, the latter poses a threat to survival. Adichie's story also reveals the bitter secondary status of women who are unable to control devastating conflicts, but who can barely survive by carrying memories of compassion. The women's private cries show her passive acceptance of surviving amid the consequences of the violence and turmoil of her society, as she could only renounce her fate as a "work of evil." It also shows that his “explanation shifts the cause from the real source of oppression to something else.” Women's experience is limited by passivity, as they can only wish for things to happen and not to happen, as they are far from changing their powerless situation. The Hausa woman can only pray to God or curse the destructive forces of society. She is unable to improve her condition, but she experiences inevitable victimization. Chika has no serious belief in the omniscient presence, and so his awareness of the absurdity of life is reflected in the lines: Later, the family will offer masses again and again so that Nnedi will be found safe, but never for the rest of Nnedi's soul. And Chika will think of that woman, praying with her head on the dusty ground, and she will change her mind by telling her mother that offering masses is a waste of money. That this is just a fundraiser for the church. The passage echoes his loss of faith and his long resignation about the futility of existence. Women are like the severely damaged objects in this type of male-created violence, and they are like the "silent witnesses", who do not have to resist but are subject to all dangerous consequences. There is still unrest and anxiety about the repercussions of the violent conflict surrounding them. A sense of evanescence swirls around them with uncertainty about the future. Only women carry bitter memories because they are emotionally dependent on sharing and caring for other human beings. The narrator shows how this type of violence is constituted by the oppressive socio-political ideologies of the ruling classes, and how the interpretation of the source of violence is underestimated as riots triggered by ethnic tensions. It is understandable that the two women, whatever their differences, share a debilitating common situation that cripples their survival. Although there is a positive bond between the women, memorable for a lifetime, unexpected human loss leaves permanent marks on the incongruous nature of survival itself. Jumping Monkey Hill tells the story of a young writer Ujunwa, who is selected to participate in the African Writers' Workshop organized by a domineering white patriarch, Richard. When each participant is asked to write a story for his publication, Ujunwa reads his story about a young girl who left her banking job for the client who insisted on having sex in exchange for policies. The organizer of the workshop, Edward, who has obscene intentions towards Ujunwa, points out an error in his story as inauthentic and implausible, as it does not reflect the real lives of Nigerians. Edward who represents dominant patriarchal white men, who show their arrogance and dominance overblacks struggling to become emboldened. Young women like Ujunwa face sexual abuse and threats throughout society controlled by men in high positions. The source of oppression lies in social institutions that devalue women as objects of sexual desire. Ujunwa is a social victim at risk of economic, cultural and sexual exploitation. Ujunwa feels helpless against the white chauvinist Edward because she is disappointed by the unmistakable attitude of her fellow Africans towards his sexist attitudes. Feeling betrayed by them, she asks, “Why don’t we still say anything? This kind of attitude is why they might kill you and round you up in townships and demand passes from you before you can walk on your own land! Her expression of displeasure towards Richard is simply seen as "anger", as she can no longer complain. The author explains that "often, black women's opposition is characterized as personal, and there is little recognition or concern for the larger issues that may be at the root of the anger and hostility perceived by black women. » The idealization of white Western values by black African men becomes a huge disadvantage for black women because they suffer double victimization. Regarding the victor-victim role explained by Atwood, Edward assumes the former, as he derides her story as "agenda writing" that does not reflect the original lives of Africans. Although his arrogance is revealed through his hypocritical and prejudiced remarks when reviewing his story: “Women are never victims in this crude way and certainly not in Nigeria. Nigeria has women in high positions. The most powerful minister today is a woman. Ujunwa could not openly show her anger at him because she is locked into the need to earn a living as a writer. This also implies that freedom of speech is also crippled along with her soul, as she feels that the victim role is inevitable. Although Ujunwa escapes her previous humiliating banking job that required her sexual servitude, she must face another new form of subjugation from the condescending Edward. The lack of choice leads him to accept his own victimhood as the sources of survival become a question. More clearly, “it is the necessity decreed by the economy” that Ujunwa presupposes his own need to be a victim. This is another type of psychological entrapment, as the story shows the real condition of unemployed women struggling to overcome poverty. “The American Embassy” presents another attempted exile of a woman who lost her child at the hands of cold-hearted soldiers who are searching for her journalist husband for writing an article against the head of state. While she attempts to flee on an asylum visa to America, due to the death of her son Ugonna, she ultimately fails, lacking any evidence to produce to prove the government's involvement in his murder. The despotic arrogance of the military regime spoiled this woman's “new life” that she had led since the birth of her son. The main character of The American Embassy resembles what Atwood calls in her analysis "the ultimate victim of social oppression and deprivation." The basic game of Position Two is the Victor/Victim role. The anonymous woman is obviously a victim of Nigeria's oppressive politics, where the victors are the men who work at the head of a despotic government that crushes its detractors and those who oppose it. The horror of merciless violencewitnessed by the mother shows the difficult situation of survival in the country. The memory of the tragedy cannot be erased from mental space so easily. Adichie shows the mother's grief: Dr. Balogun... had refused to give her more tranquilizers because it was quite easy for him to say that, as if she knew how to keep her mind blank... as if she invited these images of her son Ugonna's chubby little body collapsing before her, the splashes on his chest so red she wanted to scold him for playing with the palm oil in the kitchen. It is Ugonna's mother who is directly affected by the autocratic regime in Nigeria. Adichie shows how the lives of Nigerians were in crisis, their sudden transformation as they could not have any control over their lives. A reversed situation arises in a shorter period of time and gives rise to the anxiety of an inexorable destiny. Adichie shows the reduced existence of the civilians by designating them in a condensed sentence to show the transience of their lives: “Two days ago, she had buried her child in a grave near a vegetable garden in their ancestral town of Umunnachi... the day before, she had driven her husband in the trunk of their Toyota... which smuggled him out of the country... And the day before, she did not need to take an ID photo; his life was normal... This generates in her a permanent guilt for failing to protect her son, and feels even more guilty for even saving her selfish husband to escape Nigeria, leaving her son's life in the balance for the moment. She has been deprived of the voice to demand justice, since it is orchestrated by the corrupt politician in the state. A wave of indelible guilt washed over her as “She held Ugonna's body, rested her cheek against his calm chest and realized that she had never felt so ashamed. She had let him down. All the losses and guilt are reserved for women like her, as she imbibes more from her family than from her husband, who quickly runs away without caring for his family. Adichie presents the discouraging condition of people who flee their own homeland and seek refuge in the other, which is not entirely favorable to their arrival. The civilians' desperate attempt comes from a lack of choice. This shows how people are designed to take quick solutions and accustomed to the circumstances of life. The man standing next to her in the visa queue recommends what might have been the common suggestion of desperate Nigerians who want to rid themselves of the tainted nation in order to survive peacefully: "It sounded like the voices who surrounded him, the people who helped... Tell them about Ugonna, what he was like, but don't overdo it, because every day people lie to them to get asylum visas, about deceased parents who were never even born. Make Ugonna real. Cry, but don't cry too much. Men like the so-called political activist husband become fugitive and reckless in times of crisis. The journalist husband who is ostensibly courageous and patriotic is the one who selfishly rushes away, leaving his family behind in danger. When Ugonna's mother arranges for his safe escape from the country, he does not even speak a word of care to his family until he reaches the other country safely. Adichie says women are emotionally connected to their families, unlike men, who always present themselves as individuals who are committed to the welfare of society as one of the "truly brave men." to save Nigeria, even if “it was not courage, it was simply excessive selfishness”. 136. The social and political participation of women is considered.”.

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