Madonna Myth Dichotomy

In the early 13th century two paintings came to shape the view of the Christian faith and put their stamp on history by ushering in two different styles of the same idea. Cimabue Enthroned Madonna and Giotto Enthroned Madonna became iconic images that have stood the test of time. At a glance they appear to be same but with a closer look very distinct differences are apparent and unmistakable. The Cimabue Enthroned Madonna and child was painted around 1285 A.D. for the church of Santa Trinita in Florence.

One of the most amazing things about studying the history of art is the progression, especially of the same, or like, figures. It’s like having two people paint the same picture as you describe it to them; each artist will interpret the information through a different lens. During the ages of Gothic Art, cultural influences and religion played the most prominent role in the interpretation of events and their explanation in art.

In such romantic representations, " the tribal, especially the women, is dark, inscrutable, a kind of repository of unrepressed, orgiastic, magical sexuality, therapeutic powers and the 'unconscious' and as such a solution for the urban malaise" (Sangari:

This film highlights the flaws of humanity in a western world. The films ability to touch on topics of classism, prostitution, and alcoholism makes the content mature and unlike typical western films. This revolutionary and innovative western created a foundation for many future films. The sophistication of the content, and lack of adherence to the production code makes this film an “adult”

The movie gives the message that women must do acknowledge their responsibilities towards themselves, which can and should never be neglected or postponed for the sake of anyone or anything. Nothing in this world is worth sacrificing your own aspirations for. A person’s greatest assets are self-respect, dignity and individuality. Woman should safeguard her identity by not letting her individuality get submerged and by keeping her priorities intact all her life and creating a place for herself.

The subject in it is not as important for the message the author wants to convey. The symbolic transition of the character, Sumita, from one culture to another, is portrayed in the short story through her clothes and her attitude towards the garments. However, this short story is not important only for the issue of culture, but also reflects the status of women in the Indian society and the differences as opposed to the American one. This comparison is yet again done in part through clothes.

Throughout the novel of “The Madonnas of Echo Park” by Brando Skyhorse, the usage of connecting various characters different lifestyles conveys the message of how in the real world everybody's actions would have some sort of impact with themselves, an individual, community, etc. Despite there being various characters in the novel that I could connect my life experience with, the two characters that stood out the most was Hector and Felicia. Reason being both characters reminded a lot of my parents who came to the United States and a lot of similarity to the characteristics of Hector and Felicia.

Scott’s poem, “The Onondaga Madonna”, is such an example of a racist piece of literature that rejects the acceptance of a multicultural and cultural diversity within society. It emphasizes the differences between the Euro-centric society within Canada and the savage society of the Onondagas and promoted Scott’s belief that the death and eradication of Indigenous culture were “beneficial to individual Indians” (Weis 28). He believed that the government could educate and mould Aboriginals into “a fully enfranchised and Westernized member of English-Canadian society” (Weis 30), and he pushed forth his beliefs to his readers through “The Onondaga Madonna.”

Like all artwork, film both shapes and reflects the culture in which it was created. However, in order to communicate the message contained within a film, the film must be marketed in such a way that audiences enjoy and thus desire to watch it. By incorporating dance into a narrative film, film writers, directors, and produces can make their product more appealing to audiences, thereby increasing the film’s consumption. Released in 1987, Dirty Dancing uses dance in this way to enhance the plot of the movie as well as make the film more marketable to audiences. Drawing upon gender stereotypes and the assumed male gaze, Dirty Dancing generally reinforces the gender ideologies common in film released during the same time period, albeit prescribing slightly more agency to female characters than was common in similar films. Simultaneously, the film features a plot structured around the fantasy of achievement, creating a narrative around a plot device that is historically popular among a variety of audiences. In this way, Dirty Dancing has become a lastingly popular film, despite the fact that its use of the male gaze and gender stereotypes to tell a story structured around a plot reinforcing the fantasy of achievement reveal the problematic dominant views of its time period.

The film’s treatment of gender and sexuality connects to course readings that are studied in our class. Elizabeth Lunbeck’s essay, Hysteria: The Revolt of the “Good Girl”, there are two main themes that correspond with Grease. The first theme is that women are hypersexual creatures that seduce men. This theme is only considered normal to men

A film with a lesbian sentiment has made it past censors and will be found in theatres in a nation where homosexuality is actually a criminal offense. Considering that it is so uncommon to discover a nuanced female character in Hindi cinema, Laila watches porn, utilizes a companion to mollify her disappointment, and even engages in sexual relations with a woman. Investigating a woman's sexuality in an Indian film is highly taboo, so going this far in a Hindi film feels like a triumph. At the point when Laila enters a relationship with Khanum, a nice looking young woman who is visually impaired, the film achieves its pinnacle and asks some feared questions that these both women are in a relationship with each other in light of the fact that men do not discover them alluring or attractive. Or if Laila enters homosexual relationship because of her disabilities. It is alright for Laila to investigate her sexuality by laying down with a man once, to ensure she is a

The male gaze puts his fantasy onto the female figure, which is styled, in a unique sort of way. In this traditional exhibitionist, role women are continuously being looked at and their appearance is delivered to the male gaze in such a way as a strong visual and erotic impact and provides male desire. The presence of a woman in a normal narrative film is the key of the movie. However, the key of the narrative film works against the development of the story-line and stops the action due to the erotic gaze. Butt Boetticher said: “What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance”.

Ravana, the villainous king of Lanka, hears about the beauty of Sita as his sister describes her as being ‘the most beautiful woman in the world’ thereby inciting him to kidnap her. She describes her physical attributes by comparing her skin, eyes, hands and ‘her breasts’ to ‘juicy lotuses’. Sita, who resembles the animated cartoon character Betty Boop, has been objectified throughout the course of the movie . This not only happens in the movie but is something that is generally seen to happen in the society. In the Ramayana it is mentioned that Sita’s eyes ‘resembled the petals of a lotus’, she ‘wore dark curly hair and was endowed with fine hips.’ Ramayana enjoys such an exalted status that all its narrations are seen as source of teachings and truth. It is inexplicable for such a sacred epic to objectify woman. And if it does so, what can be expected from the huge number of people who seem to harbour blind faith in its

Although Jan Van Eyck was one of the most influential artists during his time period, his work, Lucca Madonna is fairly unknown. Whilst researching Jan Van Eyck the work rarely appeared unless one research specifically the name.

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.