Mortal Seeming : Standing 6 ' 4

Throughout the film there are numerous situations in which Joseph’s faith is tested yet he still stays true. These situations are integral to Joseph’s

Throughout different forms of literature, clothing is symbolically used to represent the status of the main character at changing intervals of his or her life. Just as clothing that is worn today can send messages about who we are as people, the same phenomena can be said about clothing of past generations, as well as within a literary context. Which garments are worn, and in fact, how they are worn, can lead to identifications about culture, gender, wealth, socioeconomic status, and religion. Also indicative of these characteristics is the absences of certain articles of clothing. In Joseph’s story, the garment motif is used as an obvious symbol, throughout the entirety of the narrative to represent downfalls and uprises in the plot. This use of symbolism may also reveal

Joseph also assumes that if you are not a true image of man then you are considered a deviation. He suspects that if you are a deviation then you are sent by the devil. Additionally, if you are a deviation then you don't deserve to live. Altogether, Joseph is seen to be a man who is viciously devoted to his religion.

Mary is wearing a large, dark blue robe that rests upon the floor as she kneels. A portion of it is suspended onto the stand from which she reads a book. The book’s pages are opened in an unrealistic manner, with a few pages seemingly stuck in one position. What little of her figure that is visible is oddly proportioned, with a plump

Joseph was often sent out to spy on his brother for their father. He often tattled to his father about their wrongdoings. Joseph had dreams that he shared with his brothers that made them not like him even more. In his dreams, he had power over his entire family. This caused Joseph’s older brothers to hate him so much that they plotted to kill him. Instead of killing him; they beat him and sold him

Joseph looks like a tall buff man with wivering hair . He has wonderful brown eyes and a smile that can lite up your day .when i was younger he will always lit up my day with his smile

What is certain is that when he came walking back into the village the next day, he wasn’t the same man he had been before. He wouldn 't stay in one spot long. He was constantly roaming, muttering words that no one could make sense of. Arthur tried to help him. He brought in the best doctors and magicians he could find. Arthur gave him a room in the castle and tried his best to keep him well clothed and fed, but Joseph kept wandering, muttering words that nobody could decipher. Women hurried out of his way when he passed; children through rocks at him and talked about him behind their backs as if he was some kind of monster. Of course King Arthur didn’t approve, but there wasn’t much he could do. Joseph wouldn’t listen to any of the advice Arthur would give him. Eventually, Arthur gave up.

Joseph and Aseneth is an allegory of conversion to Hebraism, which although it features a woman as the main character, the text demonstrates a society concerns about interfaith relationships. The text is not a contemporary narrative from the Torah because it revolutionizes the common beliefs and encourages new traditions. Joseph and Aseneth adhere to the interpretation of Orthodox Hebraism by portraying a prohibited love story because of religious differences. Joseph seems reluctant to be in contact with a woman from a different religious background even though Aseneth practices chastity and believes in marriage. Their religious disparities seem to be an issue and Aseneth goes to great lengths to gain Joseph’s, heart. This theological text

“I compassionated him and sometimes felt a wish to console him, but when I looked upon him, when I saw the filthy mass that moved and talked, my heart sickened and my feelings were altered to those of horror and hatred” (Shelley 155).

Its music video demonstrates some of the kinds of hybrid masculinities that Sun Jung points to. The song touches on the topic of a man’s inability to get out of a toxic relationship with a femme fatale figure. In terms of their clothes, the dance sections feature leather vests and heavy, strong clothing. In the narrative sections, they all wear simple black suits, which signals could be described as a “cool,” non-descript image of global masculinity. In the dance sections, the wardrobe speaks of toughness and grittiness. Indeed, their robust, purposeful dance moves signal a certain sense of power and authoritativeness that is in line with 2PM’s jimseungdol image. This power is reflected in the narrative section where the male figure in the music video, voyeuristically watches the girl without her knowledge. The dance ends with their faces in their hands. Here is the soft masculinity that Sun Jung points to––the simultaneity of femininity and

In Voice the beginning of the text is filled with positive imagery, with her voice being called a gift and likened to “a hothouse plant...luxuriant, with glossy foliage”. The effects of her voice are also described as positive. “Applause flew around it(her voice) like flocks of red birds” makes the experience and attention of being famous seem glamorous and almost magical.

The main focus of this article was on the depiction of the figure Salome, and the meanings behind these interpretations. Lawrence Kramer discusses this topic on two fronts: the late 19th century hypersexualizing of Salome and a more critical approach that stresses the study of the music itself. The author presents the works of many late 19th century artists and draws upon criticism/discussion of more modern scholars to help make his point. He concludes that though it would be easy to analysis Salome, especially in the late 19th century, as the Freudian trend towards sexualizing everything, it also provides a deeper view of the cultural underpinnings that create some of these dated and misogynistic notions/ideas.

“’Notice how strangely the bed is placed, look at those somber, blood-covered hangings; and those two faded portraits, with their livid lips and their frightened eyes, don’t they seem to be saying, ‘I saw!’ But that’s not all. Look at this little staircase and tell me what you think of it. Can’t you see someone descending it step by step in the darkness, bearing some sinister burden which he’s eager to hide from the eyes of men, if not those of God?’”

Page 45 "His limbs were in proportion and I had selected his features as beautiful. Beautiful!" - Great god!

At the end of the 19th century, fin de siècle did not just indicate the end of one century: it indicated the collapse of language and a way of thinking. This idea was illustrated by works such as von Hofmannstahl’s Lord Chandos Letter and Schnitzler’s Dream Story, which seem to argue that a new mode of thinking was necessary for a new age. Indeed, Freud’s writings and Trakl’s poems offered this new mode of thinking by challenging the border between what is “real” and what is “imaginary” through their works. In music and art, a similar trend was taking place: late 19th century works offered the audience a window into the artist’s emotions, experiences, and desires. This idea is seen in Gustav Mahler’s 1st Symphony and Egon Schiele’s Seated Male Nude, in which both artists channel their experiences and emotions to release suppressed elements of their psyches. However, the purpose for their expressivity is different: Mahler’s expressivity stems from a desire to find relief from mental stress stemming from his turbulent life, Schiele’s from a desire to explore new ways of conveying the self.