Portrait Of A Creature Woman Analysis

In Ellen Moers’ critical essay Female Gothic: The Monster’s Mother (1974) on Mary Shelley’s novel Frankenstein, she argues that Mary Shelley’s story is greatly influenced by her experience of motherhood. This essay uses the historical approach, biographical, and formalist approach at point. Moers references the cultural context of the novel, Mary Shelley’s experience as a woman and mother and how that influenced her writing, and focuses on the genre of the novel quite a bit.

In the early 1970s oil tycoon J. Paul Getty began a reconstruction of the Villa dei Papiri which is located in Herculaneum, Italy. He had been collecting artifacts and had housed a majority in the Getty museum, located in Malibu, California. However, as the number of items in his collection grew he decided to create a museum specifically for the Greek and Roman artifacts. Working with historical consultant Norman Neuerburg, Getty commissioned the recreation of the Villa dei Papiri to be located by the Getty Museum in Malibu, California.

Her face is empty and has no meaning because it is what women was for at that time. The face of women was not important to keep the family line or the clan strong. Men wanted women who had more female features which they think can make their children healthy and strong. So then, the women’s body on the statue shows bigger breast and hips because that

On Sunday, March 19th, 2017 my roommate and I attended Latin Fest in Upper Wege. The event featured delicious Latin-American dishes (such as empanadas and fajitas), speakers, and a performance by the award-winning poet Elizabeth Acevedo. Acevedo is a National Slam Champion and has performed at a variety of venues both nationally and internationally, including The Lincoln Center, Madison Square Garden, and South Africa’s State Theatre(Acevedo). She has also done a number of TED Talks(Acevedo). Acevedo is an Afro-Latino American from New York and she recently released a book call Beastgirl & Other Origin Myths. She began her performance with her rap-style poem titled Beastgirl. Acevedo’s poems are often a joining of the English and Spanish languages.

Woman From Willendorf is a sculpture of a overweight woman with rather large breasts made out of limestone in the Paleolithic period back in 24000 BCE. The figurine has a very grainy surface and it appears to have been covered in a red paint at some point which has now gone away or faded. The figurine also extremely exaggerates the size of the actual female body by having oversized belly, thighs and breasts, although we cannot see the back part of the figurine I bet it has an oversized behind as well. The person who created this figurine was aiming at the creating at expressing the health and fertility of a healthy woman. A healthy woman would mean that she could take care of the offspring and ensure strong children with could help the clan

The work of art discussed here is a piece called "Bronze Statuette of Cybele on a Cart Drawn by Lions." This particular piece is mostly a

It portrayed the woman as being the care giver of life, and it showed her as something everyone looked up to, either for riturals or as a figurine of fertility. She may have been the Goddess of life; a status similar to “Mother Earth.”. However, I believe that the purpose of ti was to show woman what their capabilities were, and it seemed to focus on the strengths that they possessed and what their functions in society were. In this case, the large breasts, stomach, and hips (Selen). It potentially was used to symbolize new life, or maybe even a new beginning. Now if you focus on this statuette you will notice that it’s roughly only about 4 inches long. The statuette is named the “Venus of Willendorf” after Willendorf, Austria, where she was found, and the name “Venus” was named after the ancient Roman Goddess of Love

The statue is a Roman reproduction of a Greek work. It shows Venus, the goddess of love, standing bare-breasted and clutching a piece of cloth draped around her hips. At her feet, there is a dolphin that, practically, adds support to the piece and artistically makes an allusion to Venus's birth from the sea. As the notes from the Getty Museum explain, the statue is derived from a very popular Greek statue created by the sculptor Praxiteles around 350 B.C. The statue was so popular that it was copied by many artists.

All throughout our time on earth we have set standards on how the perfect person should look like. Even though we have changed what the image is over the years, it is still there. And the people who have had to put into these standards and judged the harshest is women. In our misogynistic world we have put women in a place where they must strive to be a certain way that appeases men in order to survive in the economy. In this comic you can see that the roman woman is offended at a size of clothing offered by her husband. She is offended because at the time it is more attractive to have a medium sized weight rather than heavy. It corresponds with today’s society because we still put women in a standard to be slim today and take offense when

The sculpture that we have observed has been dated to the first half of the first century C.E. This places the portrait during the Julio-Claudian period in Roman history. From the information we have gathered about the time period, the woman's style of dress and of the types of sculpture prevelant during the period, we have formed a possible profile of the daily life of the subject.

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in, with her age and the state of her health. The figure is dressed in cloth that drapes off her body as she carries a basket that is filled with what we may think are offerings. On her head, there are vines that create a band around the top of her head used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During the hellenistic period, artists begin to introduce more inner beauty than physical beauty. There is an opportunity to learn more about the structure itself, then settle for what is given and seen.

Bruno Bettelheim, he analyzed fairy tales in terms of Freudian psychology, which is represented in his works of The Uses of Enchantment. Beaumont’s story of Beauty and the Beast is where the first discovery of Beauty’s problem was identified as the Oedipal complex. The Oedipal complex is a child’s desire to have a sexual relation with the parent of the opposite sex, but it is repressed deep in the mind. Beauty in Beauty and the Beast has a special bond of affection with her father; there is the problem that arises within this complex that what if she were to be stuck at the stage of development and never outgrow it. Within the fairy tale written by Jeanne-Marie Beaumont there is the representation of the period where she begins to transfer the affection to someone else. An analysis of Bettelheim’s theory of the Oedipal complex reveals psychological problems of growing up in the written fairy tale and Disney adaptation of Beauty and the Beast.

I was drawn to this time period as well as these two sculptures. As I researched both sculptures I was fascinated by how much respect the people of that time had for their women. Not only for what they could do for them, but also for what they looked like. They didn’t see the weight and size as a grotesque thing; but more as a thing of beauty. In

The feminist art movement that emerged in the 1970s aimed to change the established narrative in art and give women a more prominent voice. The overall goal of this movement was to revolutionize the nature of art in a way that would transform society. Art produced during this era focused on experience and meaning over form and style. Thus, feminist artists wanted to include more representation of the female experience, as it was so severely left out of art, and recognize it as different but equally as valid as their male counterparts.

Ovid’s Metamorphoses, having no set plot may at first confuse some readers, though it starts with creation, it moves on the practices involving Gods and mortals and the changes they incur. The stories seem to follow each other in time, but there are flashback’s that show Ovid is not concerned with the nebulas of time, instead he is showing the transformation’s the characters go through. Passage of time is not Ovid’s point, but as he put in the mouth of Pythagoras, the only constant in the universe is change. Ovid’s character’s changes are usually immediate, Athena changed Talos to a partridge, Daphne was transformed into a laurel tree, and Echo, well was turned into an echo. There is often a discontinuity of time, we know Echo wasted away, but how long that took is not important the theme is, the often lack of the restraints of time is what makes mythology so easy to relate for any era. James Joyce in his novel, Portrait of the Artist as A Young Man, ties his story with the semblances of mythology from the story of Daedalus and Icarus, fusing the ideas that discovery, sacrifice and rebellion is a process needed to be an artist. Though Daedalus and Icarus are from a mythical time and Stephen is living in a specific time during Dublin’s history, all characters are faced with the struggles of existence, self-discovery, and learning how to deal with one’s own need for artistic freedom and the disadvantages such gifts may pose. The path that each undergo, either by