Charles Baudelaire's To A Redheaded Beggar Girl

Looming larger than life, Caillebotte has employed a slight fish-eye perspective to increase the grandeur of the apartments. Their strong, solid lines impend over the dwarfed passer-by’s figures; they appear small, like Paris got ‘cleaner’ but more consuming. Contrary to the ephemeral aspect of modernity for Baudelaire, scaffolding on one of the buildings suggests that more ‘improvements’ are to take place, that there will be a continual change, and, therefore, a persisting tone. The structure of the apartments and their perspective displays both modern and ancient

The essay written by Charles Baudelaire, titled “The Modern Public Photography”, is not only very clear to be negative towards the pursuing arts of photography, but also very controversial due to the independent and diverse views on this specific subject matter. Baudelaire makes it very clear in his writings that his opinion is firm on photography and its evolving approach to appease the various spectators of the fine arts. In this essay, Charles Baudelaire illustrates his opinion by insulting multiple previous photographic known ‘art pieces’ and breaking them down into literal meanings, insulting the modern idea of literal duplicates of reality as being defined as “art”, and also persuading those interested in category of photography to seek ‘out-of-the-box’.

. In the section of her article called The Painter of Modern Life, Pollock uses an essay written by Charles Baudelaire during this time period, to explain how women were viewed in 19th century Paris (Pollock, 254). In this essay Baudelaire follows the travel of an artist through the streets of Paris. She uses this essay for two key reasons, first of all it shows how a man in Paris had access to different places of public life that women were not entitled to go and

The women described in the Lais of Marie de France often commit traditionally sinful deeds, such as adultery, murder, and betrayal. However, with a few exceptions, the protagonists often end up living happily with their beloved for the rest of their lives. The Lais advocate for situational judgement rather than general condemnation of specific acts, which can be seen through Marie de France’s treatment of sinful heroines.

Hitchcock’s notoriously elaborate Rear Window set (under the art direction of J. Macmillan Johnson and Hal Pereira) is so significant because it contains the entirety of the movie. The rest of the city is a mere suggestion, hinted at by cars and pedestrians passing by a narrow strip of alleyway. Therefore, the real analysis of city life that Rear Window explores is that of the relationship between neighbors. In his essay The Metropolis and Mental Life, Georg Simmel comments that the city dweller must avoid overstimulation by practicing “reserve” among others and that,

Being new to an unfamiliar place is always a challenge and bring discomfort, being alone and knowing no one. In “The Street”, Ann Petry uses personification, selection of detail, and imagery in order to reveal Lutie's relationship to the urban setting and to show the challenges Lutie Johnson faces in the urban environment.

In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.

People often tell little fibs, otherwise known as white lies, that they do not think will ever matter. At the time the lies may not seem like a big deal but in the end things can change. Later on down the road, most of these lies come back to haunt the person who tells them. One example of this can be found in the poem “White Lies”. The speaker of this poem tells little lies to hide her true identity.

The main subject of the painting is Madame de Pompadour, who sits half reclining, engulfed by yards and yards of colorful fabrics, with gilded furnishings and flowers galore, a celebratory painting of a “femme savant” (Goodman 1), at ease in her surroundings. Books and papers fill the scene, proclaiming her intellectual prowess. An educated woman, Pompadour is

Presenting literature to the public that is meant to be a commentary on social or political issues, masked under the guise of entertaining and fictional, is a tool implemented by authors and activists for centuries. While not all satire is as overt as Jonathan Swift’s suggestion that we eat the babies, it does not diminish the eyebrow raising suggestions that are conveyed once the meaning has been discovered. In Aphra Behn’s The History of the Nun and Eliza Haywood’s Fantomina, the established expectations of the female role within society are brought into question then directly rejected. These expectations establish that women should be deferential to men, morally unblemished, and virtuous at all times. Men, however, are not held to these expectations in the same way. The masculine roles assumed by Isabella and Fantomina demonstrate a private rebellion against the established patriarchal society as it warns against the under-estimation of women and proves that women exist independently.

“Le Cygne” is a poem by Baudelaire, published in the “Tableaux parisiens” of “Fleurs du Mal. Between 1853 and 1870 the city of Paris underwent vast amounts of renovation by order of Napoléon III. It included the destruction of many poor and unhealthy old neighborhoods to be replaced by avenues, parks, squares and large boulevards. Many of the writers at the time where unhappy with these changes and “Le Cygne” can be read as Baudelaire’s reaction to these changes which make him feel alone and lost in this new city. In my commentary, I will suggest that Baudelaire attempts to create a virtual encyclopedia of exiled individuals, and thus have felt similar emotions to that of Baudelaire’s response to the changing city. The poem is also dedicated to Victor Hugo, who at the time of the poem was in exile on a channel island. I will first try and explore the meaning behind the different stories in the open. I will then try to understand how each of these stories share a certain type of parallel or similarity in the terms of the emotions felt, and finally what the main themes of the poem are altogether.

Underground literature began to surface in 1785 that included portrayals of the Queen in newspaper articles, cartoons and handouts (“Marie Antoinette: Story of a Queen through Primary Sources”). After giving birth to two children, a final Dauphin of France, Marie was noticeably happier and more frugal (“The Grand Dauphin”). She sought to prove that she could be a mother, like any other, but according to the remarks on a published portrait of the queen dressed in muslin, was now seen as “matronly and desperate.”.

I seek to explore the female roles in both works while also exposing some of Marie de France’s shortcomings in producing a full-fledged feminist piece.

With each letter in Les Liaisons dangereuses, Choderlos de Laclos advances a great many games of chess being played simultaneously. In each, the pieces—women of the eighteenth-century Parisian aristocracy—are tossed about mercilessly but with great precision on the part of the author. One is a pawn: a convent girl pulled out of a world of simplicity and offered as an entree to a public impossible to sate; another is a queen: a calculating monument to debauchery with fissures from a struggle with true love. By examining their similarities and differences, Laclos explores women’s constitutions in a world that promises ruin for even the most formidable among them. Presenting the reader glimpses of femininity from a young innocent’s daunting debut to a faithful woman’s conflicted quest for heavenly virtue to another’s ruthless pursuit of vengeance and earthly pleasures, he insinuates the harrowing journey undertaken by every girl as she is forced to make a name for herself as a woman amongst the tumult of a community that machinates at every turn her downfall at the hands of the opposite sex. In his careful presentation of the novel’s female characters, Laclos condemns this unrelenting subjugation of women by making clear that every woman’s fate in such a society is a definitive and resounding checkmate.

The art of Edouard Manet depicted modern life in the new Paris, as advocated by the writer Baudelaire. Charles Pierre Baudelaire was a writer in nineteenth century Paris, a contemporary of Manet, who knew Manet personally, and who wrote about the idea of modern life. Baudelaire encouraged the artists of the day to paint modern scenes, such as looking at the world around them for inspiration, rather than turning to scenes from the