| Papers [1-7] of 7 | Search results on "HATH SLENDERLY": |
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"He Hath Ever but Slenderly Known Himself", 1995.
A comparative analysis of the theme of self-knowledge and its role in the downfall of the tragic hero, as shown in William Shakespeare's "King Lear" and Christopher Marlowe's "Dr. Faustus".
1,628 words (approx. 6.5 pages), 4 sources, APA, AU$ 78.95
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Abstract
This paper examines the ways in which the protagonists Lear and Faustus display a lack of self-knowledge in William Shakespeare's "King Lear" and Christopher Marlowe's "Dr. Faustus". It looks at how it contributes to their eventual downfall and provides a discussion of the characters who exist to help increase the self-knowlege of the protagonists in both plays. It also shows how insight through blindness and clarity through madness are barriers to self-awareness in both plays and how lack of self-knowledge is the "fatal flaw" in both Lear and Faustus's characters.
From the Paper
"Although both characters start off with certain shared ideals, (i.e. a respect for position and wealth), by the middle of both plays we see a divergence: Lear?s character has reached a crisis point which eventually leads to the development of his character, whilst Faustus continues to disbelieve what is obvious to the reader or the audience - that he is damned and must repent- instead continuing with his stubborn arrogance; ?What God can hurt thee, Faustus? Thou art safe.? "
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".. Face Hath Felt the Winter's Wind", 2005.
This paper is a metaphysical investigation of Keats's sonnet, "O Thou Whose Face Hath Felt the Winter's Wind," as related to the philosophical texts by Hegel and Emmanuel Levinas.
2,980 words (approx. 11.9 pages), 4 sources, MLA, AU$ 127.95
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Abstract
This paper explains that John Keats in his sonnet ,"O Thou Whose Face Hath Felt the Winter's Wind," has two ontological entities, the speaker or "I", and the addressed, or the "thou". The author points out that Hegel is reluctant to say what he says because he finds the language of the world of appearance to be necessarily reductive; but, in the Keats's poem, the addressed seems to be a more settled version of Hegel's blind man, or man with sight, as he or she has taken hold of the abundant wealth of the supersensible beyond. The paper concludes that Keats's sonnet affirms nothing but doubt, both doubt in the autonomous self and doubt in the existence of a beyond that is anything more than a projected human construct.
From the Paper
"A common association with darkness is ignorance. Indeed, the phrase "in the dark" is often used when saying someone lacks knowing on an issue. Keats points to this assumption of darkness as ignorance when the speaker of the poem declares proudly and in defiance of common sense, "O fret not after knowledge! I have none." This non-knowing couched in darkness elsewhere could be an exclamation of ignorance, but here represents something different. It is a non-knowing knowledge of that which is outside the realm of conventional human understanding. The transcendent quality of knowledge in the poem is maintained by the binary of sense perception (seeing the trees, cloud tops) and abstractness (the light of darkness)."
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Roberta Seid's "Too Close to the Bone", 2005.
A critique of Roberta Seid's article, "Too Close to the Bone: The Historical Context for Women's Obsession with Slenderness".
1,125 words (approx. 4.5 pages), 1 source, MLA, AU$ 57.95
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Abstract
This paper introduces, summarizes and critiques Roberta Seid's article, "Too 'Close to the Bone': The Historical Context for Women's Obsession with Slenderness." The paper analyzes Seid's contention that women have equated extreme thinness with beauty and self worth and takes a look at the health dangers posed by this obsession.
From the Paper
"In her article "Too Close to the Bone: The Historical Context for Women's Obsession with Slenderness", Roberta Seid offers an interesting analysis of the way in which American women have grown to equate extreme skinniness with beauty and self-worth. Indeed Seid suggests that our'religion' of thinness has given rise to an epidemic of fat phobia. As a result, today's women now believe that skin-and-bones thinness is the physical ideal which must be met in order to be considered beautiful, regardless of the health dangers that it poses to..."
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The Fluctuating Weight of Renee Zellweger, 2006.
This paper analyzes the various reasons actress Renee Zellweger gained a significant amount of weight to play the title character in "Bridget Jones' Diary" and the potentially dangerous message this sends to young women.
1,120 words (approx. 4.5 pages), 2 sources, MLA, AU$ 56.95
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Abstract
This paper focuses on the intense media attention paid to Renee Zellweger during the filming of "Bridget Jones' Diary" and its sequel. This paper discusses how the tale of a woman who is obsessed with finding a man and even more obsessed with her fluctuating weight struck a chord with women around the world. This paper explores the reasons that the usually slender and American Zellweger was chosen to play the British heroine as well as the eating plan the actress followed in order to gain the weight for the film. The writer of this paper also examines the media's praise for Zellweger's weight gain and eventual loss as well as its negative impact on actresses, such as Kirstie Alley, who gain weight due to childbearing or other reasons. This paper discusses the dangerous message Hollywood is sending young women regarding what is deemed beautiful and perfect.
From the Paper
"But when Zellweger showed her newly slim physique to the world, despite her command performance as Jones, her weight loss was what drew raves, as high in quality as her acting in the role may have been. And although, Zellweger was eager to note that she hadn't shaken her alter ego off completely. "I'd be out in the cab and asking the guy in an English accent," she sighs, shaking her head. "[I say] 'brilliant, lovely,' all those things. 'Quite,' I say 'quite' a lot now ... " she was also eager to find a film to show off her return to slenderness. Her thin sculpted frame in her next release in "Chicago" assured the world that Zellweger was still capable of high glamour. Her weighty photos for one fashion magazine never made it to print, but newly slender, she graced the cover of Vogue. When an actress such as Kristie Alley, a former beauty queen, gains weight not for a role but because of age and childbearing, the world grows uncomfortable."
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Ancient Greek Art, 2004.
This paper discusses ancient Greek art in the period between about 580 B.C. and 450 B.C. with examples of pottery and statues from this period.
2,250 words (approx. 9.0 pages), 3 sources, MLA, AU$ 101.95
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Abstract
This paper explains that during this period both deities and ordinary mortals were depicted, but there was no homogeneity of technique, which ranged from a very natural and sculptural pottery in amphorae to a more studied and artificial style. The author points out that three of the objects represent tools. The amphora stored wine, the lekythos was used during religious ceremonies, and the krater was used to serve punch made from wine. The paper relates that, unlike the amphora, the lekythos style has only one handle, a more slender neck than an amphora, with a wider mouth, and probably held oil or perfumes, a claim that is advanced because they were often found in and around tombs that were excavated from ancient homes.
Table of Content
Background
Pottery
?The Bateman Amphora ?
?The Dipylon Amphora?
?Douris Lekythos?
?Bell Krater?
Statues
?Athlete Making an Offering?
?Kouros?
From the Paper
"A late example, this torso--which is all that is left?is actually less well modeled than the "Athlete". The belly and rib cage, in fact, appear to be stylized, almost abstract. It may be that the work has weathered. But probably, the more geometric, and less curvilinear, detailing on this statue was the result of a transition between the drapery and highly stylized posing of earlier eras, including the ?dark times? and the early Archaic period, to the more abundantly natural depictions of the statuary of the Classical period. Kouri, which means ?youths,? was an art form that didn?t last very long, only about a hundred years. It is thought, nonetheless, that they represented gods, warriors and, of course, athletes."
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Eating Disorders, 2002.
A study of the reasons for eating disorders within Western cultures.
1,150 words (approx. 4.6 pages), 4 sources, AU$ 64.95
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Abstract
A paper on eating disorders and Western society. Eating disorders are evidently on the increase, with more and more people falling prey to this malady. The paper attributes this rise to poor nutritional habits, following the super-slender fashion fads, coping with familial problems and genetics.
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Gender Stereotypes and Body Image, 2004.
A discussion on stereotypes for body types as presented in advertising in Western cultures.
1,248 words (approx. 5.0 pages), 6 sources, MLA, AU$ 62.95
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Abstract
This paper examines how the media?s influence in Western culture is pervasive and how, through magazines, television, and print ads such as billboards, advertisers have consistently adopted gender stereotypes in terms of body image and use these stereotypes to sell their products. It looks at how the stereotypical womanly ideal is slender to the point of looking unhealthy and how men are consistently presented with an overly muscular, perfectly lean physique. It considers the effects of such unrealistic stereotypical ideals and looks at the effects of the female stereotype on men and of the male stereotype on women.
From the Paper
"The presentation of the ideal female stereotype also has effects in terms of eating disorders that are seen in parts of the world where this ideal predominates. Since the ideal presented is so far from normal, and can rarely be attained by healthy means, anorexia nervosa and bulimia rates have risen. The only way most women can approach this stereotype of is through starvation or disordered eating. Research (Botta et al., 2003) has shown that rates of eating disorders may be predicted based upon the magazine reading habits of the women studied. If subjects were repeatedly exposed to images of unrealistically thin models, prevalence of anorexia and bulimia was greater. ?Overall, magazine reading and processing accounted for?28.0% of variance for girls? anorexic behaviors?27.5% for girls? bulimic beahaviors?23.4% for girls? body satisfaction?[and] 41.6% for girls? drive to be thin.? (Botta, 2003). Ironically, men do not see thinness as the same prerequisite for attractiveness in women that women themselves do."
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