As I was looking at the pictures, the Gibson Girl image resembled that of a Caucasian American female beauty. These are upper class women who wear the latest fashions, are neatly and perfectly dressed for the appropriate time and place and resemble being calm, independent, confident and having personal fulfillment. Cristina, did you also get the same perspective as I did when looking closely at these images of the Gibson Girl? To me, the pictures portray two types of women and beauty: The "fragile lady" and the "voluptuous woman." The "fragile lady" resembles an hour glass figure woman having slender lines, being vulgar or loud and wants respectability. On the other hand, the "voluptuous woman" is the opposite of the fragile lady, having
Before the Flapper Girl there was a more traditional women, the Gibson Girl who were seen as fragile ladies who relied on men to care for them. They often used corsets to obtain a hourglass
In the context of physical appearance, black woman are only featured with body parts- mainly their “large, rotund behind” (Perry 137). The presentation of the face is mainly limited to white or lighter-complexioned women. The highest idealization of women is one that possesses a “‘high-status’ face combined with a highly sexualized body read by the viewer as the body of a poor or working-class woman” (Perry 137). Perry further substantiates her claim by stating that “women are created or valued by how many fantasy elements have been pieced together in their bodies” (137). She debunks the opposition arguing that the bodies of black women are appreciated by pointing out that only a minority of black women have such attributes, and those without are pressured and struggle to achieve such proportions.
The Gibson Girls image was very feminine. They were tall, slender, and wore corsets to accentuate their hips and breasts. They had thin necks and wore their hair in loose curls piled on top of their head. Gibson Girls did not
The characters Sherman portrays, lighting, clothing and expressions are cliché of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all.[iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they become ironic and cliché.
Ronkea Gibson, a Monroe native, is a very open and willing person to talk with to say she's 19 years old . She’s very open and honest no matter the topic. She graduated with the 2016 class from Wossman High School on the east side of Monroe. She’s now a ULM freshman majoring in Dental Hygiene.
Nancy Burson’s, Beauty Composites from 1982 are a set of two computer-generated composite photographs, which are each made up of the faces of five different women’s faces. In the first composite, the faces of Bette Davis, Audrey Hepburn, Grace Kelley, Sophia Loren, and Marilyn Monroe have been morphed together to create the face of one woman overall. In the second composite, the faces of Jane Fonda, Jacqueline Bisset, Diane Keaton, Brooke Shields, and Meryl Streep have been through the same digital process.
In The Story of My Body, Judith Ortiz Cofer is a young girl coming to America. She touches upon several of her personal struggles with assimilating in a new country. She is forced to confront the nature of people categorizing her body and looks and she provides detailed context on who views her body and in what way. This implies the idea of how different cultures view specific features through stereotypes. Her body is separated into different sections: skin, color, size, and looks.
Soma is the best weapon the government in "Brave New World" can use to control their citizens and maintain their ideal society. Soma creates a clam feeling while also distracting citizens. The distraction the drug provides is it's most powerful side effect, because while taking soma the citizens do not realize that that there is actually something very wrong in their world. Using soma to keep it's citizens content is the only way the citizens of the World State, in Brave New World continue to be enslaved.
Many of you don’t know this, but she was born at Virginia Beach General on November 20th, 2000, her Zodiac Sign is a Scorpio, her favorite trip was to Puntacana and her full name is Olivia Kay Gibson. Olivia has a job at McDonalds and has worked there for about 2 months now, she loves to spend her rainy days curled up in a blanket watching movies. This is just a glimpse of the things that I learned about Olivia. You’ll learn about her life in general, her thoughts, and her beliefs.
Soon after, the physical description of Marylou is expanded and Kerouac says that she was “a pretty blonde with immense ringlets of hair like a sea of golden tresses; she sat there on the edge of the couch with her hands hanging in her lap and her smoky blue country eyes fixed in a wide stare because she was in an evil gray New York pad that she'd heard about back West, and waiting like a longbodied emaciated Modigliani surrealist woman in a serious room. But, outside of being a sweet little girl, she was awfully dumb and capable of doing horrible things” (Kerouac). This depiction of Marylou is insulting to femininity in a few ways. One, it describes her within the context of the icon of the angelic woman—with the blonde halo and innocent stare. When she stops behaving within the contexts of this angelic woman, Sal states, “I saw what a whore she was,” immediately reverting her to the only other icon of womanhood that existed then, the whore. Terry is another female character who is objectified as soon as Sal see her in the story. He states, “I saw the cutest little Mexican girl in slacks come cutting across my sight…Her breasts stuck out straight and true; her little flanks looked delicious; her hair was long and lustrous black; and her eyes were great big blue things
Primary research, or research using primary sources, is first hand data and / or resources. In other words researchers are collecting data themselves. Primary sources are also examples of primary research; for example, when writing an essay on the Roman Empire, a diary or painting of that time is a primary source (also called "the original source" or "original evidence") it has not been altered and is the closest real source information to the topic.
Animal Farm is a satirical novella by George Orwell, and it can also be understood as a modern fable. The book is about a group of animals who drive away the humans from the farm which they live on, and it is primarily based on the Russian Revolution.
It’s difficult to envision a world where idealized female imagery is not plastered everywhere, but our present circumstance is a relatively new occurrence. Before the mass media existed, our ideas of beauty were restricted to our own communities. Until the introduction of photography in 1839, people were not exposed to real-life images of faces and bodies. Most people did not even own mirrors. Today, however, we are more obsessed with our appearance than ever before. But the concern about appearance is quite normal and understandable given society’s standards. According to Jane Kilborne, “Every period of history has had its own standards of what is and is not beautiful, and every contemporary society has its own distinctive concept of the
There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman may only be playing "dress-up" (as she herself admits) in her famous History Portraits (1989-90) (Berne, 2003). On another level, however, her "dressing-up" may be indicative of a deeper problem in modern gender identity theory which is the problem of "becoming" woman (Butler, 1994) or, as Judith Butler sees it, the problem of performativity. In the History Portraits, Sherman may certainly be said to be "performing" and perhaps even attempting to "become" the male and female characters she represents in her work. Indeed, it is upon such a premise that philosopher critics and gender theorists find her work so engaging. This paper will examine Cindy Sherman and her History Portraits in relation to Judith Butler's gender theory, the portrayal of the self, and how gender identity has changed throughout the course of modern history. It will examine representations of womanhood from Romantic Idealism to Post-Modernism and will also
It compares women showed in “A Doll’s House” with the actual women of that time.