A comparison of the depiction of women in Geoffrey Chaucer's "The Tale of the Wife of Bath", Ian Fleming's "From Russia with Love" and Sheri Tepper's "Beauty".
1,580 words (approx. 6.3 pages), 3 sources, 2001, $ 51.95
Abstract This essay explores how three influential writers, Geoffrey Chaucer, Ian Flemming and Sheri Tepper, from three different eras have depicted women in their writing. The portrayal of females by each writer is explored separately and then contrasted with that of the other writers. Specific examples and characters from these literary masterpieces are used to support the author's argument. The author provides an analysis of the different ways in which women have been depicted throughout the history of literature
From the Paper "The representation of women in literature has been the focus of much research conducted by both feminists and literature critics, particularly over the last thirty years. Sheri Tepper's Beauty, Geoffrey Chaucer's The Wife of Bath and Ian Fleming's From Russia with Love, are all examples of escapist fiction in which the attitudes towards women play a key role in the theme of the story. Despite the claim that escapist fiction is isolated from the world in which its author lives, the values of both the author and the society in which he or she lives are reflected in their writing. The Wife of Bath, written in the fourteenth century, represents females as identical member of one group, all possessing the same faults and desires. Fleming, writing in 1957, depicts women differently again, categorising them into two extreme stereotypes ? the dominant, aggressive female and the submissive, naive female."
Abstract This paper compares the sexual and mystical depictions of Eros found in "Pygmalion" to the more charitable and affectionate depiction found in "The Four Loves." The paper also discusses the contrast in motivation in the two works. It suggests that Pygmalion's primary motivation for action is platonic and sexual yearning. Lewis? motivation is charity. Finally, the romantic love of today is compared to the romantic love depicted by Ovid and Lewis.
From the Paper "Eros as Platonic yearning refers to the yearning for beauty. Ovid depicts this in Pygmalion who irrationally remains unmarried because he is critical of the faults he sees in women. He cannot find enough redeeming qualities in any woman to face spending his life with her. He then carves an ivory statue of a woman. This statue is so beautifully and perfectly made that Pygmalion falls in love with it. This is love based purely upon beauty, since the woman is not made of flesh and blood and can offer nothing else."
Tags: statue, beauty, desire, Venus, life, friendship, affection, erotic, love
Abstract This paper shows how war is depicted in somewhat different terms in different time periods, just as war was conducted differently at different times. The connection between the leadership and the front line soldier also differs in different time periods. The paper explains how some of the differences can be seen in depictions of the Battle of Agincourt in the film "Henry V" (1989, Kenneth Branagh), the Battle of Waterloo in the book "The Face of Battle" by John Keegan, and World War I in the film "Paths of Glory" (1957, Stanley Kubrick).
From the Paper "The Battle of Agincourt was the key battle in the effort of England's King Henry V to consolidate his rule and protect his throne against the French. Shakespeare depicts the king as a benevolent ruler, and King Henry's own words support the view Shakespeare has of him as an inspiring leader, a man able to get the job done by marshaling his forces and attracting loyal followers. Act III Scene 1 finds him urging his troops to greater effort, for instance, and shows him once more to be able as a leader. This scene, along with others, also shows that Henry understands the people around him and so is able to get the best from them. This is an important quality in a leader, and it is one of the most important qualities Shakespeare brings out in his assessment of Henry and his accomplishments. This important speech is central in the play both physically and thematically. It is offered by Henry as a spur to action for his troops. The night before the battle his mood is quite different on the surface as he speaks to various knights and muses on the meaning of the battle to come. Preparations for battle are presented on stage, showing both the French and English camps."
Abstract This paper first discusses real-life, Ancient Greek marriage rituals and Greek attitudes towards marriage in order to demonstrate how many of the aspects of marriage in Greek myth paralleled aspects of marriage in real life. The paper then discusses three different Greek works and compares each one's depiction of marriage.
From the Paper "Indeed, many of the things we see in Greek myths happened in real life as well. For example, the Greek girls usually married quite young, around the age of 14, which was meant to ensure that the girl was a virgin and pure in mind and body. "Marriage to a family member was an acceptable alternative and occasionally encouraged in order to consolidate family wealth" - if we look at many of the marriages between gods (taking only this example), we will notice that many of them were affiliated. Remember, for example, that almost all of the Olympian Gods were in some way related, most of them being brothers and sisters, and that many of them were married, like Zeus and Hera, for example."
Abstract Very few films attempt to tackle tough issues that we as human beings face. This paper shows that the movie, "Crash" is a thought-provoking look at racial stereotypes in America. Written and directed by Paul Haggis, "Crash" is set in Los Angeles, a city in which strangers never come into contact unless they crash into one another - literally. The paper shows that the makers of the film had the guts to face racism in a way that is tasteful and yet entertaining. Racism and its depiction through film are discussed first. A plot overview is outlined, followed by the conclusion which ties the two together.
From the Paper "This night, Jack crosses the line when he sexually assaults a woman whose car he pulled over, in full view of Thomas and her terrified husband. Terrence Howard plays black TV director Cameron Thayer, whose wife, Christine (Thandie Newton), endures this humiliation. The incident, combined with his treatment at work, pushes Cameron over the edge. The movie then climaxes with a turn of events that makes Los Angeles look like Redding itself with a bunch of coincidences that would never happen in a big city. All of these people's lives come to one big intersection for the grand finale, which leaves the viewer with subject material for plenty of discussions about racism and how it affects American life."
Tags: Ryan, Phillippe, Matt, Dillon, Thandie, Newton
Abstract This paper probes Goodman's theory of depiction which is a form of metaphorical exemplification which the philosopher also calls expression. This well-researched and detailed paper examines Goodman's system of determining the relationship between work and emotion which applies broadly to the arts. This paper also focuses on Goodman's approach to nominalism as an ontological position about the existential status of abstract objects as well as his aesthetic program that advances a belief in the intellectual nature of art.
From the Paper "For Goodman, the nominalist, there is no chance of inherent essence of a label, and so the only explanation for the interplay in a re-assignment involved in metaphor are rules of association which govern the behavior of labels. A sort of conventional nominalism chalks these rules up to "practice," while a stipulative nominalism would determine that the rules are handed down by an unknown source. In any case, the rules are ordered by the conditions in which the label is applied. For example, when confronted with a painting, a decision is made to apply the predicate "inspiring" to the object in question."
Abstract This paper discusses how the art of the Mexican, Spanish and Aztec people often depicted animals. It further discusses how the cultures of these people were significantly different from modern society, and it was the Florentine Codex that was considered the authority that clarified this contention. The use of animals therefore within the art that existed during the time was a reflection of the cultures that lived in what was considered New Spain. The paper explains that the Florentine Codex is meticulous at providing examples of how animals existed in every day life for the natives of the region.
From the Paper The art of the Mexican, Spanish and Aztec people often depicted animals. The cultures of these people were significantly different from modern society, and it was the Florentine Codex that was considered the authority that clarified this contention. The use of animals, therefore, within the art that existed during the time was a reflection of the cultures that lived in what was considered "New Spain". The Florentine Codex is meticulous at providing examples of how animals existed in every day life for the natives of the region. It is also concise in its descriptions of the inclusion of animals in the art of the period. Through the Florentine Codex it is possible to realize that the people of "New Spain" created images of animals as a reflection of their cultural beliefs.
Abstract This paper discusses the evolution of Greek statues over the centuries. It presents an overview of Greek statuary, focusing on the Archaic period and the High Hellenic period. The paper specifically focuses on and compares the kouros of the Archaic period and the depiction of Demosthenes from the High Hellenic period in order to understand how the changes came about.
Table of Contents:
Overview
The Archaic Period: the Kouros
The High Hellenistic Period: Demosthenes
Comparing Statues
Conclusion
From the Paper "The kouros was never intended to represent a single individual. Instead, such statues were intended to represent a group of people, being that of idealized male youths at the height of their sexually attractive state. However, the statue of Demosthenes is clearly a representation of a single individual. It does not merely represent a group of people, being an idealized representation of the group "philosopher." Rather, the statue of Demosthenes is what Pedley calls a "psychological portrait" (352) of a living being, unlike the ambiguous kouros who exists suspended outside of time."
Abstract This paper looks at male depiction in Sylvia Plath's, "The Bell Jar." It argues that Plath's work is a classic instance of an angry and troubled woman using literature as a means of "getting back" at the men in her life - most notably her husband and her father - who have let her down. The paper specifically discusses how Plath portrays men as oppressors.
From the Paper "To close, the preceding several pages have captured how Sylvia Plath's novel, The Bell Jar, is an unforgettable look at how the confessional genre of novel-writing can be used both as a form of therapy and as an excuse for depicting other groups in society in a fashion that may not really be consistent with the actual nature of things. But more even than all that, Sylvia Plath's depiction of men in her 1963 book is also a great example of how a writer can reveal a great deal about him or herself even as he or she pretends to write about somebody else."
Abstract This paper examines how Edgar Allan Poe's "The Raven", "Annabel Lee", and "The Fall of the House of Usher? all depict the tragic loss of young and beautiful women. Poe describes Lenore, Annabel Lee and Madeline as young and achingly beautiful and all three women die premature and tragic deaths. In "The Raven" and "Annabel Lee", Poe mourns their tragic loss, while in "The Fall of the House of Usher?, Poe is clearly simply horrified at the gruesome and tragic death and he is not so deeply wrought with grief over the loss of someone he loves. It considers how Poe's depictions of women in his literary work reflect his personal experiences with the premature deaths of his young and attractive wife and mother. Poe's depictions remain relevant to readers of all ages and nationalities, as they speak to the universal misery of tragic loss and mourning.
From the Paper "Poe's poem "Annabel Lee" recounts the perfect love of the narrator and his child bride Annabel Lee. As in the Raven, Poe delves into the tragic loss of a beautiful woman within the lines of "Annabel Lee". Annabel Lee's similarity in age to Poe's young real-life bride is striking, and the poem can be seen as a reflection of Poe's grief over the loss of his young wife. As in "The Raven", Poe focuses on the beauty of the young woman who dies tragically. The stars and the moon even remind the narrator of the young woman's beauty after her tragic death. "Annabel Lee" focuses primarily on the depth of the feelings of between the two young lovers, while "The Raven" focuses more clearly on the grief at the loss of the young woman. In "Annabel Lee", the narrator tells a tale of a kingdom by the sea, where both he and Annabel Lee lived, and that they "loved with a love that was more than love"."
Tags: death, youth, beauty, wife, mother, saint, angel, love
Abstract This paper discusses that, parallel to the proliferation of new scientific and medical discoveries in psychology, is the prevalence of literary works and visual materials, such as "One Flew Over the Cuckoo's Nest" (1975), which provides information about psychology, specifically depictions of people diagnosed with illnesses associated with abnormal psychology. The author points out that, in this movie, each character depicts a particular abnormal behavior; McMurphy, as the lead character of the story, depicts the stereotypes often associated with individuals afflicted with mental illness. The paper relates that the theory of learned helplessness is demonstrated through McMurphy's ward mates, whose perceived inability to deal with their problems led to depression and continued dependence on the institution for help and Nurse Ratchett's pills and counseling.
From the Paper "The characters of Dale, Charlie, Martini, and Taber show how learned helplessness is perpetuated within the culture of the mental institution. Dale, for example, sought the help of the institution when he could not deal with the hurt, embarrassment and depression that he felt when his wife committed adultery. His helplessness prior to his admittance to the institution further worsened when he was admitted. He lost perspective of his problem, was not able to move on to establish a new life without his wife, and instead further attached himself with his problem and found no solution to it at all, and eventually became dependent on the institution and the "comforts" it gave to him."
Abstract By reading the Bible one may clearly see a lack of female participation, as women are rarely depicted as main characters. This vivid discrimination is due to the patriarchal society in which most Jewish societies functioned during the times of the Old Testament. Women are often depicted as being in the care of a male figure: first, their fathers and then their husbands. The paper points out, however, that in the Book of Ruth, the main characters of the story are women, Ruth and Naomi. It explains that they are not only depicted as two independent souls, but also are seen as determined and intelligent women. They were able to exist without male support and even lift themselves from poverty and an uncertain future to be self-supportive and garner community recognition.
From the Paper "The Book of Ruth differs greatly from other biblical stories in that it is hard to place the Book of Ruth in the biblical canon. As Eugene Roop deems, "The Book of Ruth has had almost as much trouble finding its place in the biblical canon as the heroine did to find her place in Bethlehem"(18). Although in the Book of Ruth the dangerous elements of famine and widowhood are present, they are resolved without terror or physical violence. Unlike many other biblical stories from "the days when the judges ruled" (Ruth 1:1), we read of fatal story of Deborah and the Sisera (Judg. 4-5), the exploits of Samson among the Philistines (Judg. 14-16), and the violent revenge of the Levite against Gibeah (Judg. 19-21). Here Roop is right, the Book of Ruth "reads as a story without a villain, life without evil" (16). Compared to the other stories, the world of Ruth seems less dangerous and has its special sideline interpretation. Many interpreters connect Ruth with the era of Nehemiah and Ezra that "urges separation from resident foreigners, seeing them as a danger to purity of faith" (Roop, 20). Some believe the story may have originated in this era as protest literature, objecting to the "anti-alien" perseverance (Roop, 20). Others see the story as a call for fair treatment of the foreigner, stranger, or alien. As such, the story of Ruth becomes a great example that foreigners may prove to be righteous, virtuous, and more than just a good people. In this paper I will examine, Ruth, the main character of the Book of Ruth, as an exceptional model of the perfect immigrant and a model of female loyalty, duty, mercy, goodness, and kindness."
Abstract This paper explores the styles of ancient Greek art and the depiction of mythological and heroic images in art. The paper devotes time to describing the Mykonos amphora, the combination of scenes that depicts acts of Greek brutality and violence. The paper also describes many other pieces of pottery and art that are representations of the Trojan War's climactic events and discusses the tendency to merge together disparate episodes of the Iliad narrative. The writer opines that the images and depictions found on a great variety of ancient Greek pottery provide a fascinating glimpse into the cultural and artistic world of one of the first societies to practice democracy and to explain the natural world in scientific terms.
From the Paper "In essence, the oral history of the Trojan War has come down to us through the epic poem the Iliad by the Greek poet Homer who composed this famous account of the conflict between the Trojans and the Greeks sometime during the 8th century BCE and the Ilioupersis ("The Sack of Ilion") by Arktinos of Miletos which survives only in a few ancient references (Magrath, 2002). The basic tale of the Trojan War relates events that allegedly occurred some five hundred years prior to the writing of the Iliad and the Ilioupersis, circa the 13th century BCE during the Mycenaean Period in ancient Greece."
Tags: Trojan, War, Mykonos, amphora, Achaeans, Helen, Menelaus, Cassandra, Astyanax
Abstract A look at the depiction of human fetish and desire in the making of video art and video pornography. The author argues that the depiction of erotica, pleasure and satisfaction are equally revealed in both types of film making, making the fine line between the two types of styles hard to discern. The author argues that both approaches are valued as forms of entertainment. The author supports this argument by referring to similarities in aspects such as: mechanical reproduction and mass consumption of the creative works.
From the Paper "Human fetish and desire are very powerful forces behind video art and pornography. Our need for pleasure and expression leads us to all sorts of ends for personal achievement and satisfaction. Erotica and pornography have rich roots in video art. With the emergence of video came the rise in popularity of video pornography. The historical development of video art and video pornography share obvious technological similarities. Ironically these forms of arts and entertainment do not only hold technological similarities but remarkable parallels in the work that was being produced. In this paper I will further blur the fine and almost invisible line between video art and video pornography. This blurring will show that video art and video pornography are equal in their value as products of arts and entertainment."
This paper reviews W.H. Auden's poem, "Musee de Beaux Arts", an analysis of a motif from Pieter Brueghel's paintings that humans continue their lives despite events of human suffering.
Abstract This paper discusses Auden's poem "Musee de Beaux Arts", which presents the idea that Breughel's work depicted everyday events but in the corner of the painting is a small depiction of human suffering such as the crucifixion of Jesus. The author asks "What can any one man do to make a difference in the face of human tragedy?" and states that Auden's answer would be: Tell the tale, paint the picture, write the poem describing the human suffering to rouse others to consciousness and involvement.
From the Paper "The first painting, Auden passes,, depicts an example of 'human position" of suffering, a moment of pain, which also is a moment of glory: The birth of Christ. While a woman struggles in labor, the old men, indifferent to her suffering, 'reverently, passionately (await)" (line 6) the product of her labor, and children already born, "who did not specially want it to happen" (lines 7-8) go on with their play, "skating on a pond at the edge of the wood" (lines 8-9)."
