Are Women Slaves to Beauty? What does it take to feel beautiful? Perhaps a little bit of time, make-up, and a breathtaking dress; or at least that's what we have been programmed to believe. Without a doubt, all of the magazines, advertisements, and make-up beauty tips have influenced women’s beliefs about what it means to be beautiful. An artificial image of beauty has been imposed on each and every woman in our culture. I would like to begin with the fact that women have always been known to dedicate their time to beauty. Those who are devoted to their appearance most often believe that beauty brings power, popularity, and success. Women believe this, because they grow up reading magazines that picture beautiful women in successful environments; not to mention they are popular models and world famous individuals. Beautiful women are no longer just a priority for most advertising, but we have become a walking target for the working class employers. It is documented that better-looking attorneys earn more than others after five years of practice, which was an effect that grew with experience (Biddle, 172). We cannot overlook the fact that it is always the most popular and most beautiful girl who becomes homecoming-queen or prom-queen. While these are possible positive effects of the "beauty myth," the negative results of female devotion to beauty undercut this value. These effects are that it costs a lot of money, it costs a lot of time, and in the long run, it costs a lot of pain. First, women spend huge amounts of money to improve their looks. So here we are unable to escape the reality that we can never be flawless or blemish free; moreover, as long as women have the belief that all greatness de... ... middle of paper ... ...take pleasure in making yourselves up "is like telling you to stop enjoying food, sex, or love" (Newsweek vl127, 68). Just don't let it run your life, and stop feeling that beauty should be valued by what is seen on the outside. Now go out, buy your Prom dress, and do it for fun. Not for who or what you should be. Works Cited Biddle, Jeff E & Hamermesh, David S. (1998). Beauty, Productivity, and Discrimination: Lawyers' Look and Lucre. Journal of Labor Economics, 16(30). 172. Morin, Carole. (1997). Dead Glamorous. UK: National Publishing Company. Malkin, Carole. (1990, February), True Colors-Make-Up That's Tailor-made for You. Working Woman, 104. Schmid, Wendy. (1994, August). Making Up. Vogue, 198. Lieberman, Rhonda. (1995, April). Guys and Dolls. Artform, 21. Springen, Karen. (1996, June). Eyes of the Beholders. Newsweek, 68.
What woman doesn't want to be beautiful? Women want to please and will go to extreme measures to achieve the beauty ideal. Over the centuries, women have mauled and manipulated just about everybody part - lips, eyes, ears, waists, skulls, foreheads, stomachs, breasts and feet - that did not fit into the cookie-cutter ideal of a particular era's ideal of beauty and perfection. Women have suffered, sacrificed and punished themselves under the tyranny of beauty.
In the essay “What Meets the Eye”, Daniel Akst explains scientific facts about the beauty of men and women matters to people. He argues that attractive individuals receive attention, great social status, marries, and gets paid more on a job. One can disagree with Akst’s argument because anyone with the skills and knowledge, despite the appearance, can gain a decent relationship and can get paid well. Akst looks at beauty as if it can lead individuals to an amazing and successful life, but he is wrong. Nancy Mairs’ and Alice Walker’s views on beauty are explained internally and through self-confidence. Both women’s and Akst’s arguments on beauty share some similarities and differences in many ways, and an
This is an extremely high relief sculpture made of limestone. It is to be viewed from a frontal standpoint. It however does have a potential for movement. There seems to be a great deal going on in such a close space. It is very crowded, but dramatic. The figures are intertwining with each other all at once even though there are different things happening. It reminds me of a play with scenes. You can actually step in to it and feel as though you are a part of what is happening because of all the different directions each individual is facing.
When making an adaptation there are several questions one has to answer, “What has to be changed so a modern audience can “relate” to a story like The Iliad?” and “Do we as the media creators try to tackle the epic story that is The Iliad or instead focus on one of the background stories?” This is what Madeline Miller the author of The Song of Achilles chose to do, she focused on the relationship between Achilles and Patroclus. Miller approaches the story from the sidelines by using Patroclus, Achilles companion and in Miller’s adaptation, lover. Despite deities and fate, despite prophecies and strategies, Miller focuses her novel on a human relationship and although this adaptation has an audience with different expectations and values it
A Soundtrack To Black History was primarily a suited musical about inequality and segregation. Prairie View A&M University which started as a plantation and then developed into the second public coed institution of higher education. The play was primarily about how prairie view was from the beginning from being an all boy school for colored people to being a coed university for colored people. A play is supposed to give you an emotional work out. Theatre illuminates some aspect of the human condition. The artist was trying to create a picture where the audience can see the sequence and order of events that led up to the present.
This paper explains the history and development of the nude art in the Renaissance and Medieval period. In the Renaissance age the patrons and artist readopted the antiquity of the classical Greek into representation of nude. This is an epoch when drastic changes occurred in which Christian authorities no longer viewed the nude art as something conflicting or shameful. In contrary they believed that nude being reformed in ancient in classical antiquity portrays divine characteristics and emancipates the light that is pure and heroic (Long, 2008; Bonfante, 1989; Tinagli, 1997). To establish a further understanding why during the Renaissance age nude art brilliantly portrayed human anatomy, the work of some most remarkable artists such as Michelangelo, Botticelli, Masaccio and Durer are described (Long, 2008) These minds welcomed the classical antiquity into their paintings and sculpturing and often the Greek athletic figures and mythological Venus figure were used as ideal models in depicting nude art (Bonfante, 1989). The classical renewal of nude art had specific roles attached to both male and female nude, in the world of art. The religious figures were depicted in antique forms as to convey their theological status and importance. In contrast to the Renaissance period, the Medieval representation of nude art was rare and Religious authorities oppose its development as they believed it may lead to sin and degradation (Long, 2008; Steinberg, 1983). In short this paper will present a historical overview of the nude art and how the diverse cultural attitude towards depiction of nude existed in each period.
The Chinese-American architect Ieoh Ming Pei (I.M) is known as one of the greatest architects of the Twentieth Century. His long, brilliant career was highlighted by several internationally famous structures. While many of Pei’s buildings were generally accepted by the public, some of them precipitated fair amounts of controversy. The most notable of these controversial structures is his Glass Pyramid at the entrance of the Louvre in Paris. For these reasons, I.M. Pei seems to be an architect who exhibits interest in the avant-garde through both the creative design and aestheticism of his architecture.
Two pertinent points from the readings and videos struck me as important this week. The first is the limited nature or set roles that black actors could (and often can) portray. I never realized that the majority of roles available to black actors came from the Uncle Tom, coon, buck, mammy, and mulatto stereotypes, even as the incarnations of these roles shift representations, such as the jester to the servant. Bogle explains that, when white actors were participating in blackface, there was little room for individual personalization of these standard character types. On page four, Bogle describes these stereotypical roles that extended from slavery as “square boxes that sat on a shelf”. While the following Bogle chapters go on to explain that once black actors began to portray their own race, various actors, such as Stepin Fetchit’s beginning performances or some of Louis Beaver’s roles, were incredibly successful at personalizing/humanizing the previously prescribed roles.
Everyone has heard of the hit musical Hamilton and the ingenious strategy of casting people of color in the roles of our nation's, very white, founding fathers and mothers. The Deaf West Theatre Company’s version of Spring Awakening also addressed the need for social change by casting both hearing and deaf actors who used sign language to tell the story, as well as the first person to appear on Broadway in a wheelchair. Shows like Hamilton and Spring Awakening illustrate how far we have come in making the already diverse theatre community an accurate representation of the diversity of America today.
Susan Hill’s The Woman in Black, the highly acclaimed 1983 horror novella, has come to life through a deliciously deviant theatrical adaptation. Through cunning theatrical framing and stagecraft, playwright Stephen Mallatratt and director Robin Herford’s The Woman in Black encourages the audience to let their imaginations run wild as they are transported from the 21st century West End to the 20th century stage — and the secluded and desolate town of Crythin Gifford. The horrors and haunts that once wreaked havoc in the Eel Marsh House are resurrected on the contemporary British stage that keep audiences on the edge of their seats for the entire two hour production.
Youth, timeless beauty and the pursuit of perfection seem to be on the forefront of everyone’s agenda. From television portraying reality shows such as “Extreme Makeover” and fictional dramas such as “Nip and Tuck”, it is no wonder Americans are obsessed with finding the ultimate secret to looking flawless. The beauty industry is a 40 billion dollar enterprise,
Savory, Elaine. “Registering Connection: Masking and Gender Issues in Caribbean Theatre.” (Post)Colonial Stages: Critical & Creative Views on Drama, Theatre & Performance. Helen Gilbert, ed. UK: Dangaroo Press, 1999.
Sessions, D. D. Looks discrimination: If looks could kill…. Equal Opportunity Career Journal, Nov-Dec 1995, 1-6.
Clearly, there is a necessity to curtail the cases of teenagers suffering from body image pressures immediately (Kennedy, 2010). If there are no pressures, there will be surely no obsession with their appearance and there will be certainly no more risks of young women’s health and rise in serious eating disorders.
However, architecture is not just the future, after all, buildings are intended to be viewed, traversed and lived by us, people. Despite this, many architects today rarely think deeply about human nature, disregarding their main subject matter in favour for efficiency and an architecture of spectacle. In this there seems to be a misconception that underlies much of architecture, that is, human’s relationship with the city, the building and nature. In much of today’s architecture, people are treated with as much concern much as we treat cars, purely mechanically. The post-modern search for the ‘new’ and ‘novel’ has come to disregard the profound affect design has on our lives, impacting our senses, shaping our psyche and disposition.