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Sexuality In Le Corbusier's Radiator Building

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The concept of sexuality in the eyes of Sigmund Freud transcends a physical form of intimacy, his understanding lies on a macro scale where it no longer represents the form of sex which most of us are familiar with – a pleasure driven genital sex or as a means of reproduction – but any field or practice that is imbued with libido or provides an erotic charge for both the user and end user. For New York artist Georgia O’Keeffe, her painting of the Radiator Building aimed to disassociate herself from the sexualized image that her husband, Alfred Stieglitz, portrayed. (Stieglitz was a critic and a gallery owner, he was trying to push the sales of her art) While her art was heavily misunderstood by her contemporaries to be erotic depictions through …show more content…

On the other hand, his parallel and prominent critique, Eileen Gray approaches her work with a sensitivity to sensuality. Domestic interiors that were private was given explicit attention in a bid to accentuate a heightened awareness of the senses through an adept selection of materiality. To Gray, the reduction of modern architecture to mere visual elements is regressive in nature. If the ostentatious and overtly lavish design of the bourgeoisie was an aspect that the modernist wanted to rid, wouldn’t the appropriation of aesthetic forms for their symbolic value be counterintuitive? The same could be said with the conflict between sexuality and sensuality. Both O’Keeffe and Gray were heavily invested in the latter as opposed to their male counterparts which could be a symptom of sexual repression as introduced by Wilhelm

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Richard Morris Hunt’s mansion depicts a large mansion build in 1895 owned by one of America’s leading architects of the 19th century. He implanted a high Victorian Goth architectural design for the construction of this large mansion. This mansion covers four acres of floor space, has 250 rooms, an indoor swimming pool, priceless artworks, and adorned furnishings; the epitome of wealth. Home of an Italian Ragpicker, Jersey Street presents a poor Italian immigrant mother with her baby in her harms, sitting in a small room fill with wooden pickets, a single hat, bags, and a wooden ladder.

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Georgia O’Keeffe was a great painter who caught on to other artist techniques and was influenced by another talented artist also known as Paul Strand’s. O’Keeffe was influenced by the way he cropped his photographs. She was the first known artist to catch on to the method of painting close-ups of the uniquely American objects that had lots of detail and was nicely abstract. Georgia O’Keeffe uses the elements of art in all her paintings. For those who are not familiar with the elements of art the elements of art are known as the visual components of color, line, form, space, texture, shape, and value.

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For example, his profound admiration of flowers and gardening, where she states, “What kind of man but a sissy could possibly love flowers this ardently?”(90). The panel illustrates the young, infinitesimal girl watering enormous plants against the Victorian mansion. The dark porch of the house symbolized the menacing and suppressed sexuality that the house sheltered from spectators. The overgrown plant is indicative of the both the father and daughters overwhelmingly desire to be of the opposite sex. The well manicured lawn and house depicts how the father chooses to suppress his internal desires of sexuality and expend energy into creating an artifice for spectators to

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In her piece the idea of tranquility and anger were eminent through out. Whether they encompassed you whole or only possessed slight significance were based of the over-lapping, shadows, and light. Overall, this piece has uniqueness that separates itself from solely a literal

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To develop the setting of the house, Gilman uses vivid diction to craft an image of the house to show how men a imprisoning the minds of women in Victorian society. Gilman introduces the house as a “colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity” (1066). Although her description uses the words “romantic felicity” which seem to carry a light tone, these words are preceded by the dark statement that the estate is a “haunted house”. By contrasting these two tones, Gilman foreshadows that the house in which the narrator is interned for treatment might seem magnificent and grand, but in reality, the house and the rest cure will turn out to be her doom. The foreshadowing hints that Gilman uses the contrasting description of the house to point out how physicians like John are oppressing women by denying them their right to a postpartum experience with their baby, a thing of “romantic felicity,” and instead, turning it into an ordeal as nightmarish as a “haunted house.”

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And furthermore, recognize the symbolism documented in the painting for iconographic analysis. In doing so, this will highlight and comment on important characteristics of Omnibus Life in London as it yields new information regarding the emerging shift in social inequality. Through formal analysis, the visual characteristics of the work present an interesting insight into the painting. The first emotion that I experienced with this work was claustrophobia and crowdedness. Part of the feeling spawned from the three-dimensionality of the painting.

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Inside and beyond the myth and the social impact of the subject as One or Substance. Alan H. Goldman’s essay ‘Plain Sex’ is a central contribution to the academic debate about sex within the analytic area, which has been developing since the second half of the ‘90s in Western countries. Goldman’s purpose is encouraging debate on the concept of sex without moral, social and cultural implications or superstitious superstructures. He attempts to define “sexual desire” and “sexual activity” in its simplest terms, by discovering the common factor of all sexual events, i.e. “the desire for physical contact with another person’s body and for the pleasure which such contact produces; sexual activity is activity which tends to fulfill such desire of the agent” (Goldman, A., 1977, p 40).

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The use of symbolism and imagery is a prominent technique used by many authors in their novels in order to convey complex ideas and create a unique experience for readers. Zora Neale Hurston’s novel Their Eyes Were Watching God is filled with images of nature that play an important role in the progression of the story. In the novel, the imagery and symbolism related to nature represents Janie’s hopes as a young woman, her hopes as she is more mature, and her growth by the end of her journey. This essay will demonstrate this by examining her hopes involving love and her sexuality when she first discovers them as a young woman.

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“I know how you clutched my back behind your house and sweated like a stallion whenever I come near! I saw your face when she put me out and you loved me then and you do now!” Abigail exclaimed while grasping John’s shirt. “Child..” John said.

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Feminist analysis of The Storm The rise of the Women’s Movement during 1890’s encouraged many to grant all human beings the same fundamental rights despite one's gender. Traditionally, sexual passion, in a woman's aspect of life, was considered inappropriate and wrong in societal views. Yet, Chopin boldly addresses sexual desire in a woman with a strong feminist tone in The Storm, empowering female sexuality.

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This is shown through the metaphorical pot boiling over as “zest and love drain out with soapy water as she scours the crusted milk.” Through this metaphor, Harwood shapes meaning through insinuating that the women’s passion has been “drained out” and lost through her obligation to household chores. With this, she creates the image that women should sacrifice their dreams and aspirations to become a mother figure to their children. Through references to “Rubinstein’s yawn” - known to be a famous pianist - Harwood implies a masculine judgement causing the persona to question whether she has ever really had a captive audience as “She practices a fugue, though it can matter to no one now if she plays well or not.” ’Suburban Sonnet’ is told from the persona’s point of view, leading readers to question whether the women in the sonnet could perhaps be the poet herself.

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The world she lived in was so ugly and plain and she choose to “create beauty in the midst of [all that] ugliness" (62). This helps to create the theme because even though Miss Lottie had so little she still worked hard to care for the beautiful marigolds. In “Marigolds” the author uses diction, symbolism and point of view, to develop the theme that people can create beauty even in the poorest of situations. Through diction, Collier is able to show the reader the contrast between the beauty of the marigolds compared to the run-down town the story is set in.

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MICHEL FOUCAULT ON SEXUALITY Michel Foucault was a French philosopher, philologist and social theorist. He made discourses on the relationship between power and knowledge and about how they are utilized as a form of social control through social establishments. This essay talks about Michel Foucault’s discourse on sexuality. He put forward his theory of the history of sexuality.

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The philosopher talks about how we look at the dead body or someone we love. Like they aren 't supposed to be a part of this world, the same goes with beauty, beauty is a visitor from another world. The world of higher spiritual being. It is not to be used or exploited but to be observed and contemplated. Art shouldn’t be be used to satisfy our appetites.

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Woolf makes a point to disengage with her environment. She mandates that she not allow herself to become too absorbed with any one person or their story. Instead she ought to treat each moment as a if it were fleeting, saying “Let us dally a little longer, be content still with surfaces only” (2) This is instruction is literal, Woolf believes that engaging with her setting will remove the joy from vapid displays of beauty. She even compares such an experience to a sugary diet, lacking in nutrition but desirable nevertheless (2).

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