This paper is a formal analysis‚ treating Peter Paul Rubens’ 1612 masterpiece‚ Massacre of the Innocents. The oil painting stands at approximately 150 x 200 cm‚ a size offering the viewer a window-like gaze into a historical scene of twisted‚ bloody carnage. Formally‚ there is much cohesion with the overall disastrous theme of human chaos and disorder. On a compositional whole‚ the anguish and psychological suffering compliments scattered lighting‚ vivid color‚ and clustered space. The painting is
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Tom had been on the go since six o’clock that morning‚ had confirmed that the brutal rape and murder of a woman was the work of a serial-killer‚ interviewed her friends and acquaintances‚ and spent hours perusing telephone phone and computer records‚ without coming up with one iota of substantive evidence‚ or feeling as if he’d located a direction in which to turn. The only break‚ and sustenance‚ he’d had all day was the quick lunch with Lila‚ and the Detective was mentally and physically exhausted
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started directly at the audience. This reminded me of the Luncheon on the Grass by Edouard Manet in 1860 where the female prostitute looks straight at the viewer. With a stern expression and hint at viewer involvement‚ the woman in Bermuda Lovers gazes intensely at the audience‚ perhaps it is a desperate cry for help‚ yet the onlookers‚ the viewers in the museum‚ do nothing but look back at her. In that way‚ the painting could be a commentary people’s lack of action toward wrongs and injustices.
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Identities and Bodies Freudian View of Identity Drive theory (biology): born pleasure seeking. Through the resolving the Oedipus conflict we come to accept external social demands Key for the development of our gendered and sexual identities is our acceptance of taboos on sexuality We employed all manner of defense mechanisms to meet these social demand‚ which is also formative of our personalities and the nuances of how we live our identities Marxist approach to Identity Ideology is‚ in principle
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casting a questioning gaze in rowanpaw’s direction‚ the tom explained the situation as quickly as he could: while out with his brother‚ he’d heard this kit’s cries for help. he’d aimed to save it but had no clue how to do so. gears began to turn in the she-cat’s brain and she
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Venus created in 1510. It is oil on canvas and measures 108 by 175cm. The reclining figure is used across the whole width of the painting making a long‚ continuous slope of body where the goddess’ curves echo the curves of hillside‚ easing the viewer’s gaze and relaxing the eyes. The landscape
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Sartre’s use of hell as a dramtic device in the play ‘Huis Clos’ is highly effective. It gives him a platform to explore his philosophical themes‚ in particular the objectifying gaze of the other‚ self deception‚ bad faith as well as the issue of human freedom and responsibility. It allows him to shock the audience by challenging their pre-conceived notion of hell. By shying away from the stereotypical view of hell Sartre challenges his audience to become introspective and ask uncomfortable questions
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"How Shakespeare Changed the Sonnet World" Although sonnets have been modified by individual poets and adapted to changing literary expectations‚ they usually still retained certain characteristics of the traditional Italian sonnet. Especially in terms of subject matter. Those early modern poets paved the way for Shakespeare’s sonnet‚ which diverges significantly from the traditional sonnet subject matter. His sonnets mark a turn towards a more sincere interiority‚ and take on many more subjects
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The Lady of Shalott by Alfred‚ Lord Tennyson Copyright Notice ©1998-2002; ©2002 by Gale Cengage. Gale is a division of Cengage Learning. Gale and Gale Cengage are trademarks used herein under license. For complete copyright information on these eNotes please visit: http://www.enotes.com/lady-shalott/copyright eNotes: Table of Contents 1. The Lady of Shalott: Introduction 2. The Lady of Shalott: Text of the Poem 3. The Lady of Shalott: Alfred‚ Lord Tennyson Biography 4. The Lady of Shalott:
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This is a chapter from her book The Male Body. This chapter explains her thoughts on the use of the male body in advertising. Bordo explains how and why she first got interested in looking for new advertisements of males in magazines. Bordo explicitly depicts her thoughts on how people look at the male body‚ how it was used in advertising‚ movies‚ and our culture overall. She also goes into how over time the use of male bodies has changed in our culture. Bordo uses a lot of pictures and actual
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