The Catholic Imagination By Greeley

The article is based on how social construction theory is based on the idea of “natural,” rather than based on invariant result of the body, biology, or innate sex drive. Whiles essentialism in the study of sexuality as believe that a human behavior is “natural,” that is predetermined by genetic, biology, or physiological mechanism that doesn’t change. The perspective of moving away from essentialist framework that challenged the “natural” status, suggesting that human’s gender and sexuality is called into question.

without them nothing would be graceful or pleasing. They gave people friendliness, uprightness of character, sweetness and conversation...They were presented as three beautiful virgins and were either completely naked or clothed in some fine, transparent fabric..." (Peter Paul Rubens). Nude art nowadays and contemporary arts are still inspired by nude figures. In our time, nude art is getting more and more popular and it appears in some new forms of art such as performance art and photography art. The depictions of nudity art are getting more and more popular that blurring the delicate thin line between the truly artistically value in art, including sexual desire, and the purpose of pornography. In our modern society today, human seems not to pay much attention to God, Goddess and Heroes like they used with their arts. Nowadays, artists use nude figures to focus more into sexual desire in an inappropriate way that causes confusion between nude art and sexual pornography. Today, viewers are not only viewing the nude figures with human private parts from the outside but also the inside of them as well as with the most extremely provocative

“My Papa's Waltz”, by Theodore Roethke, and “Those Winter Sundays”, by Robert Hayden are the two poems that are somewhat similar and both of these poems are about beloved fathers. Father is the man who is spends time with you and takes care of you. While doing so much for the family he gains the respect and love from the family. In these two poems Roethke and Hayden take a flashback at the actions of their fathers. Even though both of these poems propose that their fathers were not perfect, they still love them. I think that Roethke and Haden are regretting that they couldn’t express their feeling to their beloved fathers. They didn’t have strong bonding with their fathers like we have now. Both of the poets are capable of writing great poems

“A Song for You” is a song by Donny Hathaway. “The Canonization” is a poem by John Donne. The two texts are similar because they are both about a love. However, the song is about a more current time period, because it uses words that are easy to understand, and words we use today. The poem sounds like it is from many years ago, because it uses words like “chide”, which means scold, and words with ‘d, like “down’d” and “overflow’d”.

In this essay, I’m going to discuss the gender roles in the paintings of Dalí, in the film “Un Chien Andalou” by Buñuel and the poems of Federico García Lorca. Gender roles play a huge part within these works. All three of these artists had the ability to showcase something beautiful or majestic through disturbing and off putting imagery. This is what made their work so distinctive compared to many other artists during the surrealist period. The main things all of these artists have in common are their feelings and expressions of gender roles. There are many overwhelming contrasting views on the idea of gender roles and we see that in Dalí’s paintings where many of his early work were based on fear and loathing of the opposite sex. Throughout the first part of this essay I’m going to discuss the differences in Dalí’s views of the opposite sex and how he represents these views within his paintings.

Artwork is a form of self-expression from an artist based on life experience, or on something that the artist feels strongly about (Berenson, 87). The product of art can help others with similar experiences but not able to express the same feeling themselves. From the product of art, people can start drawing excitement, purpose as well as encouragement about the real thing being expressed. Through a piece of art, the artist can communicate a purpose, an emotion or an idea in their work. In this research paper, I compare two pieces of artwork; Madonna and child with the saints by Giovanni Bellini and Madonna and child with the two angels done by Fra Filippo Lippi. Madonna and child are amongst the most popular yet controversial topics in the Christian art.

When viewed under a feminist lens in Confessions, the most notable female character, Monica, risks losing her significance as a compassionate caregiver in Augustine’s life. In chapter three of Confessions, Augustine discusses Monica’s dream with the readers. After Monica tells Augustine of her dream of his perdition, Augustine recalls trying to twist Monica’s dream to ease her “downcast[ness]and daily floods of tears” (III.19). A modern feminist would have issues with Augustine’s description of Monica’s emotional energy, saying that she is entitled to her emotions, because she is his mother and deserves the utmost respect, regardless of her gender. Augustine’s indifferent attitude response to Monica when he “tried to twist [the dream’s] meaning”

Observing an image can cause a range of emotions, thoughts, and theories to form in one’s head, especially when dealing with artistic creations. When studying Belgian René Magritte’s The Lovers II, the second work in the Les Amants series of paintings, my experience was no different than what I have stated previously. Created in the prime of the surrealism movement, the work portrays exactly what the era was all about. This form of art was incredibly popular in Europe at the time, and René Magritte was known for producing works of this sort, though this piece is not traditionally surrealist. World War I had only ended some years prior to, so European countries were still troubled by the destruction and were in the midst of rebuilding what had

Paul Laurence Dunbar’s Poem “Life’s Tragedy” depicts Dunbar’s hardships in his life, but desiring to be on top. Alfred Edward Houseman’s poem “Be still, My Soul, Be Still” asks the reader to pause and explore their souls to know what true love is and experience the sensation coming from the heart. Both poems have a sorrowful tone, with vivid imagery and shifts through content. The common scheme of both works is exploring your own life and self-reflect upon your thoughts.

Located in hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, competing for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Madonna with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative

flesh,” the man and the woman experience in a particular way the meaning of their body. St Paul writes, and “I have put on the new self, which is being renewed after the image of its Creator“(Col 3:10). This is of all the sanctity and sacredness of Adam and Eve who were created “in the image and likeness of God” (Gen 2:27) and given the responsibility of procreation and re-reaction which demanded them of being together. It is this affirmation that constitutes what is visibly female and male through which personal intimacy of mutual communication and purity is realized. With regard we recall when God says, “It is not good that the man should be alone” (Gen 2:18). Man resembles God not only because of the spiritual nature of his immortal soul

The presentation of the fourteen busts recalls displays of older traditional art, such as in a museum. Upon closer inspection, there is a clear subversion of such, where some of the figures are transformed and their surfaces tampered. We not only see unconventional surfaces but also make and material. The artist is making a comment on and questioning the status quo.

The Spirit of the Dead Watching is influenced by his Tahitian wife, who was 14 years old at the time. Paul Gauguin creates a work of art influenced by being mysterious. In one sense, it could be that she is afraid of the presence of the spirit of death. The depiction is Gauguin’s young spouse, who was lying in fear when he arrived home late. As she looked at him, it was as if she was looking directly at a ghost. This figure is awkwardly positioned and more unbalanced. Her feet overhang the bed and her hands are larger than her feet. What’s more shocking is the age of the model. Gauguin portrayed the imagery of art, indicating that the bright colors were luminous in the dark.

Love and relationship between man and woman has been the focal point of countless literary works, music pieces and other art objects since times immemorial. Depending on the personal experience and worldview of the author, the feeling of love has been interpreted in many individual ways. Consequently, to find two masterpieces which depict love similarly seems inconceivable. The texts under analysis – J.L. Borges’ “What can I hold you with?” and the song “Anything for Your Love” by E. Clapton – although written by two contemporary artists and elaborating the image of love, produce an absolutely different effect on the reader. In this paper I am going to compare and contrast both poetic pieces proving that there are actually a number of differences on their semantic and syntactic planes which account for the overall perception of the central image of love.

The Nobel Prize holds some of the highest prestige in the intellectual realm. The Literature award, conferred annually since 1901 to authors and literators that; in the words of Alfred Nobel; produced "the most outstanding work in an ideal direction”. Seamus Heaney was granted the award in 1995 for “works of lyrical beauty and ethical depth” in his portrayal of the sectarian violence between the Northern Irish Protestants and Catholics. Heaney retains a rooted, earthbound, tactile style, expressing meaningful emotions in a beautiful manner. He governs lyricism in full awareness of the power of his ideas, confronting the immorality and melancholy of the Irish struggle. Two exemplars of Heaney’s ability to aestheticise these appalling events