Sophonisba Anguissola

That the film includes these elements of feminist material reflects its modern context of a society that is not unfamiliar with feminism. In this area it challenges the original text, where within the context of the Elizabethan era, Katherina’s rejection of her inferiority as a woman is unaccepted and repressed. As Hortensio mocks: ‘ ‘Mates’, maid? …No mates for you/Unless you were of gentler, milder mould’ (1.1.59-60), he manipulates Katherina’s reference to him as a ‘mate’- a crude man- to mean ‘husband’ in an attempt to silence her. Such repression- and that of Katherina at the hands of Petruchio- though exaggerated and outrageous, was acceptable and approved of in the context of Shakespeare’s play.

I am going to describe every element in the painting while analyzing every element as well. I will show why I believe the objects and elements in the painting point towards my thesis of how the Queen is expressing a fight against time. First off, the games. The card of queen and the chess piece are both mementos from the artist’s childhood, showing she grew up playing games. Something significant about the queen playing card is its femininity. Why specifically the queen as opposed to any other card? I think it addresses the phase the artist went through as a child

This image of Lucretia is not that of some mythological or religious origin, say, of a venus, for example, part of whose appeal is the depiction of nudity without social repercussion. With respect to the time which bore this painting, it is not unlikely that this inclination to experiment with the female nude was in part sublimated by means of this historical subject matter, however, so say that Lucretia’s nudity is illustrated only on account of what would amount to the privilege of moral impunity is perhaps too simple an explanation. It seems much more reasonable to posit that Lucretia’s own nudity, especially in conjunction with her opulent, indeed, what is surely very expensive clothing (other depictions of Lucretia typically omit the inclusion of clothes altogether), is employed by Cleve to highlight Lucretia’s shame—amid her wealth and regal lifestyle, her clothes have been cleaved open, and she had been irrevocable hurt and humiliated. Whether intended by the artist, this awkward parting of Lucretia’s garments over her left shoulder and down through her abdomen adds greatly to the desolation and pity associated with her historical figure. Ultimately, this compositional decision serves to augment the paintings emotional

  In eighteenth century novels, a common means of discussing the role of women in society is through the characterization of two good sisters. The heroine of such a novel is a pure, kind young woman who also has a streak of spunkiness. Her sister may be more good and kind, but she is more submissive and reserved. I would like to look at these sisters (and their mothers) in Ann Radcliffe’s A Sicilian Romance , and The Castle of Otranto by Horace Walpole.

The role of chess as a setting in the story presents an analogy with Waverly‘s life. She uses her new knowledge of “weaknesses and advantages” (1426) to goad her mother into allowing her to compete for the first time. She continues to press her advantage, getting the bedroom to herself and berating her mother for watching her practice. In the chess game of life, however, Waverly underestimates her opponent (daltonkr4).

Knowing the sex of the artist introduces the preconceived notion of how the artist may view the opposite sex. In this painting, because I know the artist is a male when viewing the subjects of the painting I understand why they are painted in the way they are. His gender influences my

Such an argument would not be a ludicrous one to make, particularly given the prevalence of the misogyny that exists in the letters among Usbek, Rica, and the eunuchs. There is the constant reminder that despite Usbek’s absence, the women remain subject to his authority as exercised through his proxies, the eunuchs, who are instructed to remind the wives “of their total dependence” (5). Although the women do issue commands to the eunuchs, they still remain subject to a trifecta of restraints — the seraglio, society, and their husband. Even while the women may be able to revolt internally within the seraglio, externally in the world their subordinate status remains unaltered. Hence, in the grand scheme, the domestic turmoil within the household is inconsequential. Montesquieu even presents instances of women who savor in the cruelty shown to them by their spouses (66), who are valued based on the preservation of their virginity (99), and whose reputations are damaged by the sexual whims of men (37). In his inclusion of such anecdotes, Montesquieu refutes the notion that women are little more than inferior to men; otherwise it is plausible that he would have omitted the aforementioned passages. Likewise, not only does the rhetoric of the men in the novel reinforce the inadequacy of women, but also does

The passage that I read is about renowned female Baroque (and Renaissance) painter Artemisia Gentileschi.She was taught by her father at a young age. However, as a teenager, Gentileschi was sexually assaulted by another artist and friend of her neighbor, Agostino Tassi. Later on in her life, she returned to painting and married painter Pietro Stiattesi. They eventually separated, and Artemisia lived a life of self-reliance and independence. Her art emphasized classical and biblical themes, but also focused on stories, especially of women. She also used female characters as metaphors to convey themes like oppression, suffering, injustice, and triumphs of women. Gentileschi gained popularity soonafter, and became the first woman to be admitted

In the article “Construing Gender: Mastering Bianca in The Taming of the Shrew”, author Patricia Parker looks specifically at a particular moment between Hortensio and Lucentio, both disguised as school masters in order to win Bianca’s affection. In the beginning of the play, it is suggested that Bianca is the more subordinate sister and that Kate is the one who is shrewish and disobedient. Parker focuses on the exchange between Hortensio and Lucentio where they are arguing about which subject of study should come first. Hortensio, disguised as Litio, proclaims that music should be taught first. However, Lucentio, disguised as Cambio, declares that putting music above other, more exalted studies is a crime in and of itself.

Giovanni Boccaccio is one of the leading Italian writers in the 1300s and has been considered as the father of Italian writing style through his composition of one hundred novelle. The Decameron continuously pictures women not as the objects of discussion but as the active producers and interpreters of their actions. Women are portrayed as they are or as they should be; they are shown to be as aggressive as men are while at the same time they can be submissive whenever they need to be. In many instances, Boccaccio depicts women as protagonists who do not readily accept the traditional role – being subservient to men and having no voice in the male-dominated society–, make their own decisions,

The focus of the painting is a woman in bright yellow. This woman stands above the crowd, showing only her back and a hunched figure. Her posture suggests that she is shy, self conscious and is afraid of the spotlight that she suddenly finds herself in. Her head is bowed which hides her face and deters us from seeing her identity. She looks as if she carries a great burden on her shoulders. She shares her pedestal with another woman in red who is smirking and confidently showing herself off. She, unlike the other woman, displays herself to be seen by all. She leans against the building behind her, her arm thrown to the side, which opens up her posture. Her confidence is worn as easily as her revealing

In the time period of the play, women were not viewed as people, much less as equal to men. Men were held with respect and their opinions were valued. However, women were considered half a person, and they were not allowed to have an opinion. If they spoke or acted out of

These two women were painted to have their best clothes on. Isabelle D’Este was painted with the finest clothing and a white ermine stole to show how she is part of the upper class. In the painting of Adele Bloch-Bauer she is wearing her nice clothes and her hat she wears outside. These women are highly

It was determined that the women in the portrait was most likely a freeborn, upper-middle class citizen of Rome. The portrait seems to have been a part of a funerary monument, a conclusion which was drawn due to the pattern of cleavage observed at the back of her head and the sides of her face. It was also observed that there was a

We see that it’s clear the woman is severed from everything else, making the painting almost uninviting and lacks a sense of warmth. The images in the mirror are meant to be separate and not interfere with the frontal image. It’s that separation that draws so much of the discussion; without the sense of her being separate, you have no cause to wonder what is actually going on. It’s this interesting perspective that makes this painting so unique, it’s able to draw a conclusion from every viewer and those conclusions for the most part can be very different.