Transformations of Female Images--论文代写范文

51Due论文代写平台essay代写范文:“Transformations of Female Images”，这篇论文主要描述的是女性的形象又最初的卑微无地位，随着时代文化的不断转变已经得到了很大的改善，男女平等的观点也慢慢被普及，女性也能够胜任一些以往所不被认同的工作，并在法律的领域当中确立了社会平等的观念，女性的形象也发展了巨大的转变。

The image of women is changing from century to century. The contemporary culture has radically changed the traditional position of a woman: the highly technological produced the situation of social equality, based on the fact that a woman is similar to a man, and is able to perform the same functions. These changes in social roles and gender couldn't help materializing in social and legal spheres.

Two centuries ago, a woman-doctor, teacher, lawyer, scientist, and even military or policeman didn't not fit the social consciousness and caused negative perception not only among the male population, but also among women. Today, the proportion of women in the fields of education and medicine exceeds the proportion of men, and social consciousness in technologically advanced countries gradually becomes accustomed to the idea that material well-being of the family depends equally on both man and woman (Broude and Garrard 34-37).

The researches show that women in government of all levels to stabilize the country. Ideally, women in power should make 30-40%, and then the society develops a more stable and socially oriented policy. Otherwise, the country's direction irreparably shifts to male fights and aggressive steps. Nowadays, women make up 40% in the Swedish Parliament, 33,5% in Finland, 33% in Denmark (Steele 315-328).

In the reality of contemporary society, a human appears as a subject of material nature only, while the greatest pleasure in the hierarchy of material pleasures is sexual one. In popular culture, a woman is the central element of the industry of pleasure (entertainment, leisure), which contributes to women's influence on all the manifestations of public life. The advertising posters by artists and photographers promote the new ideal of beauty - woman- mystery: charming, dreamy and languish. The main features of a modern femme fatale are confidence, charisma, sharp wit, originality, and sexuality. But giving women social freedom, the mass culture almost completely destroys the traditional female image, bringing this freedom to the destructive absurdity: women lose their inextricable link to the concept of “woman- mother”, as well as they lose sacredness of female being (Pollock 33-37).

For example, Edvard Munch's favorite images were the symbols of a flower girl with flaxen plaits dressed in white, a red-haired woman-vampire (“Vampire”), and sorrowful mother. They embody life and death, love and jealousy. A tender girl appears in “Ashes” (1894), dressed in white against the twilight of the forest landscape; her hair are untressed, and hands are pushed back on head. It also appears in his “Dance of Life” (1899-1900) and “Woman in Three Stages”(1899).

In Munch's “Madonna” (1885), the image of a concrete woman has become a symbol of eternal femininity, the source of life. Flowing, soft lines and restrained colors with splashes of red flow around a half-naked female figure with hands are pushed back on head. Tossing hair and closed eyes create a feeling of inner tension and painful reflection. Woman in Munch's work appears in various incarnations: as an idealized image of the gir, as the personification of erotic femininity, or as clairvoyant, overbearing mother-death.

It is also important to mention the Alphonse Mucha's phenomenon, associated with the concept emerged in Paris - ??La Femme Muchas??, as Mucha was the praiser of feminine beauty.

The figure of a beautiful and graceful woman, freely but inseparably depicted in a system of ornamental flowers and leaves, symbols and arabesques became his hallmark. The center of the composition is usually a young healthy woman of Slavic appearance in loose clothes, with a luxurious crown of hair, drowning in a sea of flowers - sometimes languish and fascinating, sometimes mysterious, sometimes gracious, sometimes inaccessible and fatal, but always charming and pretty. The Style of Art Nouveau in Mucha's image is a style of women and flowers. Languish ladies, queens, princesses, most frequently beautiful goddesses of fertility, women in Mucha's paintings are rather Eve than the dark temptress passionate Lilith. For example, a series “12 months” contain the images of female figures, sometimes nude, as well as elegant ladies' heads. Women in his lithographs are attractive and, as one would say now, sexy (Pollock 56-58).

The subject of femme fatale is also one of the most explicit in all the works of Gustave Moreau. It was most vividly reflected in the works devoted to Salome - a Biblical beauty, who demanded from King Herod, as a reward for her excellent dancing, the head of John the Baptist. Moreau himself described Salome as a bored capricious woman with a soul of a beast, who did not get any pleasure at the sight of John's severed head, because his execution had been just one of her many whims. Spoiled by their immediate implementation, this woman was no longer capable of manifestation of simple human emotions such as pity and compassion, not to mention love (Chadwick 84-85).

Already in his early painting “Oedipus and the Sphinx” one can easily see male and female symbols of the Universe, the unknown unconscious, mystery of the creation, which the man is trying to solve. Moreau repeatedly returned to the theme of Salome, each time looking for a new solution, changing themood of the painting, his attitude to the characters, their characteristics. He depicted Salome as a priestess and as an oriental beautiful princess; as almost innocent creature, just an instrument of crime, and as a woman, who just stained herself with a murder; as a powerful, strong, brutal woman going straight to her goal, and as a capricious and spoiled child. But she is always beautiful and everything associated with her is a mystery (‘Salome Dancing Before Herod', ‘Tattooed Salome', ‘Salome Carrying the Head of John the Baptist on a Platter', ‘Salome in the Prison').

The peculiar refraction of the image of women of the twentieth century is reflected in the work of Gustav Klimt. The artist tries not only to portray the modern woman, but to find his ideal. This raises a series of brilliant portraits, the image of a fatal woman, the constant change of style and search for something new.

The artist created a totally feminized world, a self-contained world of lesbians loving each other in the flowing stream of dreams, where the hair of nude women intertwined with water algae. And if the mysterious Sonja Knips was a real girl, the picture “Mermaids” (1899) was symbolic, where the mermaids were a generalized image of the “femme fatale”.

The theme of “femme fatale” was continued in painting “Judith and Holofernes” (1901). The artist uses this story twice interpreting it differently. In one variant Judith feels sensual satisfaction, holding the severed head of Holofernes. Thus, the author shows the destructive power of a “femme fatale”. In 1909 Klimt created “Judith II”, where the final transformation of the image happened. She became the destroyer of men. At the same time the artist is trying to understand and comprehend the behavior of women of modern age (Steele 315-328).

But, despite the mystique and charm, she is immoral - her soul is empty. The author understands that women of this type under the charming good looks hide venality and depravity. The same issue raised in the picture “The Virgin” (1913), which he considers the loss of moral values along with the loss of youth. Klimt shows that the woman has a leading position in the world - she creates and destroys, attracts and repels.

Life, pain, violence and danger became an outcry of art against the hypocritical optimism. People were no longer deceiving themselves mechanically believing in the goodness. They could not help seeing that life is a manifestation of violence, and a man can be just as cruel as he is generous. Marina Abramovic was one of the first who understood and accepted it; who looked at one's own body as at the evidence of the presence or influence of the world. Abramovic saw that the consequences of such interactions are always painful, often tragic and devastating. The subject of feminism also finds reflection in the performances of Abramovic. The artist explores the female body as an object of passion and violence. Hence, the star cut on a woman's belly is a repository of legends and the victims; as well as a woman's face covered with glass shavings, a woman in the jungle armed with a huge knife (Knafo 86-90).

Symbolists usually have an ambivalent attitude toward women. On the one hand, they idealize her, portraying her clean, chaste, deeply religious or distant, on the other hand, they create an image of depraved, damned women, fascinating a man to the path of vice and fall. Modern woman is a woman who aspires to success, career, independence, and at the same time, does not know the joy of love; having money, but not feeling joy from them.

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