The protagonist of the film, Adele, is rapacious young women, particularly when it comes to food and so it strikes the viewer as odd when that carnal appetite of hers is scarce in the two lengthy scenes where she and her lover, Emma, are making love. "You're voracious," Emma points out as the viewer is subjected to an intimately close shot of Adele taking bite after bite of her food in a scene from the film. The carefully arranged placement of the women's bodies as they engage in sex seems too composed, as their bodies angle towards the viewer despite being tangled up in one another. This brings the argument towards a specific line in Berger's "Ways of Seeing", where he discusses Adam and Eve becoming aware of their own and each other's nakedness
When reading this paper about The 39 Steps, or viewing the movie itself through the lens of this quotation, it is quite obvious how they both portray sexuality and the roles of men and women in relationships. At this point in time, women were viewed more as possessions than as their own human beings. As Silet said in this quote regarding a scene in the movie, "The single image we take away from the kissing scene is a vivid one of Pamela's right eye expressing a sense of fear while Hannay's head obscures the rest of her face" (Silet 116). In this scene, Hannay is on the run from the police while being trapped on a train. He comes across a train car with a young, blonde woman sitting alone, he uses this as an opportunity to hide from the police
“It was a spring afternoon in West Florida. “First Janie is exploring the nature of spring. Spring as being part of a season. A season that seems to her like a regrowth of flowers and life. “Spending every minute that she could steal from her chores. “Janie has being putting aside her chores to explore nature. “It had called her to come and gaze on a mystery.” Jamie felt that there was something that nature or the blooming pear tree want to teach her. Janis’s attraction with the pear tree blooms open her mind to concedes with her occurrence as sexual being. One that is “stirred’ that make her feel like the caress of an awaking sexual feeling was starting in her life. With all this changes in her innocent mind and body she start asking herself “What? How? Why?” Of this things.
Buffy Sainte-Marie, is a Canadian musician, composer, visual artist, educator, and social activist. Throughout her career in all of these areas, her work has focused on issues of indigenous peoples of the Americas. In any of Buffy’s albums one will find decorous waltzes, among lyrical efflorescences weighted with imagery which grants an occasional glimpse of a steel mind. Her French style torchers have all the gripping qualities of that superannuated mode, combined with unconventional love song lyrics. Other love songs are warmly sentimental, with haughty and forbidding undercurrents. The one quality they all have in common is their lively tension. She was also a capable interpreter of outside material, and to top it off, her idiosyncratic vibrato made large-scale commercial success out of the question. Recently, Buffy adorns her native habiliment as she undertakes a partnership with the RSO seeking to promote a dialogue of truth and reconciliation surrounding the atrocities inflicted upon Native Americans by the white man. The partnership includes a Regina-based concert at the Conexus Art Center on October 11th which I’ve attended, followed by a tour of three First Nations communities across southern Saskatchewan, with a focus on Treaty 4 land. Herein, I will examine two songs Buffy played during her Oct 11th concert and offer an inchoate critique of her performance.
The scene goes on to describe the girl panting and heaving without being tired ad how they’ll keep going. Just like that of the hamburger stand, Steinbeck went into so much detail that noticing the double meaning is unavoidable. Foster’s concept is definitely true, “sex doesn’t have to look like sex.” In fact, it rarely does.
When she speaks to him about looking at the stars at night, for example, her language is forward, nearly pornographic. She kneels before him in a posture of sexual
After the remembrance of how he was undressed, the speaker describes how Aunt Frieda would undress herself. Frieda undressed herself in her younger days. Her slow removal of clothes seemed like seduction. To the narrator, Frieda undressing herself represented a time of health, independence and youth, “I try to imagine her healthy, undressing herself “ (12). The speaker then remembers how her aunt’s body looked naked. She was a petite girl whose body had flaws. Her marks represent the tough times Frieda had growing up. The poem eludes that it was her inner beauty that stands out. It mentions two seventeenth century artists, Rubens and Rembrandt, who have different styles of work. I researched their work and found that Rubens is known for his very sensual and elegant work. In contrast, Rembrandt portrayed tragedy especially in his old age. Aunt Frieda’s life was not always glorious, and she endured many tough times. “ whose scarred beauty Ruben would surely have missed,/ but Rembrandt, in the loneliness of his dying days,/ might have been immortalized “ (16-18).
Give light and people will find the way, Said Ella Baker. She was a woman, who even in the darkest hour, gave light to people everywhere. Being a Civil Rights activist in the 1930’s, she was one of the leading figures in the Civil Rights Movement. She dedicated her life to fighting for freedom and equality, and she deserves to be recognized worldwide.
“Later that night when Thomas roller over and lurched into her, she would open her eyes and think of the place that was hers” this proves the point that she cannot even express herself sexually because she does not feel as if she has control in the situation. Her mind wanders elsewhere, in a place where she is her own master, instead of what is reality. Additionally, the main character’s husband shows some selfish tendencies in the fact that he may not notice his wife’s discontentment with his affection. However, this may also present the lack of communication between man and wife and therefore may cause a sense of isolation from her husband.
Blonde Ambition: How the Similar Careers of Madonna and Britney Spears Created Two Different Pop Icons
Over the past few years, racial tensions in America have heightened. During this period, Black America undergo the daily struggle of witnessing the killing of unarmed black men and women. Victims of these endless killings and police brutality, turned into one of many hashtags, which led to the formations of the Black Lives Matter movement. Solange Knowles, younger sister of Beyoncé, soul singer and songwriter was viewed as the angry black woman. Solange used her platform to speak up. She became the most outspoken black artist for black activism in recent years. She embodies the image of a carefree black girl who is willing to let the world know that she is proud of her blackness.
Whitney Houston is a superstar. She works with a lot of people who struggle with additive behaviors. This social exposure has been difficult for her to handle. From media reports, Ms. Houston appears to be very stressed over family matters. She reports that she had a tumultuous marriage; suffering through many years of infidelity and public scandals in addition to the drug and alcohol arrests of her husband. Additionally, Whitney has been embroiled in another legal battle with her father for failure to settle a $100 million debt she owed his company (Whitney Houston, 2011).
Irene’s queer personality lives repressed in her id and the attraction can be noticed through many too detailed descriptions of Clare body parts and personality. “Her lips, painted a brilliant geranium red, were sweet and sensitive and a little obstinate. A tempting mouth” (45). It is impressive to see how this supposedly straight woman describes Clare’s mouth as tempting, yet she does not stop there, because Irene also describes her voice, “What was it about Clare's voice that was so appealing, so very seductive?” (52). The utilization of these adjectives is questionable because even when Irene talks about her husband Brian, she never uses adjectives that could express desire or even love. Irene is aware that her marriage is an arrangement where according to Brian sex is a just grand joke (60).
Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a wide diversity in their representations of the iconic duo. In particular, two works found in the National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John the Baptist and Prophets by an unknown artist (1325-1450) and The Virgin and Child by Paolo Uccello (1435-1440), highlight the transition between Byzantine and early Renaissance paintings of the Madonna and Child, particularly in relation to subject matter, composition, material, style and meaning. Although each of these paintings of the Madonna and Child depicts the same Christian iconography of Mary and Jesus, their differences in composition and style influence their meaning, with each painting reflecting the individual artist who painted it and the different time period during which it was created.
The woman who has influenced so many and has become an icon in the music industry. Whitney was born in a musical family who was the daughter of gospel singer Cissy Houston, cousin of singing star Dionne Warwick and the goddaughter of soul legend Aretha Franklin. By the age of 22, Whitney became one the greatest female voices of her generation. Whitney was an artists who came alive and was able to express herself in full confidence when she was singing. When she performed she always look as though she was understood, at peace, and full of joy when she would sing. Houston was a beautiful woman with a powerhouse voice within her petite body, she had a way of making the audience respond in awe and pay
It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.