Blakes London versus Pazs The Streets Essay - 1265 Words

Streets William Blakes London and Octavio Pazs The Street both use streets as symbols. Blake analyzes the traits of the different social groups on an everyday encounter while out on the streets, whereas Pazs poem encompasses the feelings of a man on a particular journey down a street. This is just one of many similarities in the two poems. Both poems exude an intimate feeling of discontent, yet both are for very different reasons. Blakes poem deals with the external conflict of a politically unstable London, while Pazs poem deals more with the internal conflict the narrator experiences as a result of low self worth. One may not catch some of the obvious similarities and differences in these two poems if not looking†¦show more content†¦In The Street, the tone created is one of abandonment and loneliness. The narrator seems paranoid and a little angry. He feels like he is being followed. Could this mean he is running away from some sort of guilt? Its almost as if he wants to be noticed, yet he continues walking down the street thinking he is no one being pursued by nobody. Pazs character feels as if he is being pursued by a nameless pursuant. Both Blake and Paz create well-defined tones for their poems. This allows the reader to have a more clear understanding of the poem. If a reader can create a mental picture of the events taking place in a poem, it helps the reader grasp what the poet is trying to get across. Imagery and alliteration are two ways many poets go about painting this picture. Blake uses alliteration in his poem when he says such things as mind-forged manacles and Blasts the new-born infants tear (497). This alliteration creates imagery, while the repetition of sounds makes speaking the poem more eloquent. Paz, unlike Blake, seems to find using imagery throughout his poem more important. Blindness in The Street is crucial. We know the character isnt really blind, because he looks behind him, but the blindness is metaphorical. The narrator uses blindness to describe his confusion. He walks alone, feeling plagued by a nameless, faceless pursuant, while in actuality, he is pursuing nothing and being pursued by no

Essay on EMMA,(Jane Austen) Miss Bates character analysis

In the novel Emma, the author, Jane Austen, uses many different techniques to characterize Miss Bates as a woman with no intellect, but a very kind heart. Miss Bates in a humorous character who is loved and loving. nbsp;nbsp;nbsp;nbsp;nbsp;Austen’s diction is one such technique used to characterize Miss Bates. Miss Bates is a â€Å"contented† old woman with certain â€Å"cheerfulness† to her nature. Miss Bates always has good intentions and is always a happy, joyful woman. Her good will towards others makes her such a popular woman even though she has no husband and no physical beauty. Miss Bates had a splendid â€Å"simplicity† about her, and everyone in the town of Highbury enjoyed her â€Å"grateful† spirit. Miss Bates appreciates the small things in†¦show more content†¦She did have some wisdom, though. Miss Bates was not totally ignorant. Indeed, there is much practical wisdom, genuine concern, and touching kindness peppered throughout her humble flow of eager-to-please manner. She had trouble recognizing when she was doing or saying something wrong. On the other hand, Miss Bates is a â€Å"great talker upon little maters† and was â€Å"f ull of harmless gossip† that she wants everyone to know. Miss Bates is the spreader of town news and is interested in everyone’s affairs, another reason her neighbours might have found her annoying at times. Even though Miss Bates is silly and meddles in everyone’s lives, she is a harmless old woman who is loved very much for her generous nature and for the kindness she always offered other people. nbsp;nbsp;nbsp;nbsp;nbsp;Jane Austen frequently uses indirect characterization and this is very evident in the description of Miss Bates. Instead of saying Miss Bates is an unmarried, poor, old, ugly woman, a spinster, Austen chooses to write, â€Å"Miss Bates is neither young, handsome, rich or married.† It is as if Jane Austen wants you to like Miss Bates even thought she is lacking quite a few of the characteristics needed in order to be deemed likeable in her society. The ideal woman in Miss Bates’ society is young, pretty, and married or with plans to marry. Miss Bates does have one characteristic most popular women had in Highburry.Show MoreRelatedLiterary Analysis Of Emma By Jane Austen1648 Words   |  7 PagesLiterary Analysis of Emma by Jane Austen In Jane Austen’s novel, Emma, protagonist Emma avoids her own transformation by her attempts to transform others. However, Emma experiences her coming-of-age through the stable characters of those around her. Austen reveals how self-transformation is necessary in maturing and establishing self-awareness. Emma Woodhouse possesses qualities that many would envy: beauty, intelligence, wealth, and youth. However, the positive aspects of Emma are equallyRead MoreJane Austens Approach to the Character Emma in Pride and Prejudice1638 Words   |  7 PagesJane Austens Approach to the Character Emma in Pride and Prejudice Handsome, clever and rich are the complimentary words Jane Austen lavishes upon Emma; accurate as they may be, they paint a picture contrary to the Emma portrayed during the first half of the novel. Set against the nineteenth century patriarchal society, structured by the privileges and constraints of money and status, both of which she acquires, a complex mental journey faces her. The journey, howeverRead MoreEssay Emma: The Character2155 Words   |  9 PagesEmma Woodhouse, who begins the novel handsome, clever, and rich, with a comfortable home and a happy disposition (Austen 1), suffers from a dangerous propensity to play matchmaker, diving into other’s lives, for what she believes is their own good. Despite this, she is a sympathetic character. Her matchmaking leads only to near-disasters and her expressions of remorse following these mistakes are sincere and resolute. Jane Austens Emma concerns the social milieu of a sympathetic, but flawed youngRead MoreMr Benett and the Failures of Fatherhood8365 Words   |  34 PagesMr. Bennet and the Failures of Fatherhood in Jane Austens Novels Author(s): Mary A. Burgan Reviewed work(s): Source: The Journal of English and Germanic Philology, Vol. 74, No. 4 (Oct., 1975), pp. 536552 Published by: University of Illinois Press Stable URL: http://www.jstor.org/st able/27707956 . Accessed: 29/08/2012 00:55 Your use of the JSTOR archive indicates your acceptance of the Terms Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR isRead MoreJane Austen’s Novels and the Contemporary Social and Literary Conventions.12979 Words   |  52 Pages2.3 The Gothic Romance. 13 3. Jane Austen and Her Novels in relation to the Contemporary Literature. 15 3.1. Austen’s Criticism about the Contemporary Fiction. 15 3.2. Jane Austen as a Conservative Writer and as a Social Critic. 16 3.3. Austen’s writing in her own perception. 17 4. Pride and Prejudice. 20 4.1. Elizabeth Bennet and Mr. Darcy – the Reversed Ideals. 20 22 5. Emma 23 5.1. Emma the heroine. 23 5.2. Men of sense and silly wives 26 5.3. Emma as the unusual learning. 28 Conclusions

Beauty essay Not Finished Free Essays

By establishing unattainable standards of beauty and bodily perfection, the media drive ordain rye people to dissatisfaction with their body images. This dissatisfaction can result in resort s to drastic measures, and even disorders of behavior, as people try to achieve these unreachable g oils. While most people assume it is only women who are affected by this, the fact is that of the estimated 8 million Americans who suffer from eating disorders, one in et n is male. We will write a custom essay sample on Beauty essay Not Finished or any similar topic only for you Order Now While for women the anxiety centers around magazines, for men, they see the images of ultramarine action heroes and that may be affecting the body image ideals of young boys. The shape of the action figures’ bodies had changed enormously over the decades. The action figures of the twenties century sport much bigger shoulders and upper bodies than those of the asses and asses. One study revealed that college age men wanted to add an average of 30 lbs. Of muscle to their bodies because they felt it would make them more attractive. Even thou GHz to most of those men, that goal is unreachable for their body type. For both women and men, t he more they look at unrealistic portrayals Of the human body, the lower their self esteem and the I rower their self 2 Christiansen esteem, the higher their chances of developing an eating disorder, depression , anxiety or other mental illnesses. Today’s young girls are bombarded by overly thin body image sees increasing their anxiety over living up to the â€Å"ideal† body image. An Australian study found that t both sexes had similar body satisfaction levels until age thirteen. After this age, the satisfaction n rate of both sexes drops. By the time they are nineteen, males begin to feel more satisfied again, eventually surpassing their earlier adolescent score. Females, while improving, never gag in reach the distraction level they had as children. Can this all be blamed on the media? A after all, it is likely that most young Women have natural, reasonable fears about adulthood, esp. Cecilia issues such as childbirth and aging. Does anyone really fear aging because most models are young, or do people fear it because aging leads to infirmity? The â€Å"ideal† image portrayed for a woman’s body is elongated and slender, wit h large breasts. Men are considered attractive when they are tall and muscular, with argue shoulders and a narrow waist. The problem of body image and the media is not restricted in N Roth America. One duty, conducted with 1 00 Australian girls aged nine through twelve, revealed that 49 percent wanted to be thinner, even though 85 percent of the girls who participated in the study were classified as being a healthy weight. So even girls who were perfectly healthy, still wanted to be thinner. When young girls want to be skinny more than they want to be health why, this should be a huge wakeup call for the world. However this has been going on for a while, a ND it still seems that there are significant changes in the media and the world. Parents need to recur agonize their responsibility to serve as role models. In a ‘Glamour† magazine survey only 1 3 percent of 33,000 girls responded that their mothers were satisfied with their bodies. In addition n, many parents are allowing their extortionately daughters to get breast implants instead of coo ensiling or therapy to 3 Christiansen address self esteem issues. Unfortunately, positive parental comments often are disregarded while negative remarks can be intensely internalized. While this may have terrible e effects on a teenager’s body image, but it can hardly be blamed on the media. Did you know that 95% of people who diet instead of following a healthy meal Lana will gain back the weight they lose in between one and five years. 73% of teenage girls who abuse diet pills and 79% of teenage girls who sulfured frequently read women’s fitness and he lath magazines. /10 of girls who are high school juniors and seniors diet while on y 1/10 of high school girls are overweight. The twentieth century is when thinness has become me ideal. It most likely comes from woman competing with men for jobs. Either thinner women were seen as more masculine, and therefore better sued for muscularly jobs, or it might have bee n a backlash driven y men in the fashion industry to force women to refocus on their looks at the e expense oftener careers . Regardless, either scenario is denigrating. Despite these stereotypes, many larger women have become very highly successful. The majority of runway model meet the Body Mass Index (IBM) criteria to be c noninsured anorexic. At 5’7 and 95 lbs. Kate Moss is 30% below her ideal weight. Based on their theoretical boatyard percentages, most mannequins would cease to menstruate if they we re real women. Many actors and musicians have admitted to struggling with eating disorders including Deem Lavabo, Katie Court, Lady Gaga, Kate Backline’s and Kelly Clarion. In Allure magazine model and actress Elizabeth Hurley stated, â€Å"I’ve always thought Marilyn Monroe look De fabulous, but I’d kill myself if was that fat. Some companies have made efforts to promote less unrealistic body images. Omega in the United Kingdom refused to run advertisements in â€Å"Vogue† magazine because the models appeared anorexic. Brazil has tried setting body mass mind ex (IBM) minimums 4 Christiansen for their models. Quebec magazine â€Å"Coup De Pouch† includes full size women , while â€Å"C hatelaine† o longer touches up photos and employs models only over the age of twenty five. Yet a certain amount of healthy criticism is still required. Dove has received a lot of favor blew press for their campaign to assign the â€Å"real† beauty moniker to wider ranges of women, but I including the word selfsame in their ads does not necessarily promote it. After all, they’re still a appealingly consumers to buy their personal care products. Actresses Cameron Ditz, Julia Roberts and the singer Diana Ross meet the BMW I criteria for anorexia. When â€Å"New Women† magazine featured a filigreed model on t heir cover, readers overwhelmingly responded positively. Advertisers immediately threatened to pull their business, and benthic models were reinserted. After all, they couldn’t sell products to consumers who are satisfied with their looks. Although it is true, it just goes to show you that co nannies don’t truly care if the products works for you, they only need your money. It is important to remember the unreal ways women are shown in the media. This can help you to accept yourself and feel better about your body. One out Of 10 gig rolls and women develops disordered eating behaviors such as anorexia, or bulimia. These did ceases can have serious longer health consequences on women’s health, leading, in some c asses to death. How to cite Beauty essay Not Finished, Essays

Study of Dosso Dossis Jupiter free essay sample

Study of Dosso Dossi’s Jupiter, Mercury and Virtue Dosso Dossi (c. 1486-1542) was a Renaissance painter from the city of Ferrara in Northern Italy. Collaborating with his brother Battista, Dosso created some of the most groundbreaking yet baffling works for the dukes of Ferrara. Dosso’s paintings, however, remained largely unheard of apart from occasional appearances in academic journals, until a series of traveling exhibitions in 1999 brought the artist back in attention. Heavily influenced by High Renaissance masters Leonardo and Michelangelo, as well as by Venetian painters, Dosso adopted a rich yet still subtle colour palette. What set him apart from his peers, on the other hand, were his atmospheric and â€Å"impressionistic† landscape and imaginative treatment of mythological subjects. In 1523, commissioned by Duke Alfonso I d’Este, Dosso painted Jupiter, Mercury, and Virtue, a profound rendition on canvas of extraordinary scale (44 1/8 x 59 inches). The painting is an illustrious demonstration of Dosso’s skills and visions during of his mid-career. We will write a custom essay sample on Study of Dosso Dossis Jupiter or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page To show this, this paper includes a visual analysis of the painting as well as a description of major iconographic aspects in context with the artistic and social developments in High Renaissance Ferrara. In Jupiter, Mercury, and Virtue, from a visual perspective, a trio of figures occupies the surreal stage-like setting; the leftmost is Jupiter, the king of gods in Roman mythology. Sitting with his legs crossed next to his thunderbolt, Jupiter is calmly painting butterflies on a blue canvas, a delicate extension of the hazy sky in the background. With his back turned to his father Jupiter, Mercury is seated in the centre with his winged hat and green drapery blowing fiercely in the gusty winds. He puts his fingers to his lips to shush a pleading female figure in a lavish golden dress and luxurious jewelry, identified as an allegory of Virtue (Creighton 1999, 1). Jupiter, Mercury and Virtue, in comparison to Titian and Giorgione’s paintings and Venetian art in general, not only has the trademark serene and radiating colours, but also a significant chromatic depth and subtle variation. Through mixing and layering pigments and oil, Dosso achieved astonishing levels of detail and texture in both shadow and highlight, which transform accordingly to the unified light source. The light source, meanwhile, is accentuated by an overall chiaroscuro applied to the entire canvas. Following Leonardo’s tendency to use complementary colours to accomplish compositional unity, Dosso stressed the issue by juxtaposing Jupiter’s red drapery with Mercury’s green one. Meanwhile, large portions of gold blend harmoniously with vast areas of blue in the background. Dosso’s realistic depiction of gestures and facial expressions is also reminiscent of Leonardo’s works. This is most evident from Mercury and Virtue’s exchanging gazes and hand gestures, which intensify the drama and emotion in the scene in addition to the already authentic portrayal of human body. In terms of dealing with human body, Dosso’s achievement is akin to that of Michelangelo. Over and above the clinically precise anatomy, the figures embody exceptionally relaxed and elegant postures. To hint interaction among the figures, Dosso placed each of them at an angled position with their shoulders twisted and legs crossed, much like the contrapposto poses found in Michelangelo’s sculptures. Small patches of localized chiaroscuro replicate the idealized yet soft muscles to create a sense of weight and plasticity, particularly on Mercury’s exposed arms and feet. Regardless of numerous signs of influence from works of High Renaissance masters such as Leonardo and Michelangelo, as well as Venetian paintings, Dosso’s Jupiter, Mercury and Virtue demonstrates a great many aspects of originality in its visual presentation alone. At its immense size, the painting seeks to convey a large amount of information with its intricate details, as often seen in Northern paintings. Despite the fact that the trio appears in the same plane, Dosso still managed to imply a vibrant three-dimensional space on canvas: as a perspective grid is difficult to apply without a complex architectural setting, Dosso used extensive chiaroscuro and foreshortening to make the figures more convincing. The effect is particularly striking on Virtue’s shortened right arm, which alludes to the space beyond the principal plane. Above all, the most distinctive feature in Dosso’s painting is its imaginative treatment of mythological subjects. As indicated by a good number of art historians, Virtue, here personified as a goddess, turns out to have been mistreated and abused by Fortune and her companions. Virtue’s friends, who were unable to protect her and thus fled, left her to be â€Å"beaten, stripped bare, and dragged through the mud† (Fiorenza, 152) by Fortune and her fellow bullies. Immediately following Virtue’s mistreatment is the scene depicted on canvas: Virtue comes to Jupiter to inform him of Fortune’s crime, when she is given the trivial excuse that the gods are busy aking sure that the butterflies have beautifully painted wings. Amusingly, this brief background story is practically the only part that the art historians agreed upon. Early interpretations include a complicated love story between Mercury and Virtue, as well as the possible allusion that Jupiter is in fact a portrait of Duke Alfonso I d’Este, the commissioner of the painting. (Fiorenza, 29) Some even suggested t he painting was created to celebrate the artist’s fortieth birthday. Fiorenza, 24) Virtue’s identity has also been questioned frequently, as she had never been portrayed as such in previous paintings. Based on the luxurious clothing and elegant attire, some have even suggested the female is in fact Flora, the goddess of flowers and the season of spring, as depicted in Sandro Botticelli’s Primavera. (Fiorenza, 152-159) Subsequent to the 1999 exhibitions, deeper readings into the painting have emerged. Jupiter, Mercury, and Virtue has become the universal title since the exhibitions and remains the official name at its current location of Wawel Castle in Krakow, Poland. According to Giancarlo Fiorenza, the silencing gesture by Mercury is evocative of his counterpart in Greek mythology, Hermes, the god of eloquence. During the Renaissance, scholars including Boccaccio claimed Mercury as a wind god, which justifies the gusty winds around him that sends his green cloak mid-air. In contrast to the dynamism of Mercury and Virtue, Jupiter, the ruler of the gods, appears to be painting butterflies, a reference to his control over nature, in his own tranquil world. Even the immaculate and ethereal background is meaningful to the narrative. The impressionistic landscape, transforming from a spring rainstorm to a misty summer day from the right to the left, is highlighted by a dazzling rainbow directly above Jupiter’s painting. The landscape not only serves as a backdrop to fill in the void, but also evokes the narrative aspect of the painting, along with the brilliantly positioned figures: the kneeling Virtue, whose ornamental flowers are no longer in blossom, begs Mercury to extend the season of spring. A messenger of Jupiter, Mercury silences her mercilessly. Jupiter’s butterflies, meanwhile, resemble the transition to summer, a common time for butterflies to hatch. Mercury’s contrapposto seating posture, in this scenario, serves as a compositional device, as well as a connection between the sequence of events, by sitting toward summer and turning back at spring, linking the two with astounding elegance. At the time of Dosso’s creation of Jupiter, Mercury, and Virtue, the Duchy of Ferrara had ended its war against the nearby Venice, and the city’s art scene, along with the its economy and magnificence, were booming. The dukes’ interest in art started with Ercole I, who appointed architect Biagio Rossetti to re-plan and design the city in 1484, around the time Dosso was born. The stunning new town of Ferrara introduced the humanist concept of the â€Å"ideal city† and marked the beginning of modern town planning. It remains standing today and has become a UNESCO World Heritage Site in recent years. Ercole, together with his son Alfonso, by financing musicians and painters to work in Ferrara, became some of the most significant patrons of art during Italian Renaissance after the Medicis of Florence. With the father and son’s support, the fine art of painting thrived in and around Ferrara and later became known as the School of Ferrara, whose members include Dosso Dossi. By 1523, the year Dosso began with Jupiter, Mercury, and Virtue, he had already visited Venice and Florence and no doubt had he studied the numerous paintings in the two cities. Stylistically, Dosso’s piece was clearly influenced by Venetian and Florentine art. Even though the slightly exaggerated and elongated torsos suggest hints of Mannerism, which was just developing around Florence at the time, the idea of natural harmony appears to be more predominant in Dosso’s painting. In terms of subject matter, however, Dosso’s choice was a rare one: while most artists focused on religious subjects and portraitures for their patrons, Dosso opted for an allegorical scene from Roman mythology, showing his homage to antiquity.