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Beauty obsession meaning
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Throughout the course of civilisation, humanity has had an intrinsic obsession with beauty, may it be physical appearance and aesthetics, the appreciation of beauty through culture and art or the beauty of virtue, kindness and even grief.
Whilst it is difficult to pinpoint where this strong connection to beauty leafs from, it can easily be concluded that literature- especially classical myths and fables such as Apuleius’ Eros and Psyche, first published in his series The Golden Ass have had several moral and ethical implications on society and humanity’s understanding, perception and reaction towards beauty.
Whilst the original myth has several recurring themes, morals and ideas it establishes literary archetypes such as the virtuous maiden, the evil/ jealous mother-in-law and the courageous hero. These- particularly the virtuous maiden being the courageous hero also defies many of the traditional roles of female and male characters with a dominant female protagonist. It also investigates the social effects and results of beauty
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In Eros and Psyche, this is reflected in the virtuous maiden, Psyche, who is portrayed as “the singular passing beauty and maidenly majesty,” with several thousand visitors coming to worship her in the name of the "human incarnation of Venus.” Psyche’s beauty gives her status and praise in Roman society and people from far and wide come to praise and pray to her as though she were a “Venus is human form.” In this, the idea of praise and adoration for beauty is explored. Psyche is placed on a podium above the rest of mankind and is showered with gifts, treated differently to other citizens. The idea of such reverence is symbolic of the psychological desire for aestheticism and physical symmetry stemming from the primitive instinct for humans to judge predators based on their appearance and
The Golden Ass a novel written by Apuleius takes place during the Roman Empire. Throughout this story we meet a variety of characters who can be used to represent the Roman Empire. Specifically I 'll be looking a Pamphile the witch, Lucius and the boy who owns Lucius the ass. As I stated earlier they each have distinct characteristics which can be seen as staples of people during the Roman Empire.
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
The concept of beauty is a subject society speaks on through many channels. Social media plays a tremendous role in how society measures beauty and how to achieve these impossible standards. People from all walks of life have become obsessed with the idea of beauty and achieving the highest level it. In many cases, those who do not meet societal views of what is “beautiful” can become very resentful to these predisposed notions of beauty. David Akst in his writing “What Meets the Eye”, is bitter toward women and their ongoing obsession with beauty.
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
The epic poem Gilgamesh is the first heroic epic of world literature. The role of the primary mortal woman mentioned in it is only to benefit and please men, and with little or no consideration as to how she feels...
Here, Herodotus accounts the story of Candaules’s fond passion for his wife’s beauty, thinking her the “fairest women in the whole world” and he wants to show off his wife to his trusted bodyguard. Herodotus explains how Candaules has respect for the beauty of his wife, but does not respect any of her wishes or desires upon showing herself to a stranger bodyguard.
The gender roles in Vergil’s Aeneid are a complex composition that can be read differently from varying contextual views. Particularly nuanced is his representation of female characters, both goddess and mortal. The intricacy of this representation stems from the dichotomy of a modern reading compared to the contemporary values of the time. Current values and norms have socialized the modern viewer to view Vergil’s female representations through culturally constructed roles, or tropes. Juno and Venus both exemplify traits that a modern viewer may identify as that of a woman scorned. Similarly, Dido and Amata reflect the typical characterization of the hysterical woman. It is these culturally constructed concepts that are subliminally framing the work for the modern reader that can cause a discrepancy in representation. Therefore, readers can interpret that Vergil is depicting the female characters as irrational, and are a stark contrast to the males of the epic, particularly Aeneas. However, contemporary values revealed that the motivations of the female characters were in fact normal. Pietas, the Roman value that called for devotion to the state, gods, and family, can be seen as the catalyst of action for all of the female characters. Consequently, the female characters actually embody many of the same values of Aeneas. For this reason, modern viewers can be faced with difficulty determining the representation of women in the Aeneid. Throughout the epic, Vergil seems to portray women as irrational and meddlesome from a modern point of view. However, their motivations are driven by virtues of devotion that were typically accepted by contemporary standards and associated with men as represented in the epic, such as Aeneas.
Deception has been a ploy as long as time has been account for as what may use as an explanation of what they are unable to fully understand, or what may be deemed as inexplicable. It is to been believed by many of past, present and most likely our distant future, there are indeed powers, beings, at work that we can not understand. In Apuleius’ “The Golden Ass”, these deceptions, play an important role in the lives of these societies, in their everyday lives. There is one common thread in the stories shared with in “The Golden Ass”, where the practice of deception, which was referred to as magic and/or witchcraft, which seems points the finger a one member of the society, women, and their sexuality and desirable nature. Through each century men have always attempted to explain “women” and their effects on them, believing in this time, that it was indeed the work of dark powers and beliefs that women held. This “accusation” was able to allow men to be scapegoats to whatever actions and behaviors they displayed, and was able to pass the blame to someone else, the women and their witchcraft. Of course this meant that no man would be held responsible for adultery, because according to the society, he was under the woman he laid with spell, and under in influence and it was beyond his control. There was a safety to anyone to believed this to be true, rather than believing that a man would have acted on his own manner, and could not control his own desires.
The society in which classical myths took place, the Greco-Roman society was a very patriarchal one. By taking a careful gander at female characters in Greco-Roman mythology one can see that the roles women played differ greatly from the roles they play today. The light that is cast upon females in classical myths shows us the views that society had about women at the time. In classical mythology women almost always play a certain type of character, that is to say the usual type of role that was always traditionally played by women in the past, the role of the domestic housewife who is in need of a man’s protection, women in myth also tended to have some unpleasant character traits such as vanity, a tendency to be deceitful, and a volatile personality. If one compares the type of roles that ladies played in the myths with the ones they play in today’s society the differences become glaringly obvious whilst the similarities seem to dwindle down. Clearly, and certainly fortunately, society’s views on women today have greatly changed.
Though not the focus of epic poetry, the female characters of this ancient genre play a central role, as they have a great influence on the male heroes they encounter. In a genre which idealizes manliness and heroism—that is, acts of courage, strength, and cunning— women are set in opposition to these ideals and therefore less respected. At the same time, women who attempt to take on more “masculine” roles are vilified. Here, antagonist is defined as anyone in opposition to the hero’s goals. Female agency—their free will and ability to wield power—is directly related to their role in epic poetry; that is, the more agency a female character has, the more antagonistic of a role she plays. This agency is often enacted through sexuality or supernatural
“Beauty is not in the face; beauty is a light in the heart” (Kahlil). People focus more on the outward appearance instead of the inward appearance. One’s inward appearance is comprised of their character, values, morals, and the true nature of their heart. On the other hand, the outward appearance is composed of one’s dress and grooming. The inward and outward appearance determines whether or not a person is ugly or beautiful. The choices that we make also define whether or not one is ugly or beautiful; choices made in the past can sometimes be repeated in the future.
Walcot, P. “Greek Attitudes towards Women: The Mythological Evidence.” Greece & Rome 2nd ser. 31.1 (Apr., 1984): 37-47. Cambridge University Press on Behalf of The Classical Association Article Stable. Web.
...e ability to achieve anything in life. Hopefully, readers would learn from this novel that beauty is not the most important aspect in life. Society today emphasizes the beauty of one's outer facade. The external appearance of a person is the first thing that is noticed. People should look for a person's inner beauty and love the person for the beauty inside. Beauty, a powerful aspect of life, can draw attention but at the same time it can hide things that one does not want disclosed. Beauty can be used in a variety of ways to affect one's status in culture, politics, and society. Beauty most certainly should not be used to excuse punishment for bad deeds. Beauty is associated with goodness, but that it is not always the case. This story describes how the external attractiveness of a person can influence people's behavior and can corrupt their inner beauty.
Throughout history, beauty has been seen as a value to humans. Beauty practices start as far back as foot binding and continues up to today with cosmetic surgeries such as liposuction. On every billboard, magazine, and commercial citizens are reminded that they are not as physically attractive as they could be and there is a solutions to their problem. In his analysis of beauty, Kant states that beauty is morality. Despite the fact physical beauty is highly valued in society, it is not the driving factor when it comes to determining morality and making ethical judgments. To support this, I will be introducing Aristotle’s virtue ethics and David Hume’s A Treatise of Human Nature to demonstrate that beauty is independent of virtue and does not influence morality as it is not considered when discussing morality.
Venus is the supreme ruler of love and beauty, and is a very powerful goddess however, as powerful as she is Venus wants all this power for herself. Venus believes that since she is dubbed the goddess of love and beauty, no other woman should possess these qualities. Venus’s ignorance can be seen in her many evil tactics and plans against Psyche, who is equally if not more beautiful than Venus. This stirs controversy for Venus and, “Immediately Venus was filled with jealousy and hatred for the mortal girl” (Cupid and Psyche 106). As one can see, Venus is immediately concerned about her status as “The Goddess of Beauty”, and has already become blinded by jealousy. ...