Beauty And Beauty Analysis

The short documentary Crooked Beauty, directed by Ken Paul Rosenthal, narrates Jacks Ashley McNamara’s experience in a psychiatric ward and how her time in the facility shapes her new appreciation for her mental illness. One controversial issue has been trying to identify the true cause of mental illness. On the one hand, most people may think mental illness is simply a biological disorder that can be cured with a combination of medication and doctors demanding appropriate behavior until it sticks in the patient’s mind. On the other, McNamara contends that mental illness is a misconception with a patient’s oversensitivity, where it is harder for the patient to ignore certain events than “normal” people, and their doctor’s textbook knowledge. In McNamara’s mental institution, the psychiatrists simply trap her in a padded room and prescribe many different pills to suppress her mental illness instead of embracing her differences or showing her how to use those differences to her advantage. In attempt to prevent those who are mentally ill from feeling the same anger and frustration she felt, she demands a change in the line psychiatric treatment when she says:

Collateral Beauty, a story about Howard Inlet (Will Smith), a haunted shell of the person he used to be. After his only child died of cancer at the age of 6, he became a lament ridden, wasted out man. He never did talk to anyone, about anything. But when his business starts going down his associates Claire, Whit, and Simon begin to look for answers. They find these answers in Howard's letters to the universe, more specifically Time, Love, and Death. One one fateful occasion Whit meets these three actors (Keira Knightley who plays Amy, Helen Mirren who plays Brigitte, and Jacob Latimore who plays Raffi) and begins thinking. He tells his plan to his colleagues and they go with it. They hire the actors to play Time, Love, and Death. Once the plan is over and the business is in good hands is when you get to find out more about his daughter and his ex-wife.

In Alice Walker's "Beauty: When the Other Dancer Is the Self”, her view of beauty changes through different stages of her life. In her childhood Walker has a misunderstanding of beauty. She is concerned with superficial signs of beauty and fails to appreciate her inner beauty. A tragic mishap as a young child leaves her right eye blind and deformed. She enters a period of depression her life, living her life in shame and disappointment because she believes her beauty to be lost. Even getting surgery as an adult doesn’t help defeat her demons. She continues to struggle until she finds her inner beauty through her daughter’s love. As a child, Alice Walker got her definition of beauty from her family, in her teens she turned to her peers to define beauty, her perception finally changed again in adulthood when she discovered an inner beauty.

Within Jane Austen’s book Persuasion, she addresses issues of wealth, class, looks, and love through her use of humor. Love plays a major role in this story because to Sir Elliot, the father of Anne Elliot, a major character, looks and one’s fortune and one’s position in society. Anne Elliot wanted to marry Captain Wentworth, however since he was poor at the time, Sir Elliot looked does upon him and did not want Anne to marry him: Anne turned down his offer of a hand in marriage. Later in the story, Captain Wentworth reappears; this time he is rich. All of a sudden women are all over him and Sir Elliot thinks highly of him. When Anne and was reacquainted with Captain Wentworth, she

In the early 1800s Jane Austen wrote what would be her last novel, Persuasion. Persuasion is set during the “Georgian Society” which greatly affects the character's views and actions throughout the novel. Anne Elliot and Frederick Wentworth quickly fell in love when Anne was just nineteen years old, but because he wasn't wealthy enough, Anne was not given the permission by her father, Sir Walter, to marry him. Eight years after this incident, the roles have reversed; Sir Walter has lost all of his money and Frederick Wentworth is now known as Captain Wentworth. Throughout the novel, Anne tries to overcome struggles with social class in order to fulfill her longing of being with Captain Wentworth. Therese Anderson's statement about the

In Persuasion, the last of Jane Austen’s works, the readers are immediately intrigued by the autumnal tone of the piece, and the mellowness of the main character, Anne Elliot. Anne, a twenty-seven year old upper middle class woman, met and fell in love with Captain Frederick Wentworth at the age of nineteen. She was however, forced to break off the relationship at the time because Wentworth was deemed an unsuitable match. Eight years later, they meet again and by that time Captain Wentworth has made his fortune in the navy and has become an attractive catch. Anne was now uncertain about his feelings for her. Persuasion examines English society’s view of marriage and

In the novel, Persuasion by Jane Austen, successfully portrayed a romantic love story with the typical happy ending. Her usage of dialogue and connection between the characters allow readers to understand the setting arrangement and the transitions being made throughout the story. Society may view character, Anne, as a female who has fallen in love but settles for another individual. This indicates the lack of motivation Anne has in the novel and reveals that her passion for Captain Wentworth. By Austen characterizing Anne in that position, she develops the idea that women, such as Anne, don’t strive and give up on their opportunities.

A classic work of English literature, Jane Austen’s novel, Persuasion, centers on the story of protagonist, Anne Elliot. Intelligent, kind, and considerate, much of Anne’s struggles throughout the text may be attributed to the ease with which she is persuaded by her family to act as they see fit. While this may paint the character as being easily manipulated or lacking strong character, it is argued that a deeper understanding of Anne Elliot as a character may be attained upon closer analysis of her surroundings, the context within which she was brought up, and her family dynamic. Born in 1787 (Austen, 1998, p.5), the character of Anne was likely subject to a different socialization process than a female child born in the twenty-first century.

“Black Beauty: An Autobiography of a Horse” is about a horse named, Black Beauty, who hates breaking in and is being attached to unbearable, heavy equipment. Slowly as the story continues, his miserable pain turns into pride when he carries his master on his back. The excerpt from “The Georges and the Jewels” is about Abby, a horse rider, who has been knocked off by an unskilled horse. Later on in the story, lying on the floor, she is reminded of her favorite horse, a sweet boy mare and how she enjoyed riding her every time. In the excerpts, “Black Beauty: An Autobiography of a Horse” by Anna Sewell and “Georges and the Jewels” by Jane Smiley, the authors use first person point of view to demonstrate the character’s development throughout the story. The first person point of view is very vivid on how the characters feel, which lets the reader thoroughly understand the character’s transitions easily.

In Jane Austen’s Persuasion, she examines life among the 19th-century landholding elite in Britain, and the proposition of marriage between several couples creates a dynamic social atmosphere. Austen’s novel centers around Anne Elliot, the unmarried daughter of a Baronet, however, there are several auxiliary characters that play into the social atmosphere of courtship and marriage. These characters give the reader an insider look into the complexities of courting during the period. The experience of courtship develops the characters of Persuasion by putting them in hyper-realistic social settings for the time.

Taking place in Somersetshire, Lyme Regis, and Bath England from 1816, Austen’s “Persuasion” a common theme of persuasion (the action or fact of persuading someone or of being persuaded to do or believe something, not the title of Austen’s book) does not only apply to Anne Elliot, but as well as many individuals around the world. In one way or another, whether coerced or not, everyone has been persuaded into doing something that was not ideal. For instance, in “Persuasion”, at the age of nineteen, Anne and Lady Russell, the female figure in her life, did not agree on the engagement of Anne Elliot and Captain Wentworth, a man who, “...had no fortune. He had been lucky in his profession, but spending freely, what had come freely, had realized nothing. But, he was confident that he should soon be rich;—full of life and ardour, he knew that he should soon have a ship, and soon be on a station that would lead to every thing he wanted. He had always been lucky; he knew he should be so still.—Such confidence, powerful in its own warmth, and bewitching in the wit which often expressed it, must have been enough for Anne; but Lady Russell saw it very differently.—His sanguine temper and fearlessness of mind, operated very differently on her. She saw in it but an aggravation of the evil. It only added a dangerous character to himself.” (Austen) And with that, Anne couldn’t have possibly disobeyed such an important female paragon in her life regardless if she loved Captain

Persuasion 27) as she did not want Anne “to throw herself away at nineteen” (Persuasion 26). Smith states that Lady Russell’s “view of marriage […] is shaped by patriarchal standards, such as the wealth in property of the prospective husband” (161). Since Wentworth does not fulfil the most important criterion, namely having inherited either fortune and/or an estate from his deceased parents (cf. Persuasion 26f.), Lady Russell does not consider him a suitable/worthy candidate for Anne. In addition to that, she is quite biased against Wentworth as his fearless and optimistic nature with regard to his future conveys to her the impression of a “dangerous character” (Persuasion 27) or even “an aggravation of the evil” (ibid.). By implication, if someone does not stem from a higher class background and is neither wealthy nor an estate owner, she will try to find as many negative aspects in their character as possible to attempt to save Anne from a bad marriage. Young Anne, on the other hand, let herself be persuaded by Lady Russell due to the fact that she made a continual effort to dissuade her (cf. Persuasion 27). At the beginning of Austen’s novel, which is set eight years after that incident, Anne still has not come to terms with this past incident although reckoning

Aesthetics is the branch of philosophy that asks questions about the nature of art and beauty. The Classical definition of art is the good, the true, the beautiful. Art equals something that is beautiful then it is true and leads the person experiencing it, to the good. While this may be the classical definition of art it is not quite accurate. To think that something is true and good just because it is beautiful is not right. There are three critiques of this definition which define art in a different light. Leo Tolstoy defines one as romantic art; “The essence of a work of art is the emotion it causes to an audience.” It makes everyone feel as one because they are all feeling the same emotion. Malcolm Bradbury defines modern art as a

"Does this make me look fat?” Everyone at one time or another has experienced this iconic question in some way. Your best friend may have asked it, as she was getting ready for a date or maybe you muttered these words to yourself as you stared disapprovingly into a mirror; either way, this six-word question alludes to a standard of beauty that everyone strives to meet. A standard of beauty that is almost impossible to meet. The definition of beauty has evolved greatly over the years and it differs from culture to culture. Today, western culture idolizes the woman who is “thin, large breasted, and white (tanned, but not too brown)” (WVFV, pg. 220). This woman is one that millions of women strive to look like in

Respond critically to significant aspects of visual and/or text(s) through close reading, supported by evidence.