And when «she knows it's happening: that thing, that connection» between them, when she dances for him and «making him fall in love with her» she says to him: «We've got all we need. We don't need love. Don't diminish yourself – don't reveal yourself as a sentimental sap. You're dying to do it, but don't. Let's not lose this.» (p. 231). She knows she's driving him nuts, she knows that her rejection of his feelings makes him want to attach to her sentimentaly even more. She dances for him and teaches him what life really is. She – a 34-year-old illiterate janitor, teaches him – colledge proffessor, ex-dean, a member of highest rank of society class, what life is all about.
The reader gets to know the true colours of Connie. She knows that she is pretty, she is jealous,
And good grief, he's forgotten about her by taking interest with her book making her clench her hands into a ball of fists though it doesn't last long as a wave of reasoning pass by her mind—she just has to control her temper. She's good. She's always good. But then he spoke—stripping off anything good about him, dipping into a conclusion that he's just a pretty
The appropriation of this aspect of the story into Clueless, reinforces the idea that holding one’s notions of beauty in high regard and enforcing these on another can lead to vanity and corruption of both people’s characters. Cher and Dionne decide to give new girl Tai a makeover because they deem her unnaturally red and wild hair, oversized flannel shirt and lack of makeup, unattractive. This decision is followed by a montage of Tai’s makeover, and upbeat, non-diagetic refrain “I’m gonna be a supermodel.” When post-makeover Tai is revealed she is styled similarly to Cher and Dionne and the backing singers sing, “it’s so beautiful.” The correlation between the lyrics and visuals suggests that the way Tai looked before the makeover was not ‘beautiful‘ and the beauty ideal the Cher has enforced upon her is ‘beautiful’. This message is further explored through Tai’s newfound attractiveness leading to her becoming vain and arrogant. This change in Tai’s character culminates with the infamous insult “why am I even listening to you to begin with? You’re a virgin who can’t drive.” After her makeover, even through Tai is now seen as conventionally beautiful, her personality is not. Tai’s character development emphasises the drastic effects vanity and superficiality can have on a person. It reinforces the idea that beauty is not as important as a person’s character, which is one of the main messages of Clueless and
Accordingly, Fantomina acts repetitively throughout the novel to gain the attention of Beauplaisir as a result of an identity crisis. This is relevant because she has a process of developing a character and subsequently seducing Beauplaisir, but she never realizes that she succumbs to each new role. Succumbing to the role almost as a method actor, she hides her true identity by burying beneath each character she embodies. Method acting tends to take a toll internally on a person and Fantomina is clearly affected, “she found herself involv’d in a Difficulty, which before never enter’d into her head”, she feels pulled into the role here and it reflects in her thoughts showing internal strife on how she initially uses her first character to interact with suitors (Haywood, 43). Therefore, Fantomina painstakingly undergoes a full transformation to become each identity to the fullest extent she can while discarding the previous layer of identity until her final true identity is revealed. Slowly, she peels away false attributes in the characters she acquires. As previously stated, the method of her embodiment of a role causes her to subconsciously adapt this persona as her own disguise. This method is how she can successfully adopt new alternative identities.
The men noticed her firm buttocks like she had grape fruits in her hip pockets; the great rope of black hair swinging to her waist and unraveling in the wind like a plume; then her pugnacious breasts trying to bore holes in her shirt. They, the men, were saving with the mind what they lost with the eye. (2)
Some people dream of being able to live up to their society's beauty standards but this was no problem for Tally Youngblood a 15 year old girl living in a world where everyone was turned pretty by the time they were 16. Uglies is a science fiction novel written by Scott Westerfeld that will make you jump out of your seats with its twisting plot. Although being beautiful seems like a blessing to most people in their society, others would disagree. Those people would run away to communities like the Smoke where they stay ugly forever. One day Tally's newfound friend, Shay, disappears leaving only a puzzling note with directions to the Smoke behind. Tally is taken to Special Circumstances, an organization responsible of keeping pretties and uglies
People in the 1930s endured many tribulations during the Great Depression. Stress and heartache filled the minds of people in cities, going months without work. All hope seemed lost for farmers forced to abandon all that they held dear, during the Dust Bowl. Farm families waited in doors for the
This quote, written by author Kate Angell, stresses that outer beauty is only the fragile glass of inner beauty, which is the reality. When reading this quote, I remembered a chapter from the book that really resembled and related to it. Something that could relate to anyone in any social-encountered situation, and give a new meaning to beauty in itself.
An allusion is “an implied or indirect reference” (“Allusion”) to a concept that readers are typically familiar with. Often used in literature, allusions commonly support an intended theme. Author T.S. Eliot frequently applies allusions to his literature for this same reason. Eliot’s allusions range from literary to religious references, and they require the reader to have a basic knowledge of each topic. An analysis of the T.S. Eliot poems, “The Love Song of J. Alfred Prufrock” and “Journey of the Magi”, shows a strong use of allusion to communicate a theme.
“The Beauty Treatment and Scars” After “The Beauty Treatment”, the narrator whose name is unknown has ambivalent feelings about her inner reflection matching her outer. Material items can only blanket your feelings, until someone rips off the blanket and the feeling of nakedness hits, like a ton of bricks. Consequently, sitting there looking at her friend Kate also known as “The Bitch “from whom she received the beauty treatment, she had an abundance of feelings growing as she sat there, vulnerable, knowing that the scar now made her face imperfect. The parts of the story are not in chronological order; by doing this the reader gets to resourcefully use the fabrication of the story since only one side is being told. Nevertheless, the reader can create his or her own vision of the inception from the first day.
Chiyoko was finally alone on the warm deck. In the solitude her feelings of happiness on which she had been pondering constantly all morning, became complete. ‘He said I’m pretty!’ ‘He said I’m pretty!’ Chiyoko repeated yet again the refrain she had said over and over to herself how many
Rochester, something that she would not have said earlier in the book. This is because as she gets to know him better, she finds his insides or his personality to be much more likeable or attractive. I can relate to this in my life, as I find that many times when I meet someone new or begin to learn more about someone who I have known for a while, if I come to enjoy their personality, their appearance in my mind becomes more positive also. As many people would agree, internal beauty can add to external beauty just as internal hideousness can take away from external beauty.
It must be terribly annoying to keep it up constantly.’ Marco frowns, but then, very slowly, his face begins to change. The goatee fades and disappears. The chiseled features become softer and younger. His striking green eyes fade to a green-tinged grey. The false face had been handsome, yes, but consciously so.” (pg. 276)
Striking contradictions are employed most frequently in her eyes ... kindling a kind of active uncaring"(p. 114) toward him. Her physical beauty, "the rhythmic rise-fall of her buttocks, the tremulous up-downing of her behind"(p.151), will make him "hurt for her, for the taming of her" (p. 152), for years to come.