"Madonna whore complex" Essays and Research Papers

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    Juana’s father‚ the little boy on the bus‚ the body Juana sees in her attempt to cross the border‚ and finally at the end of the story‚ Lupe‚ Juana’s mother Dracula’s castle Dual identities: light and dark‚ two faces of the moon‚ woman as Madonna/virgin and whore La Llorona The moon The “other side” Owls Rosary: Juana’s

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    Case Study This is a case study of Dr Lumiere a therapist and her client Daniel. The story was extracted from the website http://undividedjournal.com/2012/11/29/the-ultimate-secure-base-healing-insecure-attachment-in-the-nondual-field/ . Daniel first went to therapy because he was not capable of entering an intimate relationship. He has an insecure‚ avoidant attachment. Both of Daniel’s parents had histories of avoidant attachment. His mother had a personality disorder and was constantly drunk‚

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    Die Another Day: Madonna Music Video The product carries no institutional or other identification‚ but the music appearance of Madonna present it as a 3 1/2 minute music video promoting the single Die Another Day. This text is intrinsically inter-textual: it is the theme to the James Bond feature film of the same name. Movie audiences will see a completely different set of images set to the same music at the start of the film. Knowingly‚ the video presents Madonna in the role which Bond inhabits

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    perceived faults to build a wider criticism of all women. To him they are not much better than beasts‚ they simply function as childbearers. Both these attitudes are extremely dangerous for the real‚ imperfect women in the paly‚ who are neither Madonna nor whore. They do not

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    great ideas that helped me to sort through the complex and contradictory

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    Social Issues in Cinema

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    THE STEREOTYPICAL PORTRAYAL OF WOMEN IN COMMERCIAL INDIAN CINEMA ---------------------------------- A Thesis Presented to The Faculty of the Department of Communications University of Houston ___________________________________ In Partial Fulfillment Of the Requirements for the Degree of Master of Arts _______________________________________ By Sowmya Nandakumar May‚ 2011 TABLE OF CONTENTS Chapter 1 _________________________________________________________________1 Introduction

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    What separates cinema from literature is the unique mode of expression. Especially‚ when the focus is on the Dystopian Soul genre‚ the narrative conventions and portrayal methods reach a quantifying level. The films that are categorised under the dystopian soul genre are created to portray a fictional‚ dystopian future in which human desire for technological and scientific advancements culminate in ultimate doom. Looking at dystopian genre‚ two films that have left an indelible mark in the minds

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    Raphael

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    Raphael Raffaello Sanzio da Urbino‚ better known simply as Raphael‚ was an Italian painter and architect of the High Renaissance‚ celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci‚ he forms the traditional trinity of great masters of that period. Raphael was born on April 6 or March 28‚ 1483 in the small but artistically significant Central Italian city of Urbino in the Marche region‚ where his father Giovanni Santi was a court

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    In this production of Shakespeare’s King Lear‚ a feminist reading of the play has been chosen to be presented to the audience. Certain important factors must be taken into consideration as to how this reading will be reflected on stage. Thus‚ we will examine‚ in detail‚ two important scenes: Act I‚ scene i‚ and Act IV‚ scene iv‚ their impact on the action and main issues of the play (ambition/ greed‚ power‚ corruption‚ appearance versus reality and growth through suffering) and how the characters

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    Towards the beginning of the twentieth century‚ ‘monstrosity’ underwent a significant shift; from externalised representations to largely internal manifestations. From the Victorian vilification of the social and cultural ‘Other’ as an antithesis to morality and human civilisation‚ the monster grew to embody a more relativistic and ambiguous identity in the twentieth century paradigm. American Psycho’s Patrick Bateman‚ and Monster’s Aileen ‘Lee’ Wuronos‚ are two quintessential monsters of the ‘serial-killer-as-protagonist’

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