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Beauty standards and how they affect women
Media influence on body image
The media's portrayal of body image
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Recommended: Beauty standards and how they affect women
Oprah Winfrey once asked, "Are you ready to stop colluding with a culture that makes so many of us feel physically inadequate?" Body image has been a relevant topic throughout history with the styles and ideal shapes of bodies changing through the ages. Whether one is looking at the glorified hourglass shape of the Golden Age of Hollywood (1930s-1950s), the Heroin Chic look of the 1990s, or Kim Kardashian and the plastic surgery trend of today, women of all ages struggle with how they look compared to the "ideal" woman of the time. Both "Mirror" and "What Are Big Girls Made Of?" are from the later 1900s but are still very relatable to readers today. Although the poems "Mirror" and "What are big girls made of?" use very different points of view to convey their messages about woman, body image, and society, they both use strong imagery, personification, and symbolism to effectively communicate their ideas …show more content…
Although readers might not figure it out at first, Plath is telling her story from the point of view of a mirror, and later, a lake. Plath does this by using human verbs to describe the mirror's actions in order to create metaphors for what the mirror is really doing. For example, in line two, Plath shows he mirror "swallowing," which in reality is the mirror reflecting. Plath's personification is essential to her message in showing readers how much power the personified mirror holds over the woman in the poem. She calls the mirror truthful, but not cruel, and the mirror itself acts innocent throughout the poem even though it can tell the woman is distressed because of it. The personification in "Mirror" shows readers that although the mirror believes itself to be blameless and honest, what the woman sees in the mirror is clouded by societally created stigmas and expectations, which create the gloomy and sad feel of the
The poem starts out with a mirror being personified “I am silver and exact. I have no preconceptions. / Whatever I see, I swallow immediately. / Just as it is unmisted by love or dislike.” The mirror changes itself based upon what it sees regardless of what it is. Ironically the same can be said about humans that their environments also change them. Humans reflect diet through physique, smoking through tarred lungs, or self-esteem from social ranking. The poem then says, “It is pink, with speckles. I have looked at it so long / I think it is a part of my heart. But it flickers.” This poem is reflecting patterns of which emotional states also transform the person. When a man spends enough time in a given area, he or she develops an emotional attachment to it. Another transformation “Now I am a lake.” This direct shift from a mirror that gives an exact copy transforms into a lake in which gives a reflection that’s murky and hard to make out. It goes on “A woman bends over me, / Searching my reaches for what she really is. / Then turns to those liars, the candles or the moon.” This section calls into question the objectivity of the previous reflections. The mirror that is now transformed into the lake and is suspicious to those that give light, which also reveals the actual object. It also could reflect that mirror is only as accurate as the observer and perception distort reality. A
In an excerpt from Janell Hobson’s “Venus in the Dark: Blackness and Beauty in Popular Culture” Hobson argues that the “image of black women’s bodies in culture are distorted in a way resembling the morphing of a person’s figure in a carnival mirror,” a term she coins as “un-mirroring.” She continues this metaphor by saying black women artists must “fight against this process by challenging dominant culture’s representation of black women’s bodies as being grotesque and changing the discourse to being one of beauty.” One may argue that black women are too diverse to be represented by one image, rather that they should fight to be regarded as individuals devoid of stereotypes and negative historical connotations. Stereotypes, which are too broad to be accurate, have negatively affected the image of the black female body in culture. To change the trajectory of this idea in the future, the discussion must be aimed towards persuading society that stereotypes are superficial judgments, and that black women should be regarded as a diverse group of individuals, not individual elements of a stereotype.
In order to completely grasp exactly how the old maid appears to the woman on the sidewalk and the love she feels for the man walking with her, Sara Teasdale uses personification to describe the characters in the poem. One would be, “Her soul was frozen in the dark/ Unwarmed forever by love’s flame.” Obviously, a person’s soul cannot be frozen, but the meaning is that the old maid had never felt a heated intensity between herself and someone special to her which could give her a cold outlook on life. Another time the poet uses personification is when the speaker states, “His eyes were magic to defy”. Eyes cannot be magic. By saying that his eyes were magic the reader can get the notion that when the speaker looks into the eyes of her lover she feels awed, happy, or even entranced. Sara Teasdale also uses a metaphor in her work, “Her body was a thing growing thin,” In that line the speaker is comparing the old maid’s draining body to something that can get thinner. The poet uses a rhyme scheme of rhyming the second with the fourth line and there are four lines in every stanza. Finally, in this narrative poem there are eight syllables per line of the poem.
Beauty is a cruel mistress. Every day, Americans are bombarded by images of flawless women with perfect hair and smooth skin, tiny waists and generous busts. They are presented to us draped in designer clothing, looking sultry or perky or anywhere in between. And although the picture itself is alluring, the reality behind the visage is much more sinister. They are representations of beauty ideals, sirens that silently screech “this is what a woman is supposed to look like!” Through means of media distribution and physical alteration, technology has created unrealistic beauty ideals, resulting in distorted female body images.
Irony is the most obvious and most absurd element in postmodernism. In “Mirror,” the woman’s action is portrayed as ironic. The woman “bends over” the mirror, “searching for what she really is.” The mirror “reflect[s] it faithfully”, yet the woman burst into “tears and an agitation of hands.” The woman is disappointed by the fact that she is no longer young, and is depressed by that every single time she looks into the mirror. Ironically, she returns to the mirror everyday, and it is “her face that replaces the darkness” every morning. The irony is presented with a light and playful tone, yet it leads readers to think about their personal experiences, because everyone looks at themselves in the mirror and judge themselves without even realising it. The subtle irony in the poem points out the seemingly normal occurrence in life and hints the readers of the raw truth that humans often
Plath writes in seven line stanzas. She uses a unique rhyme scheme that changes from in each stanza. Occasionally she isolates one line in order to annunciate its meaning. She also uses enjambment to help stress the meaning of certain lines. Plath also like to use metaphor and simile in her poem. Lines nine and ten she uses simile when she writes, “Like an eye between two white lids that will not shut. Stupid pupil, it has to take everything in”. She is stationary in her bed and almost doesn’t want to see everything anymore but she cannot hide what is going on around her.
As the tone changes the perspective of the reader changes as well. There is no clear way to determine whether the speaker is responding to her situation with the appropriate amount of madness or is actually going mad and escaping into her own mind. Plath’s poem shows how a woman 's happiness was defined by her relationship to a man, which is enough to infuriate or drive any woman insane. The speaker struggles to continue her very existence because of her lost love. It is true that the speaker is very emotional and feels things very deeply, but that is not enough to prove that she had lost her mind. By the end of the poem the speaker seems to realize that she is wasting her time waiting on a man. She would rather have a present love that is completely unfathomable than a real love that is not around. The repetition in this poem makes the reader believe this loss is actually causing the speaker to lose her mind, but through changing tones that mirror the emotions anyone would go through in a situation of loss like this the speaker’s response is completely
Mirrors, traditionally used for seeing a reflection, usually of someone’s true outer self. In Laurie Halse Anderson’s novel Speak, Melinda Sordino does not want to see herself. After Melinda was raped at a high school party by Andy Evans, she becomes severely depressed and unable to speak. In this novel, mirrors symbolize how Melinda despises her appearance, and show how she is unable to accept her own reflection after she was raped.
In the novel, Kundera makes an extended use of symbolism through many elements, the mirror included in them. As a symbol, this artefact works as a depicter of the truth, of the reality we sometimes blind ourselves to see. There is no compassion; a mirror presents an object just as it is before our eyes. The fact that the author utilises a sentence on its own to demonstrate this action (“Tereza went in to get dressed and stood in front of the large mirror” (l.1)), gives the impression of there being a pause in which the character is able to ponder on the image reflected towards her. Consequently we face her direct reaction: “No, there was nothing monstrous about her body” (l.3). From the very start we are introduced into an atmosphere of negativity, characteristic of Tereza’s attribution of being a “heavy” woman. Through the adjective “monstrous” we understand how Tereza was looking fo...
The poem mirror is about a mirror and a woman who is obsessed with the
Mirrors are first introduced in part one of the novel where Clarisse is describes as a mirror by Montag. Also presented by Granger towards the end of the novel, the mirror is a symbol of the lacking self-reflection but also it cure. Mirrors reflect a perfect image of a person back at them – an image that is neither tarnished nor beautified. Mirror here are a symbol of seeing within one’s soul in pursuit of rebirth, and are a tool to be used in the search what has gone terribly wrong in such an empty society. In a society that lives without living, thinking or feeling like Montag’s looking into a mirror ma spark a thought, and a thought may spark that internal rebellion. Furthermore, metaphorical mirrors are of equal significance when understanding this symbol. Clarisse is Montag’s inner mirror; she reflects the personality and life of Montag back at him, allowing him to learn and question what he sees. Montag is also Faber’s mirror – he reflects Faber’s recent emptiness and his cowardice at not attempting release society from its suffering. Mirrors are a great symbol of self-actualization that leads to rebirth in the novel Fahrenheit
Both poems, “Mirror” and “Piano” have subjects that are reflecting and longing for their past to return. This longing and reflecting is considered the theme of the poems. In “Piano”, D.H. Lawrence writes of the man yearning for his past. Despite all of his yearning, he eventually realizes that it will not return. The speaker says, “…I weep like a child for the past” (12). This describes the speaker’s longing for his past to return, despite knowing that this is not possible. Similarly, in “Mirror”, Sylvia Plath the poet reflects her theme of longing for the past by using the woman viewing her aging reflection in the lake waters. The mirror views the woman and says, “In me she has drowned a young girl, and in me an old woman” (17). The mirror is showing that the woman’s past of being a young girl has diminished, and what remains is the old woman she now is. Both poems share a common theme of the re...
Women are bombarded by images of a thin-ideal body form that is extremely hard, if not impossible, to emulate. Comparing themselves to these women can lead to feelings of inadequacy, depression, and an overall low self-esteem. (Expand on, need a good opening paragraph to grab the reader’s attention)
13th March, 2014 In the poem “Mirrors”, by Sylvia Plath, the speaker accentuates the importance of looks as an aging woman brawls with her inner and outward appearance. Employing an instance of self-refection, the speaker shifts to a lake and describes the discrepancies between inevitable old age and zealous youth. By means of sight and personification, shifts and metaphors, the orator initiates the change in appearance which relies on an individual’s decision to embrace and reject it. The author applies sight and personification to accentuate the mirror’s role.
Overall, the imagery that Plath creates is framed by her diction and is used to convey her emotions toward all relationships and probably even her own marriage to Ted Hughes, who had rude, disorderly habits. Even the structure of the poem is strict in appearance as each stanza ends with a period and consists of exactly six lines. In addition, the persona of the poem is very detached and realistic, so much that it is hard to distinguish between her and Plath, herself. However, Plath insinuates that the woman actually wants love deep down, but finds the complexity and unpredictability of love to be frightening. As a result, she settles for solitude as a defense against her underlying fear.