Besides, the drapery fits more closely the shape of the body and enhances a more “wet” effect, and thus more conveys the figure’s sexuality and consequently her fertility, rather than her modesty. The stola, as we have seen in the Pudicitia type is to preserve the woman’s chastity as it fully covers her body. Whereas Agrippina is provided with a more transparent cloth that reveals the shapes of her body, betraying the shape of her breasts and hips. As said, the comparison of the Pudicitia and the Leftis type “would appear to bear out the contention that statue types were chosen which best expressed the values sought in different contexts.” In opposition with the Pudicitia, Agrippina’s body appears more on a open pose, not afraid of the viewer’s gaze and inquisition. She openly stands to be viewed, her identity to be investigated, recognized and acknowledged.
Gods like Hera and youths for example, Narcissus and others can be narcissistic. For example Hera thinks she is the most and only beautiful goddess out of all the other goddess. She was being narcissistic because she didn 't think about any other goddess except her. A youth that is narcissistic is Narcissus. He was too narcissistic because he thought he was too good for any women.
Femininity includes the code of beauty and sexuality, which is well reinscribed in The Little Mermaid. Therefore, the flawless body images represented in the film are telling girls how they should look in order to be considered beautiful and therefore loved. It gives them a sense of self-worth because if they look great then everything else will go as planned; they will find the man of their dreams and true happiness. Overall, The Little Mermaid reinforces the hegemonic code of femininity by making all the princesses look unrealistically
Hatshepsut was clever about what she named herself, though. In paragraph twelve, the author states,”Since all the pharaohs took a throne name… Hatshepsut chose the name Maatkare. Maat… was very important to Hatshepsut.” If Maat was important to Hatshepsut, it most likely applied to royal and non-royal Egyptians as well. This was intelligent, or clever, because Hatshepsut’s throne name, Maatkare, showed her people that Maat was important to her, and
In “Hatshepsut: His Majesty, Herself” by Catherine Andronik, she informs the reader about Hatshepsut and her role as an effective female pharaoh in ancient Egypt. One supporting detail proving her leadership was she acted as a regent,”an adult who could take control of the country.” Hatshepsut being a regent helped her gain experience for when she becomes pharaoh and her wisdom and intelligence helped her overthrow Tuthmosis III. Also, she showed leadership because she intelligently took on more power. In paragraph eleven, the text states,”Gradually, over seven years, her power and influence grew.” This quote explains that she took more of the decision-making and had more domination of ancient Egypt. She did not automatically name herself
Virtuous Hippolytus initially seems like the perfect example of innocence and righteousness; his love and devotion to Artemis coupled with his piety makes him seem above reproach. However, as the story continues the audience gets a taste of his misogynistic mindset and how prideful he was of his devotion to the gods and his virginity. Though Hippolytus was misogynistic and arrogant, he was also forgiving and remained true to his word. On the surface the average reader may say he did not deserve his fate; however, reading in the context of ancient Greek society makes the matter a little more ambiguous. Hippolytus conceivably may have been deserving of his fate, considering the fact the he was extremely prideful and that he offended the gods.
The constant passiveness and submissiveness of women towards the decisions and actions of men lead to their portrayal as being absent due to their minor roles. The absence of women could have been the very reason why there are so many downfalls throughout the novel. According to Shelley, Victor wanted to be a creator so “a new species would bless me as its creator and source; many happy and excellent natures would owe their being to me” (32). This clearly shows his obsession of superiority and insanity by not needing God or a woman to conceive a living being. Victor clearly has a “fascination and horror” of women since they are the “origin of life,” but have monstrous features when conceiving a child (Braidotti 65).
The last person you would want judging you, is seeing you at your most authentic self, and it is intimidating. You want them to accept you for who you are, blemishes, panza, and all. This piece does an excellent job in showing that are insecurities may be the thing that a person loves most about us. In Western culture, the body has always been associated with women. Women’s bodies have been used for property, sex, and so many other objectifying means.
Goddesses are mainly new friends in their own personality. Despite their supernatural powers, Goddesses are very similar to people. Their actions and reactions to situations are based on their emotions. Their emotions went from feeling superiority, jealousy, and love to the idea of a revenge plot. For my topic, you stated that mythologists tell us that most female deities (female deities are goddesses with supernatural powers) are different from a “fertility goddess or maternal archetype”.
They possess a stronghold over people, thus influencing how they behave, act, dress and what they eat. This influence is a well-known aspect within pop culture. People trust public figures and believe that they know best and are “experts” in what they do, since they know a thing or two about the latest fashion trends and how to “slay” various styles. These celebrities are the trendsetters of society, packaging and promoting the perfect lifestyle, whereas people blindly trumpet it as the gospel truth. They become so influenced by the glamorous lifestyle, to the point of being empowered to imitate their ways.
By wearing a stola between her tunica and palla Livia was able to support her public image of a modest woman who reflected the Augustinian values.21 Even though the women created an image of modestly and respectability through their clothing their power and influence was not ignored as the Emperor Claudius famously called Livia “an Odysseus in petticoats”22 or a more accurate translation would be an Odysseus in a stola. The exact phrase is Ulixes stolatus and in Roman literature when the stola was written in the formal stolata it was an indication of high rank. What the emperor Claudius was able to identify was, perhaps, the true power of the imperial women. Although they do not hold active office they had an important role in supporting the men who surround them. It could be argued that without the public image and support of the women many of the Julio-Claudian men would have been unable to be as successful as they were.