Feminism And Anorexi A Complex Alliance - 888 Words

Feminism and Anorexia In America today, there are unrealistic beauty standards women must face daily. When women can not meet this idea of perfection pushed by society, some women will risk their health just to fit a cultural stigma. Women are held to an insanely high criterion when it comes to beauty which tends to lead to negative body image. Ten percent of women in The United States of America report symptoms consistent with eating disorders such as anorexia, bulimia, and binge eating. Which concludes that a total of 75 percent of all American women endorse some unhealthy thoughts, feelings, or behaviors related to food or their body image-UNC Medical Department Although eating disorders are not subjective to women only, after reading â€Å"Beating Anorexia and Gaining Feminism† Marni Grossman and â€Å"Feminism and Anorexia: A Complex Alliance† Su Holmes, I will discuss how eating disorders coexist in the lives of women who struggle with body image, and what feminism can do to give thes e women a second chance. While reading â€Å"Beating Anorexia and Gaining Feminism† Marni Grossman, Grossman models how a woman’s image reins supreme towering over any other attribute she may posses merely to fit the beauty norm. By sharing her personal experience about recovering from anorexia, Grossman explains how feminism saved her life. Although growing up in a feminist-friendly household, she became engrossed in the standard of beauty mass-media projects at the age of 16. Because of the social

America s History Review Questions - 973 Words

Arnav Velaparthi Period 4 2/8/15 APUSH Chapter 16 America’s History Review Questions 1. During the Civil War and Reconstruction period, Republicans made vast efforts in improving domestic economic growth. A transcontinental railroad was first enacted to not only increase the speed of travelling from the Atlantic to the Pacific, but to also increase trade with other nations, and bolster the farming and tourism of the West. The railroad would help populate areas in the West, which would help make America the highway of nations. Private companies were called upon by Republicans to help fund the railroad, even though they were still provided with loans, public grants of land, and various subsidies. These railroad companies had a significant†¦show more content†¦While Democrats argued that protective tariffs would be detrimental to consumers, especially from the South, tariff revenues were able to give America an edge over other nations in the market. Even though tariffs would result in more jobs, help eliminate poverty, and protect workers, corporations failed t o pass their benefits to workers, and gained monopolistic power. Furthermore, adhering to the gold standard was another critical economic decision for Republicans. In effort to replace â€Å"bimettalism,† Republicans adopted the gold standard. While it did attract investment capital from European nations, and led to the exchange of U.S. bonds and currency, the gold standard plummeted the nation’s money supply as silver was more abundant. Thus, the national policies implemented by the Republicans during the Civil War and Reconstruction were able to stimulate economic growth, but also at times hinder growth. 2. The trans-Mississppi west area saw a period of significant economic growth following the Civil War. The transcontinental road played a critical role in trade, tourism, and farming in the West. The Homestead Act, which granted 160 acres of federal land to anyone who could improve the property, was a mere effort to help build the interior West and attract farming. However, farmers soon saw themselves struggling as the land granted was not suitable for farming, and would require larger plots of land for

Oresteia Essay Example For Students

Oresteia Essay Progression Towards Light Aeschylus use of darkness and light as a consistent image in the Oresteia depicts a progression from evil to goodness, disorder to order. In the Oresteia, there exists a situation among mortals which has gotten out of control; a cycle of death has arisen in the house of Atreus. There also exists a divine disorder within the story which, as the situation of the mortals, must be brought to resolution: the Furies, an older generation of gods, are in conflict with the younger Olympian gods because they have been refused their ancient right to avenge murders between members of the same family. The Oresteia presents two parallel conflicts, both of which must be resolved if harmony is ever to be desired again. As one can expect, these conflicts eventually do find their resolutions, and the images of darkness and light accompany this progression, thereby emphasizing the movement from evil to good. The use of darkness imagery first emerges in the Agamemnon. In this first play of the trilogy, the cycle of death which began with the murder and consumption of Thyestes children continues with Clytaemestras murder of Agamemnon and Cassandra. The darkness which is present in the beginning of the story is further magnified by the death of Agamemnon. This is illustrated when Clytaemestra says, Thus he Agamemnon went down, and the life struggled out of him; and as he died he spattered me with the dark red and violent driven rain of bitter savored blood (lines 1388-1390). Clytaemestra has evilly and maliciously murdered her own husband; thus the image of the dark blood. The darkness is representative of the evil which has permeated the house of Atreus, and which has persisted with this latest gruesome act of murder. Because darkness results from the death of Agamemnon, Aeschylus clearly illustrates that this murder was nothing but pure evil. As long as this type of evil continues to be practiced in the house of Atreus, darkness will continue to emerge. The Oresteia has not yet seen the light. The beginning of the progression from darkness to light can initially be seen in the second play of the trilogy, The Libation Bearers. Orestes is the embodiment of this light, a beacon signalling a possible end in the evil that has infected the house of Atreus. It is true that Orestes, in revenge for Agamemnon, kills his mother Clytaemestra. Yet the darkness that is expected from such a murder, a matricide, is negated by one of the main reasons that Orestes commits the murder: his fear of the wrath of Apollo, who has ordered him to commit the deadly act. Aeschylus provides Orestes with a justification for his action in the form of the oracle from Apollo. For not only does Orestes murder of his mother fail to differ greatly from Clytaemestras murder of Agamemnon, but it can in fact be seen as a worse crime because of the blood ties. Therefore, in order to convincingly prove his assertion that Orestes is justified in killing his mother, Aeschylus must include the order from Apollo, wh o by no mere coincidence is the god of light. With the divine support of the light god on his side, Orestes is the beginning of the progressive illumination towards goodness and order in the Oresteia. Another example of Orestes introduction of light into a story of darkness occurs later in The Libation Bearers. The chorus is describing the dream that Clytaemestra has had of giving birth to a snake, which represents Orestes. The chorus sings of Clytaemestras fear as she awakens from the nightmare: She woke screaming out of her sleep, shaky with fear, as torches kindled all about the house, out of the blind dark that had been on them (lines 535-537). Aeschylus describes the house of Clytaemestra, the rightful house of Atreus and the Atridae, as dark; this darkness has been caused by none other than her own murderous deeds. She has dreamt of the coming of her son Orestes to avenge his father, and the torches that light up the house signal this coming. Clearly, Orestes is the man who will restore light to the house of Atreus. .ue25cc89722b873dd123d9ba1f01d3fd9 , .ue25cc89722b873dd123d9ba1f01d3fd9 .postImageUrl , .ue25cc89722b873dd123d9ba1f01d3fd9 .centered-text-area { min-height: 80px; position: relative; } .ue25cc89722b873dd123d9ba1f01d3fd9 , .ue25cc89722b873dd123d9ba1f01d3fd9:hover , .ue25cc89722b873dd123d9ba1f01d3fd9:visited , .ue25cc89722b873dd123d9ba1f01d3fd9:active { border:0!important; } .ue25cc89722b873dd123d9ba1f01d3fd9 .clearfix:after { content: ""; display: table; clear: both; } .ue25cc89722b873dd123d9ba1f01d3fd9 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue25cc89722b873dd123d9ba1f01d3fd9:active , .ue25cc89722b873dd123d9ba1f01d3fd9:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue25cc89722b873dd123d9ba1f01d3fd9 .centered-text-area { width: 100%; position: relative ; } .ue25cc89722b873dd123d9ba1f01d3fd9 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue25cc89722b873dd123d9ba1f01d3fd9 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue25cc89722b873dd123d9ba1f01d3fd9 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue25cc89722b873dd123d9ba1f01d3fd9:hover .ctaButton { background-color: #34495E!important; } .ue25cc89722b873dd123d9ba1f01d3fd9 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue25cc89722b873dd123d9ba1f01d3fd9 .ue25cc89722b873dd123d9ba1f01d3fd9-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue25cc89722b873dd123d9ba1f01d3fd9:after { content: ""; display: block; clear: both; } READ: THE SECOND AMENDMENT: Essay Orestes is looked upon by those characters sympathetic to his plight (namely Electra and the chorus of The Libation Bearers) as the light which will bring an end to the evil in the house of Atreus. Soon after Orestes reveals his identity to his sister, he proclaims that he will avenge his fathers murder. The chorus, who represent the subjects of the late Agamemnon, express their gratitude for Orestes decision when they say, But when strength came back hope lifted me again, and the sorrow was gone and the light was on me (lines 415-417). Orestes arrival and his resolution to make his mother pay for her crimes illuminates the darkness which Clytae mestra has brought upon the royal house; the chorus, in proclaiming that the light is on them, recognize that Orestes is the man who will achieve this illumination. Electra also recognizes that Orestes will bring good to an evil situation: O bright beloved presence, you bring back four lives to me (lines 238-239). Orestes presence brightens the dark, gloomy state of mind of Electra just as it brightens the dark, gloomy situation in the house of Atreus. Following the murder of Clytaemestra and Aegisthus at the hands of Orestes, light is finally restored to the conflict within the mortal house of Atreus. Orestes has fulfilled the oracle imposed upon him by Apollo, and the darkness, the evil of Clytaemestra, has been defeated. In reference to this defeat, the chorus proclaims, Light is here to behold. The big hit that held our house is taken away (lines 961-962). The disorder and darkness that had reigned in the house of Atreus exists no longer; Orestes has given his family illumination. The evil darkness has been overcome by the good light. Another way in which Aeschylus manifests the imagery of light and darkness is through the conflict between the Olympic and Chthonic gods. The Olympic gods are represented in the Oresteia by Apollo and Athene. Aeschylus ties together the ideas of justice and reason, Athenes domain, with the idea of light, of which Apollo is god. By contrast, the black clad Chthonic gods, the Furies, tie together the idea of darkness with the idea of bloody revenge, which is their area of specialization. In the Eumenides, Pythia says of the Furies, They are black and utterly repulsive, and they snore with breath that drives one back (lines 52-53). The contrast between the two different races of gods sets up Aeschylus second progression from darkness to light in the Oresteia. The Furies are at first incapable of treating Orestes with the justice that he deserves. They do not take into account the circumstances under which Orestes killed his mother, specifically the pressure which he had received from Apollo. Therefore, the Furies are at first enraged that Athene allows Orestes to escape their dark and bloody vengeance. Eventually, however, the Furies hate begins to subside and they accept the arbitration of Athene, who offers them land and honor in Athens. This acceptance marks the beginning of their movement from darkness to light. They embrace the just attitude of the Olympic gods Apollo and Athene, progressing from a doctrine of bloody revenge to one of reason and justice. The light images emerge along with this progression, and the Furies proclaim near the end of the Eumenides: So with forecast of good I speak this prayer for them the citizens of Athens that the suns bright magnificence shall break out wave on wave of all the happiness life can give , across their land (lines 921-925). The Chthonic gods have given up their dark ways and have called for light. This light image is also manifested in the garments that the Furies change into at the end of the Eumenides: where they had previously worn black robes, they now wear bright crimson robes. Now calling themselves the Eumenides, or Benevolent Ones, these gods have progressed from symbols of evil darkness into symbols of bright goodness. .u5418777a9eaec0311eadba5243d225fe , .u5418777a9eaec0311eadba5243d225fe .postImageUrl , .u5418777a9eaec0311eadba5243d225fe .centered-text-area { min-height: 80px; position: relative; } .u5418777a9eaec0311eadba5243d225fe , .u5418777a9eaec0311eadba5243d225fe:hover , .u5418777a9eaec0311eadba5243d225fe:visited , .u5418777a9eaec0311eadba5243d225fe:active { border:0!important; } .u5418777a9eaec0311eadba5243d225fe .clearfix:after { content: ""; display: table; clear: both; } .u5418777a9eaec0311eadba5243d225fe { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5418777a9eaec0311eadba5243d225fe:active , .u5418777a9eaec0311eadba5243d225fe:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5418777a9eaec0311eadba5243d225fe .centered-text-area { width: 100%; position: relative ; } .u5418777a9eaec0311eadba5243d225fe .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5418777a9eaec0311eadba5243d225fe .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5418777a9eaec0311eadba5243d225fe .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5418777a9eaec0311eadba5243d225fe:hover .ctaButton { background-color: #34495E!important; } .u5418777a9eaec0311eadba5243d225fe .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5418777a9eaec0311eadba5243d225fe .u5418777a9eaec0311eadba5243d225fe-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5418777a9eaec0311eadba5243d225fe:after { content: ""; display: block; clear: both; } READ: Enron The Smartest Guys In The Room Accounting Essay In his trilogy the Oresteia, Aeschylus use of darkness and light imagery coincides with his progression of themes. Orestes, who represents light, brings and end to the vicious cycle of dark death continued by Clytaemestra. He illuminates the dark evil in the house of Atreus. Likewise, Athene and Apollo bring the Furies out of their dark, blood-lusting ways and into an order of justice and reason, transforming them into the brightly clad Benevolent Ones. In the end, goodness prevails over evil just as light conquers darkness. Aeschylus effectively makes use of his images to emphasize this movement.

Victor Frankenstein Character Profile free essay sample

Victor Frankenstein, born into a wealthy Swiss family enjoyed an idyllic and indulged childhood. His parents were devoted to promoting his happiness: â€Å"I was their plaything and their idol. † From what is revealed about his parents, it becomes clear that they took the responsibility of their parenting role very seriously. They viewed â€Å"their child†¦whose future lot it was their hands to direct to happiness or misery, according as they fulfilled their duties towards me. † An orphan named Elizabeth, who is a similar age to Victor, is adopted into the family and becomes a loved companion. She is lovingly described by Victor as a â€Å"cherub,† who â€Å"shed radiance from her looks. † Victor then describes his early curiosity and passion for natural philosophy. At the University of Ingolstadt, Victor gets caught up in an obsessive desire for the pursuit of knowledge, which becomes a substitute for the life he formerly knew. He describes this as â€Å"Chance or rather the evil influence, the Angel of Destruction†¦asserted omnipotent sway over me from the moment I turned my reluctant steps from my father’s door. We will write a custom essay sample on Victor Frankenstein Character Profile or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page † Victor’s aim was to â€Å"pioneer a new way, explore unknown powers and unfold to the world the deepest mysteries of creation. † This fateful decision â€Å"decided my future destiny. † Philosophy and chemistry become his main focus areas and he spends most of his time in the laboratory, consumed by learning as much as he can about the â€Å"principle of life. † He cuts himself off from family and spends two years totally absorbed with his work on human anatomy. From this we see the dehumanizing and degrading effect of isolation. We can also see that death becomes a main feature of his work: â€Å"To examine the causes of life, we must first have recourse to death. † Victor describes how death resulted in the â€Å"fine form of man† becoming â€Å"degraded and wasted† by the â€Å"corruption of death. † Up to this part of the novel, we can see that Victor is a loving but self-centered person. He is aware of others but more focused on his own ambitions. After assembling the body parts taken from the dead, the monster is finally brought to life on a November night. Instead of happiness and joy, Victor shows horror and disgust towards the monster that he just created: â€Å"I beheld the wretch-the miserable monster whom I had created† He flees the lab in terror, even though the monster has shown no sign of violence. Through the central chapters of the novel, we see how the monster is forced to flee and become an outcast. When the monster and Victor finally meet we discover that the monster is not actually evil. His actions were due to his suffering and how he was so heartlessly abandoned. It is this rejection and loneliness that has made him so resentful. Victor’s language in speaking to the monster he created reveals a lack of restraint and discipline: â€Å"Devil†¦vile insect†¦ abhorred monster†¦fiend. † This reflects the lack of compassion and inhumanity we see when he isolated himself to create the monster. In contrast, the monster talks in a logical, calm and eloquent manner. The monster talks about his education and life, which arouses our sympathies.