Overall, Botticelli painted a humorous, charming and timeless depiction of Venus and Mars. He strikes at our humanity, through giving godly characters a tale which is relatable to our own lives. No matter how much or how little one may know about the story of Venus and Mars or Botticelli himself, one can still be enlightened by the creative wit presented in this piece of art. The theme of the power of love overwhelms the concepts of what is illicit. Botticelli intertwines both the contemporary with the classicism.
Medea’s Personas “Love is a dangerous thing, Loving without any limit. Discredit and loss it can bring. But, oh, if the goddess should visit A love that is modest and right, No god is exquisite. Great lady, aim not at me Your gold and infallibly Passion-tipped poisoned delight.” (Euripides 359) Throughout the play, we get the idea that Medea and Jason once loved each other to the fullest. But there to me, Medea really does not know what being in love truly is.
Aphrodite had multiple powers, but her main power was making people fall in love with her. She had a magic girdle that when she put it on, it made man fall in love with her at first sight. She also had the power to affect multiple emotions in both humans and gods, which led her to have many powers. She also had the ability to make other people fall in love with each other, and make anything beautiful or lovely. Since Aphrodite was so beautiful, the gods feared that she might interrupt the peace and cause a war among them.
Hermia respond is that she's done her best to get rid of him (because she loves Lysander). Helena wines: “Helena: O that your frowns would teach my smiles such skill! /O that my prayers could such affection move!” (Act 1, Scene 1, Page 8). When Hermia tells her that it's not her fault, Helena says: “Helena: None but your beauty; would that fault were mine!” (Act 1, Scene 1, Page 8). This caused a lot of tension and conflict between the 2 characters.
Growing up in a society obsessed with the concept of sappy love stories, it is easy to find flaws with the unrealisticness of such accounts of love. Songwriter Taylor Swift contributes to the popular trend of mainstream love stories in her own composition, “Love Story.” Throughout her song, Swift effectively incorporates the use of various figurative devices to relate her own love story with that of the famous Shakespearean lovers, Romeo and Juliet. Swift conveys the strength of her forbidden love, in similarity with that of Romeo and Juliet’s, through the use of metaphors, hyperboles, and allusions. First and foremost, Swift uses clear examples of metaphors throughout her song to maintain the resemblance of Romeo and Juliet’s love story with her own love story. Throughout the song, as it will be described later, Swift makes multiple comparisons between her lover as Romeo and herself as Juliet.
Nora’s flirtatious behaviors reveal a woman using her sexuality to get what she wants. In “A New World for Women” Stephanie Forward believes Nora’s behavior is “…flirtatious- even sexually manipulative. Perhaps, Nora has devised her own means of coping with her husband, and occasionally, she can circumvent his control.” (A New World for Women) In Act 2, Nora playfully hits Dr. Rank on the ear with her stockings and says “that’s for you...because you’ve been naughty.” (2.1.1307) Nora must play the role of dutiful wife and loving mother when with Torvald. Through secretly flirting with Dr. Rank, Nora deviates from those roles and expresses another side of her
Dido puts her relationship with Aeneas as her number one priority. Her needs are set aside as she falls deeply in love with him. Her love for Aeneas soon turns into an obsession as they grow fonder of each other. After Aeneas’ sudden need to leave, Dido’s compulsion takes a turn for the worst. In Book IV of The Aeneid it stated that, “She prayed for death being heartsick at the mere sight of heaven” (Virgil 598-600).
Which means that she creates music that moves an individual both spiritually and physically. In the music video Monáe plays The Electric Lady and she does so very well. Her bubbly attitude gives The Electric Lady a funky persona and a contagious groove. The song is generally about a love story that is ostracized and stigmatize because of its abnormality. A love story that is distinguished from the rest and is reject by society.
Similar to Phebe’s situation, he also experiences different sexualities through Rosalind’s changing gender performances. At first the young girl, then the pretty youth enamour Orlando both under the name of Rosalind. It again can be seen as a suggestion of homoerotic love, however, considering Butler’s “gender is performative” theory, it does not go beyond appearance. No matter how man-like she looks, she still acts feminine at the core, since at this point she is a female, acting like a male, acting like a female. Even though out of her “Rosalind” love game she assumes the role of Ganymede with Orlando, in their game, she is still Rosalind, a female.
2.1 Sexuality in A Rebour Des Esseintes’ sexuality is traversed by multiple episodes with actresses, singers and prostitutes, but is altered by his neurosis; the artificial woman being superior to the natural woman. Des Esseintes becomes repulsed by the natural woman as he depicts them as “repulsive foods” (Huysmans 33), his tedium ending in lethargy and impotence (Huysmans). His appeal towards the artificiality in technology in sexuality is, among other things, depicted in his comparison of the human body of a woman to a
Lovesick, Pygmalion goes to the sanctuary of the goddess Venus and implores that she give him a sweetheart like his statue; Venus is touched by his adoration and breathes life into Galatea. When Pygmalion comes back from Venus 's sanctuary and kisses her statue, he is charmed to find that she is warm and delicate to the touch. Once the statue comes to life, Pygmalion is finally able to find happiness and marry the woman of his dreams. (Dryden, 1913)While reading the story, it’s hard not to notice that the only way Pygmalion was able to find the woman of his dreams was to create her. The myth of Pygmalion, told by Ovid in his Metamorphoses, contains one of the most dominant male fantasies, the creation of “the ideal woman” designed to meet the creator 's need.
Part of the Free the Nipple movement already requires a huge amount of confidence. That confidence comes easier when your breast are similar to what we view in the media ranging from porn videos to celebrity sex scenes such as Kim Kardashian. Women who are comfortable are viewed as a disguise of feminism and freedom. In a blog written by Jessica Blankenship she noted “It’s a culture that, in fact, beats into women and men the notion that female bodies are exclusively sexual, even when acting in ways that would be innocuous and permissible for men” (Blankenship). Safety and society’s well-being on women’s breasts, only because the public is simply too delicate to handle seeing nipples.