Marie Moreau And Alain Delon Star Persona

In her book she challenges the government of France and their ideas that women should not be exposed to the same education as men. She gives warning that women will not forever be satisfied with only domestic concerns, and she demands justice for the female race.

During the nineteenth century, Paris further developed into the entertainment capital of the world. Alistair Horne, the author of the Seven Ages of Paris, vividly illustrates several historical moments that occurred in Paris. Through the horrors and triumphs, Paris was able to endure through it all for ages and still emerge greater than before. In comparison, Vanessa R. Schwartz, the author of Spectacular Realities: Early Mass Culture in Fin-de-siècle, demonstrates how the explosive popularity of the boulevard, the newspapers, wax museums, panoramas, and early cinema led to the creation of a new culture in Paris. Driven by consumerism, a cultural revolution was happening, who’s new culture transcended gender and class divisions. Both authors

It takes a great amount of bravery to criticize one’s country. It takes an even greater amount to suggest that this criticism stems from gender inequality that one’s society so willingly accepts. Renowned French novelist Françoise de Graffigny took the initiative to point out the caustic gender inequality that was so pervasive throughout French society by use of her novel Letters From a Peruvian Woman. In this novel, Graffigny criticizes various aspects of gender inequality in French society through the lens of Zilia, a Peruvian woman and Other who found herself captured and forced into French society. Through Zilia’s encounters, Graffigny molds the opinion that the ills in French society are caused by the harsh treatment of its female citizens. Françoise de Graffigny uses Zilia from Letters from a Peruvian Woman to critique the inferior role of women in French society and the destruction it entailed in regards to the lack of education among women, the damaging restraints that marriage created for women, and the unjust, presumed behavior for women.

The Dreyfus affair took place in the town of Rennes in the 1890’s and involved a Jew/former officer in the army named Alfred Dreyfus. The case was brought about when Dreyfus was accused of treason due to the army’s large connection to Anti-Semitism. This affair became a major turning point in journalism in France because it opened up the doors to French collective opinion in the press. This case involving Dreyfus relates heavily to our course due to its connection to the New Woman. During the affair, women who supported the case were considered a “wandering Jew,” which was a demeaning term to describe women who did not claim a role in French society. By not having a fixed representation attached to themselves, these women, nonetheless, were considered a wandering Jew claimed to have no strong characterization of identity or beliefs. Our course discusses the stereotypes fixated on women through the seventeenth, eighteenth and nineteenth centuries. Individuals, not just in France, look to place individuals in categories that are fixed. The term “wandering Jew,” that

In today’s world, men and women are perceived equally by the society. In the past, authority and control define men while women are given the characteristic of helplessness. Men are able to get hold of high positions while women usually are subservient to them. In movies, we would usually see women portray roles that are degrading due to the stereotypical notions they associate with this gender group. Moulin Rouge, a movie set during the 1900s narrates the story of a courtesan woman, Satine, as she undergoes hardships to earn money, experiences love but unfortunately, due to her irrational choices, faces tragic consequences at the end. Satine is a symbol of how women are being treated by the society during the era before post-feminism,

Fanon and de Beauvoir are classic cases of 20th century intellectuals crusading through exactly the typical struggle for recognition that hopes to make people into subjects. In this way, Freud’s account of the subject is thoroughly laden with specificities ensuring discrimination, but the efforts of Fanon and de Beauvoir to create a more inclusive subject only reinscribe the root of inequality.

The twentieth century was being turned on its head as the civility of wars, we're focusing on a broader spectrum; the world, the ideologies that were once known for centuries had to question the cultural norms, and a woman was changing the world’s longstanding views of them. In the midst of the ever impending world, yet, one trial in France was attracting the attention of its people, that the problems surrounding the world, seemed less significant. The name Henriette Caillaux plastered on every front page of the French newspaper, as she had come on trial for murder. Caillaux had murdered her husband’s longtime enemy, Gaston Calmette after Calmette published a letter from her husband and his first wife in his paper Le Figaro. Calmette had sparked

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.

Delacroix whilst employing saliency, personifies Liberty as Marianne, a representation of the French nation being represented allegorically as a goddess figure and also as a vigorous WOMAN representing ideals of freedom and reason. Liberty’s Phrygian cap whilst holding the Tricolour French flag and her exposed breast whilst marching towards the foreground and towards the viewer creates vehement depictions of autonomy as the motive behind the revolution .

In Friedan’s ‘The Feminine Mystique”, she addresses the unspoken problem of women, especially housewives, in the 1950’s and 60’s. Women were taught to be a mother and wife and to embrace their femininity. They were also taught to reject academia and “pity the neurotic, unfeminine, unhappy women who wanted to be poets, physicists, or presidents.” These women were consuming what was given to them in pop culture. They dyed their hair blonde and ate chalk to lose weight. The dream for women during this time was to be the perfect suburban housewife, which included a good marriage, four children, and nice house in the suburbs.

Bonheur was an important figure in women’s right; she herself reflects the social movement for women. She was a women that didn’t let society’s standards keep her down; she worked hard to build her career. Bonheur was the first woman in France to get a permit to wear pants.1 The police’s reasoning for allowing Rosa this permit was because of health, and her doctor co-signed the permit.1 The slaughterhouses and fairgrounds would dirty her dresses thus it was impractical for her to wear a dress. Bonheur was smart she knew what wearing pants would do to her career.1 She knew buyers would not purchase paintings that came from a woman who wore pants, so Bonheur would wear dresses to social events.

However, the flapper girl stereotype was not the only trend that women saw in the 1920s, as women found themselves in the middle of the art deco movement, where a mix of exotic and flirtatiousness led to a different kind of modern woman, displayed by Greta Garbo throughout her career. When Garbo entered the American film industry, she emerged as an art deco icon, where the roles she was cast in continued to reflect clear mannerisms of the movement, and the audience saw her to be this exotic and modern woman. In Bean and Negra’s A Feminist Reader in Early Cinema, the authors describe how the art deco movement affected the public’s perception of the female role, creating “...complicated codes for femininity…” combined with “...modernity and its

There were many who often assumed roles or stereotypes recognized by the masses of the female gender before the 1940s, of examples such as the naïve princess or the obedient housewife. It was additionally a time of doubts and indecisions due to stock market crash. The concept of modernity was slowly being represented as a mirror or response to the reality. This paper will discuss the way that the female leads were presented in the film Modern Times and It Happened one Night in response the changing ideas of modernity such as gender, class, and sexuality.

Furthermore, he ‘experimented with prints for…subject matter…more undercurrent…under the radar’ (Burlingham in McQueen, 2014) in the art world. Grasset had used the medium since the 1880s and here, by using it for art and not for commercial purposes, he is reinventing printmaking. It is a move away from the Academic tradition of the ‘original artwork’ and creates a more egalitarian art for the masses. In ‘La Vitrioleuse’ and ‘La Morphinomane’, he presents us with ‘two examples of the Parisian female archetypes that are commonly illustrated as afflicting French society’ (Levesque, 2014) and they represent a marked move away from his previous depictions of women. Here, he ‘refuses to use the…woman as a mere ornamental motif…his model is the contemporary…Parisian woman’ (Plantin in Roos Rosa de Carvalho and Vellekoop, 2013: p110). However, his view is a misogynistic one as he demonstrates the dangers of society giving women freedom. These prints are part of the Art Nouveau movement and both depict women with wild, natural hair and arabesque

The 2006 film ‘Marie Antoinette’ (directed by Sofia Coppola and starring Kirsten Dunst in the titular role) is one such film that sought to modernise its subject. A retelling of the life of France’s most famous queen, the film showcases the majority of Antoinette’s life, from her