Salome

`Plays and Poetry by early modern women are primarily concerned with negotiating a position from which women could speak. A concern for ideas of gender, language and silence is, therefore, central, though its expression is sometimes open, sometimes covert.' Discuss with reference to Aemilia Lanyer and / or Elizabeth Cary. The Tragedy of Mariam focuses on Elizabeth's Cary's desire to develop a platform from which women can speak, thereby offering a fuller understanding of women as individuals.

Wilde’s technique for expressing these elements is found in direct comparisons of imagery in the text. As though the very notion of a woman’s lust-worthy beauty being displayed on the London stage were not problematic enough for the English, when Salomé is discussed in the play, she is most often likened to an exquisite, desirable object. Discovering exactly what object she is being compared to is the tricky part and where the beauty of French meaning really shines. The original version states that

Des Esseintes' Infatuation with Artifice in Huysmans' Against Nature   In J.-K Huysmans Against Nature, Des Esseintes rebels against his family, religion, and Parisian society to establish an identity unique to himself. He perceives this rejection of the truistic self as the development of individuality when, in actuality, it is only a self deriving from his reaction to the overstimulated public. By decorating his abode with eccentric objects, he falsely believes that he can detach himself

His painting titled The Apparition, painted in 1874, depicts Salome dancing for King Herod, pointing at the floating, glowing apparition of John the Baptist’s head. Salome is depicted as a classical nude, dancing to win her reward requested of King Herod. The fact that Salome could influence the minds of men and inflict such destruction with her naked body is one way the fear of femininity manifests itself in Moreau’s work. Salome is la femme fatale because she exclusively uses the influence

Salome and one that similarly questions the artistic construction of beauty and cruelty or of beauty as cruelty even as it participates in this tradition. The impossibility of the female subject of violence is precisely what Lamb examines in Salome although the poet herself was literally such a subject of violence, her poem is concerned with the construction and representation of this subject, or rather with the limits of its representation. Salome in Lamb’s represents one

reality using his imagination. One example of use of symbolism in art work is the piece The Apparition by Gustave Moreau. This piece shows a biblical scene of Princess Salome performing a sensual dance for her step-father Herod, this dance was instigated by her mother Herodias. Floating in front of the dancing Princess Salome is the bloody decapitated head

to decide the fate of their spouses. Cary highlights relationships between the central characters and shows what happens to women who go against the social norm. Instead of banding together in solidarity, the women characters, particularly Mariam, Salome, and Doris are pitted against each other and ultimately alter the trajectory of each other’s lives. The role of gender inequality and influence of public opinion affects the functioning and perpetuation of marriage in this play. If decisions and actions

Being a female writer in a time when women were expected to bear children or devote themselves to God was a difficult fight to face that often left many women discouraged and remorseful of their talents. These same feelings of discouragement and remorse are felt when dealing with heartbreak and in the poem, Whitney connects the emotions felt by the two ailments: And as the swelt’ring heat consumes the war away, So do the heaps of deadly harms still threaten my decay. (45-48) The decay Whitney is

However, this woman in the New Testament is described as the mother of John and James, the sons of Zebedee. Salome is well-known for her attempt to influence Jesus to allow her sons to sit at his right and left hand during his reign in the heavenly kingdom (Miller, 2004). Mary, the mother of Jesus, not only saw Jesus on his crucifixion, but also went to his empty

more theatrical technique. Horton used his versatile dance background and interests to develop the sub genre under modern dance, more formally known as choreodramas. His technique seen in earlier pieces and choreodramas such as “The Beloved” and “Salome” were effective in displaying the purpose of Horton’s style. Horton integrated his background in dance, props, costumes, and choreography to emphasize contemporary ideas and display the new genre of choreodramas. As a child, Lester Hortons was very