Like a Virgin…or not
Madonna had always been a holy icon until the early 1980’s when the name “Madonna” developed a dual connotation. The introduction of America’s top female sex symbol Madonna created an image far opposite of the previously known hallowed one. In John Fiske’s essay “Madonna,” he depicts the singer’s character, portraying her as socially and semiotically powerful. Although his essay is currently outdated, Fiske illustrates an illusion of Madonna that Generation Xers eventually accepted and will probably never forget.
Sex has always been a controversial matter in American society. Before the 1980’s, those that openly articulated their views about sex were thought of as promiscuous and perverse, unless they were male. Perhaps, that is why the aura of Madonna stirred raving controversy across America. Fiske notes that her image was not a “model meaning for young girls in patriarchy, but a site of semiotic struggle between the forces of patriarchal control and feminine resistance, of capitalism and the subordinate, of the adult and the young (Fiske 282).” Never before had a woman presented herself so provocatively yet so comfortably.
In the beginning, Madonna ultimately sacrificed sexual purity. Her daring exploitation of sex from a feminine point of view was definitely a breakthrough in 1980’s American society. Often, she dressed like a man and grabbed herself in “sacred” and “unseen” places. Actions like these, as Fiske points out, presented a threat but “not the traditional and easily contained one of woman as a whore but the more radical one of woman as independent of masculinity (Fiske 284).” Young girls regarded her actions not as “tarty” or “seductive” but as completely “acceptable.” Eventually, they embraced her image and strived to follow her example of the independent and sexually licentious woman (Fiske 283).
Society has finally accepted feminine independence and accredited Madonna as the pioneer for introducing that autonomy. In many ways, she now represents the woman’s metamorphosis. As Fiske noted she began by showing “both her pleasure in her own physicality and the fun she finds (found) in admitting and expressing pleasure: it is (was) a sexual-physical pleasure that has (had) nothing to do with men…(Fiske 285).” While this may have been an impression of Madonna in the 1980’s, she has evolved into what society deems as the epitome of badass woman: utterly independent.
Fiske’s essay does not really have much application to the perception of Madonna in today’s society.
...Putnam all played a major role in Salem witch trials, while none of their roles were positive ones they all did what they did for themselves. Abigail Williams did what she did so her and her friends could harvest attention from the people of Salem. Judge Danforth was ignorant to fact that verbal evidence is very unreliable just because he wanted to be correct about every decision in the trials. Thomas Putnam accuses several people in Salem all for personal gain of land and money. Many people were charged as guilty but in reality they were innocent, the only people who were actually guilty are Abigail Williams, Judge Danforth, and Thomas Putnam. The Crucible shows how honesty may not seem like the popular choice to make but will always be the right one.
They did not challenge gender norms or ideals. Nor did they aim to usurp the position of the man. Rather, they supported the overarching mentality that women were to be submissive, strive to fulfill the needs and wants of men, and aim to please their male counterparts. (Kallen) Importantly, none of these women or representations of women exhibited any physical attributes that the dominant culture would view as masculine. Instead, they all displayed quintessential feminine characteristics and traits. Moreover, they were not valued for their brains or accomplishments; they were judged solely based on the degree to which they conformed to the male-dictated status quo. Marilyn Monroe and other sex icons of the 1950s were portrayed as dim-witted, naïve, childlike, and vulnerable, which was the polar opposite of society’s picture of the strong, smart, witty, and brave male. There was nothing about these women that challenged male superiority or threatened the overarching worldview that it was a ‘man’s world’ and women’s purpose was to make this world more enjoyable for the men who ruled it. (Meyerowitz
In The Crucible, the mass hysteria surrounding the witch trials caused paranoia amongst the people of Salem. Miller uses the Salem Witch Trials of 1692 as a symbol and allegory of the fear surrounding the spread of communism during the 1950s in America. The community’s sense of justice was blinded by the mass hysteria and for some, a desire for vengeance and personal gain. The Putnams
Mary Pipher goes on to say that the problem faced by girls is a ‘problem without a name’ and that the girls of today deserve a different kind of society in which all their gifts can be developed and appreciated. (Pipher,M). It’s clear that cultures and individual personalities intersect through the period of adolescence. Adolescence is a time in a young girl’s life that shapes them into the woman they become. I think it begins earlier than teen years because even the clothing that is being sold for younger girls says sexuality. Bras for girls just beginning in every store are now padded with matching bikini underwear, Barbie dolls are glamour up in such away that these girls believ...
Thomas Putnam plays a major role in the Salem witch hunt in Arthur Miller's The Crucible. Inheriting a handsome amount of property makes Putnam a wealthy person; however, it doesn't seem to satisfy his ambition. After the town terribly rejected Putnam's brother-in-law, Bayley, Putnam's bitterness has increased. Finally his prodigious involvement in the relentless accusations places him in the center of the spot light, making him a salient character in both the play and the indignant period of the American history.
Steinberg, Laurence & Morris, Amanda Sheffield. “Adolescent Development.” Annual Review of Psychology, (Annual 2001): 83-110. [E Journal]
Deborah Tolman author of “Dilemmas of Desire” dwells on uncovering a wealth of feelings about sexuality from teenage girls who are faced with a lot of struggles in developing sexual identity and detached from their sexuality. One of her main argument is centered on the juxtaposition of media representations of girls as highly sexualized objects. For instance, “the urban girl is viewed as the overly sexual young jezebel. Latinas are often eroticized as exotic, sexually alluring and available.” (Tolman, pg.170). I agree with this statement due to simple fact that we are living in a highly sexualized cultural milieu and evidence of sexualization is seen through mainstream culture. Images such as Sarah Bartman depict African American/ urban portrayal of sexual imagery formed socio-historical
Whites consistently do wrong and disrespectful things to us non-whites but they do not think it is wrong. They believe they are doing what 's right because Donald Trump foolishness by showing racist actions and saying this will make America great again. The racial contract creates a racialized moral psychology which means the form of racialism is mentally correct or right. This is the reason “ Make America Great Again” is supported by many ultra conservative individuals and groups because the feel that the this horrible things are the correct way to “Make America Great
8. d'Erlette, F. A. I. (1992) Semanticist pretextual theory in the works of Madonna. University of Oregon Press
The image has a huge effect in society. A celebrity’s image can characterize, shape and circulate societal myths in Hollywood. Marilyn Monroe was an American actress, singer, and model. People think her figure and beauty make her become a popular icon and sex symbol in the 1950s. When people talk about the name of Marilyn Monroe, a blonde beautiful sexy female's image will appear in people's minds. What has the beauty standard shown us through Marilyn Monroe in the mid-20th century? Besides the beauty what other things did she need in order for her to be famous at that time? Marilyn Monroe's status as a sex symbol has influenced many artists since her time, even though the beauty standard has been different since then. If we look at the celebrities today, we can find many imitators of Marilyn Monroe: Madonna, Britney Spears, Lindsay Lohan, and even Lady Gaga. They do this not only because of marketing and media needs, but also because people today still “worship” the image Monroe created. A half-century has passed since Marilyn Monroe's death, so why is she still relevant today? As time has passed, Marilyn Monroe's image is becoming even more meaningful and valuable. Think about the image she has created, the main point I want to study is: how does a woman who passed away at thirty-six years old, after starring in only a handful of movies, has such on the impact on women, especially young women, in the 21st century? To find the answer of how she has an impact on young women today will also show how some of the young celebrities today became successful.
The second wave of feminism starting in the late 1960s presented new ways of thinking about female rights and roles and gave greater attention to the issues affecting the various groups of women in the feminist movement. One of the essential topics that rose was the debate over female sexuality. From this point on efforts were made for changes in how women were expected to express their sexuality, which was controlled and adapted to the standards of men . These changes were also seen in the music area of which women sought to control their own representation and agency. Women began to challenge any models forced upon them based on preceding gender norms and traditions, and began to express their own identities according to their own comforts . The shift from traditional industry to the new media age in the 1990’s was a period of rapid transformation regarding female representations, of which females have claimed the freedom of expression through music, mainly seen through the sexual appearance of the female body. Nevertheless this achievement has been debated over most predominantly between liberal and radical feminists. This Essay will discuss the distinct views of radical and liberal feminists regarding the development of women’s freedom of expression and opportunities over time. Liberal feminists believe that women are in control of their own sexuality and have the right to express it in any way they choose. In contrast, radical feminists believe that female artists who expose their body in a sexual way and believe they have full control over themselves, are actually still trying to satisfy their predominantly male audience, therefore giving them control . To exemplify the different views on female development over time this es...
HBO's Sex and the City has become a cultural icon in its 6 seasons of running. Based on Candace Bushnell's racy book Sex and the City, the show exhibits an unprecedented example of the sexual prowess of women over the age of 35. The result is an immense viewing audience and an evolving view on the "old maid" stigma that a woman's chances of finding love are significantly reduced after thirty-five. In this paper, we will closely analyze the characters and themes of Sex and the City to explain the significance of what the show represents in American culture.
The most trending music genre gets a lot of listeners because of its the discrimination. As the songs and advertisements gain followers, it starts to become realized by the citizens. Pop culture artists sing about drugs, alcohol and women. The portrayal of women by these composers is dreadful because it degrades the significance and importance of their existence. Pop culture has always been a home for gender domination and discrimination. It is becoming increasingly “pornified.” As Valenti quotes, “After all, while billboards and magazines ads may feature a ripped guy from time to time, it’s mostly women who make up what sexy is supposed to be. And it’s not just sexy-it’s straight-up sex” (Valenti, 44). The pornography has been a part of the culture and has been accepted by younger women. Feminists have argued that this has increased the inculcation of “raunch culture” in the lives of younger women who fall into it as they feel it empowers them. However, it is a kind of faux empowerment. This illustrates that the media is promoting and utilizing pop culture to change the social norms in an attempt to instruct women on their role in the society. In essence, pop culture with its propaganda desires to change women’s view on nudity until it can become inherent in American culture, and thus eliminating opposition to benefit pop culture in the long run. Valenti persuades her readers by saying, “ the ‘show’ is everywhere. In magazines like Maxim and Playboy. And in the insanity of Girls Gone Wild, with teens putting on fake lesbian make-out sessions so guys will think they’re hot.” Levy also mentions a character, influenced by raunch culture and a reader of Playboy magazines, named Erin who is piqued her curiosity and provided her with inspiration because of this culture. Erin says, “There’s countless times in my life where I know I’ve turned people on just by showing off (by putting on a
Despite that, Madonna and Callas’s public reputations are far apart.√ good Callas was considered a tragic woman during the height and end of her fame,; her image was of a fragile woman and she was seen as ‘mirroring in her life aspects’ (Phillip,, R,. 2008, p.175) when she performed on stage. Operatic roles within the twentieth century are mostly heart-breaking, where ‘almost all of the characters die, on stage or just off it, through suicide or murder’ (Phillip, R,. 2008, p. 175) and these characters were Callas’s speciality, giving her a feeble image. In contrast, Madonna is considered a ‘bankable image, carefully and continually constructed in an era of media globalisation’ (Nick Jones, 2008, p. 168), and greatly known as a ‘Pop Queen’ who relies on the public for her reputation by continually conforming to society styles to increase her performances, sales and reputation. √ good observation. Perhaps emphasise the fact that in comparison to Callas, Madonna can be seen as very much in control. She’s not a victim.
Thus, Werther[3] suggests that we have to choose between the subcapitalist paradigm of reality and the textual paradigm of narrative. If postmodern materialism holds, the works of Madonna are reminiscent of Joyce.