Is Barbie Ever Be The Enemy - 1255 Words

One may ask themselves, how can Barbie ever be the enemy. She is the top selling doll in the world, her franchise is worth over a billion dollars, and 99% of girls from the ages three to eleven has owned a Barbie doll according to (Barbie Media). Also, recent studies have shown that the average American girl between the ages of three to eleven owns ten Barbie dolls, according to â€Å"Barbie† by Sara Pendergast. So, what has led to so much controversy towards the beloved Barbie. Well, the major obsession regarding female’s exterior appearance and self-esteem is playing a huge role and Barbie is to be blamed. The power of Barbie over young female’s self-esteem, has a lot more impact than the president himself. When one enters a discussion about†¦show more content†¦According to National Eating Disorders, â€Å"The rate of development of new cases of eating disorders have increased since the 1950’s†. Also, â€Å"In U.S., 20 million women and 10 million men suffer from a significant eating disorder sometime in their life.† Which includes anorexia nervosa, bulimia nervosa, and binge eating disorder. As well as Alliance for Eating Disorders Awareness reporting the statics that â€Å"currently 70 million people worldwide suffer from eating disorders like anorexia and bulimia and about 90 percent of those with eating disorders are young women between the ages of 12 and 25†. Also, to remember that these are the same women that grew up playing with a Barbie doll or two when they were a little girl. These same women that grew up playing with Barbie are at an extremely high risk to be effected with an eating disorder due to so many years being associated with Bar bie. 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Reviewing the list of presented sign labels, one can almost immediately begin assuming which aisles are supplied for which genders. As custom, the pink Barbie doll and Disney princess aisles were visibly operating as an attraction for small girls, whileRead MoreEssay on Women ´s Right Activism1664 Words   |  7 Pagesthe early 1800s, â€Å"advocated for the dignity, intelligence, and basic human potential of the female sex,† but feminists think of a separate, specific event as kicking off womens rights activism (Rampton). In July of 1848, the first meeting that had ever addressed womens rights exclusively took place in Seneca Falls, New York. Over 300 men and women came to the convention, and this started the first wave of feminism in which American women fought for the right to vote. 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She hums, softly to herself. Her broken voice is daunting and doleful. Ring around the rosy. Pocket full of posies. Ashes, ashes, we all fall down. No Barbie dolls or makeup to keep herRead MoreThe Impact Of American Spies On The Nation And The World2824 Words   |  12 Pagesat this time is that Atkins was a member of the British Special Operations Executive (SOE). The SOE’s predecessor is the Section D under the British Foreign Office. Section D’s purpose was to â€Å"investigate every possibility of attacking potential enemies other than the operations of military forces†. Section D had the foresight to hide ten small sabotage caches across northern France before the Nazi occupation. On 16 July 1940, Winston Churchill signed off on SOE with the simple instructions to â€Å"setRead MoreThe Story Of Madison 1107 Words   |  5 Pagessomething would regret my whole life. I got up in the morning, ate, then got on the bus. I was called many horrible names before made it past seat 4. 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Denmark s A Prison Sovereignty, Surveillance And...

Presley Balholm English 155 Response Paper #1 â€Å"Denmark’s a prison†: Sovereignty, Surveillance and Oppression in Hamlet In Act II, Scene II, Hamlet characterizes his oppression by the state by comparing it to one of the clearest manifestations of the government’s control over the subject’s body: a prison, â€Å"A goodly one, in which there are many confines, wards and dungeons, Denmark being one o’ th’ worst† (Act II, Scene II). This statement succinctly describes the claustrophobic atmosphere that pervades Elsinore. Indeed, Elsinore’s restrictions and constant surveillance infringes upon the individual rights of many of the characters, including Hamlet. In the play, the sovereign state, represented by Claudius, places limitations upon the individual subject’s right to exercise their agency by regulating their bodies and actions. Hamlet’s rebellion against his uncle’s oppressive regime positions him as a figure who, by consciously and deliberately rejecting the political demands made by the sovereign state, is able to achieve a greater deg ree of political subjectivity and personal freedom. By creating a play that is fixated upon who, or what, holds agency over one’s body and actions, Shakespeare raises questions concerning the role of agency in an individual’s internal (personal) and external (political) lives. The issue of actively taking action against political, and personal, injustice versus trusting in God’s will remains unanswered. The question of whoShow MoreRelatedOrganisational Theory230255 Words   |  922 Pagescentral to managing, organizing and reflecting on both formal and informal structures, and in this respect you will find this book timely, interesting and valuable. Peter Holdt Christensen, Associate Professor, Copenhagen Business School, Denmark McAuley et al.’s book is thought-provoking, witty and highly relevant for understanding contemporary organizational dilemmas. The book engages in an imaginative way with a wealth of organizational concepts and theories as well a s provides insightful examplesRead MoreOne Significant Change That Has Occurred in the World Between 1900 and 2005. Explain the Impact This Change Has Made on Our Lives and Why It Is an Important Change.163893 Words   |  656 Pagesincluded in a long twentieth century (and perhaps even if it is not), migration served as a mode of escape from oppression and poverty and, in many instances, as an avenue toward advancement for an unprecedented number of people that soared well into the hundreds of millions by century’s end. But for a clear majority of these migrants, movement was coerced by flight from war and oppression or was enticed by labor recruiters who preyed on the desperately poor. The prospects for the great majority

Hamlet Act II Close Reading Free Essays

William Shakespeare uses many types of literary devices to describe the very principle of Hamlet’s true battle. Hamlet compares himself to a â€Å"peasant slave† and to the talented actor, whom could give a convincing performance without feeling the true emotion. After his visit with the ghost (his supposed father), he has been dedicated to the idea of plotting revenge of his uncle-father. We will write a custom essay sample on Hamlet Act II Close Reading or any similar topic only for you Order Now Although, it is difficult for Hamlet to perform this horrific act, because of his disgust of the emotionless scheming revenge. Lastly, for Hamlet to try and convince himself to follow through with this scheme, he arranges a trap to have Claudius unknowingly reveal that he is guilty. In the beginning of Hamlet’s soliloquy, he compares himself to a â€Å"rogue and peasant slave†, which points out that Hamlet is frustrated with himself. In this metaphor, Hamlet feels terrible that the actor could shed more emotion, and force his soul to feel made up feelings in a work of make-believe. The use of visual imagery is used when Hamlet describes his acting, â€Å"That from her working all his visage waned, tears in his eyes, distraction in his aspect, a broken voice, and his whole function suiting†¦Ã¢â‚¬  Here Hamlet is amazed by how easily the actor could show such emotion, and he even says â€Å"what would he do, had he the motive and the cue for passion that I have? † He knows that actor would be even more tremendous if that was the case, because the use of a hyperbole is noted when he says, â€Å"He would drown the stage with tears and cleave the general ear with horrid speech. After stating the above facts, Hamlet then looks at himself and sees himself as pathetic. His reflection of himself, describes that he is an unattractive, uncourageous mischief and protests that he primarily just mopes around and has no motivation to plot revenge and doubts his ability to achieve it. Another literary device utilized is the rhetorical questions he asks himself, â€Å"Am I a coward? Who calls me a â€Å"villain†? Breaks my pate across? Plucks off my beard and blows it in my face? Tweaks me by the nose? Gives me the lie I’ th’ throat as deep to the lungs? Again doubting himself for his lack of motivation. A bit of foreshadowing also takes place after these questions, when he asks another rhetorical question, â€Å"who does me this? ‘Swounds, I should take it†¦Ã¢â‚¬  which could possibly take place later on in the play, that someone will call him out, and there is only one reason why someone would; his revenge on Claudius. Hamlet creates a conflict with himself deciding whether to go or not to go through with this horrific s cheme, but he reminds himself that his father’s life has been stolen so he must seek his revenge. Hamlet is planning to have the â€Å"players play something like the murder of [his] father before [his] uncle† that he can â€Å"observe his [his uncle’s] looks† to judge his guilt. Hamlet concludes to himself that â€Å"[he] know [his course]† of what to do if his uncle â€Å"do blench† or flinch. Shakespeare uses personification on the word murder, for he states that â€Å"murder, though it have no tongue, will speak with most miraculous organ†, referring to the situation of murder being able to speak through the actors. This is significant because it is a step forward towards Hamlet’s plot of revenge. Although, Hamlet may believe that â€Å"the spirit that [he] have seen may be the devil and devil hath power t’assume a pleasing shape†, this symbolizes the use of hell imagery and portrays the theme eye of the beholder. The devil can be very convincing and can disguise itself as something or someone we desire and enjoy. So, with that being said Hamlet concludes that â€Å"[he’ll] have grounds more relative than this. The play’s the thing wherein [he’ll] catch the conscience of the king. † How to cite Hamlet Act II Close Reading, Papers

 The characters present situation/The characters conflicts (internal vs. external) Essay Example For Students

  The characters present situation/The characters conflicts (internal vs. external) Essay The stage directions (represented here in italics) play the largest role in representing the house and delivering the situations of the characters but as an undertone, via the state of the house/setting, and the certain parts of the house which are revealed. Likewise, the introduction to the first act also embodies a large part of the symbol as the introductions to the subsequent acts will always be compared to it, in order to pinch out elements of the transition and determine what Lorca aims to portray from the transition. I. Colour/introductions to respective acts The diction Lorca employs successfully delivers the mood and atmosphere of the settings of all three scenes. Act I starts the text off, set in A very white room. The word very to start with connotes the sense of purity, cleanliness. In Act II the room/setting turns from very white into white, which succeeds in revealing that some of the purity has been washed away with the whiteness of the walls, and becomes only semi-pure, which stands for the situation as a whole. The second act also shows doors that lead to bedrooms, which has a slightly sexual/intimate undercurrent. These both have to do with two characters in particular: Martirio and Adela. In Act III instead of a white room the subjects are stuck within four white walls, of which are lightly washed in blue. Lorca employs the phrase four walls instead of just introducing a room to show a typical confinement and eventually the weariness of the place. Also, the walls are lightly washed in blue which connotes the sense of change in season, as though winter had been approaching. Apart from this it also sends out a shudder owing to the kinesthetic imagery employed. In addition, the doorways are illuminated by the lights inside the rooms. These rooms consist of all five sisters; the faint, low glow on the doorway from the lights inside the sisters rooms would represent the underlying tones of secrecy. It also gives a tenuous glow to the stage. Lorca employs the word tenuous here so as to represent the caution of the secret of Adela seeing Pepe being let out. II. Doors The several doors that Lorca does mention may also even take a figurative sense. It may represent both opportunities and being trapped, in a way that either the more doors there are the more opportunities the girls might meet; or the more doors the more trapped the girls will be. Constantly the girls go in and out different doors. II. Decorations Pictures of unlikely landscapes full of nymphs or legendary kings are introduced in Act I. This element signifies real fantasies and real hopes of being far away, which is emphasized by many characters, such as Poncia, Adela and Maria Josefa, throughout the three acts. The fact that Lorca uses the word unlikely to describe the pictures brings us back down to earth/reality, in which we would recognize that nymphs and legendary kings are part of myths and are most unrealistic. However, what Lorca aims to convey is simply that the outside of the house is already considered an outside world, and is simply unattainable. III. Maria Josefa She personifies the contradiction to the beliefs of the house. This inconsistency with the beliefs of the house of Bernarda Alba itself is represented by her physical separation from the rest of the characters and the house. The audience knows that she is locked up in special confinement but do not know where; she is not locked up in just a roomit is almost a chamber. In addition, she is first introduced as VOICE in the start of Act I and only within. The kind of introduction given to her as a character echoes its significance throughout the text. Maria Josefa is almost entirely a metaphor. She represents the true desires of the five girls, the voices in the back of their heads, the freedom that they want from the home. Like her, these hopes, even, have to be locked up and away as Bernarda Alba would hear nothing of it. Ultimately, her physical segregation from the rest of the house not only stands for itself but also the minds of the girls, which makes it an important symbol to note . .u49fae6994c8a44a5d4e767552779eedf , .u49fae6994c8a44a5d4e767552779eedf .postImageUrl , .u49fae6994c8a44a5d4e767552779eedf .centered-text-area { min-height: 80px; position: relative; } .u49fae6994c8a44a5d4e767552779eedf , .u49fae6994c8a44a5d4e767552779eedf:hover , .u49fae6994c8a44a5d4e767552779eedf:visited , .u49fae6994c8a44a5d4e767552779eedf:active { border:0!important; } .u49fae6994c8a44a5d4e767552779eedf .clearfix:after { content: ""; display: table; clear: both; } .u49fae6994c8a44a5d4e767552779eedf { 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; } .u49fae6994c8a44a5d4e767552779eedf:active , .u49fae6994c8a44a5d4e767552779eedf:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u49fae6994c8a44a5d4e767552779eedf .centered-text-area { width: 100%; position: relative ; } .u49fae6994c8a44a5d4e767552779eedf .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u49fae6994c8a44a5d4e767552779eedf .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u49fae6994c8a44a5d4e767552779eedf .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; } .u49fae6994c8a44a5d4e767552779eedf:hover .ctaButton { background-color: #34495E!important; } .u49fae6994c8a44a5d4e767552779eedf .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u49fae6994c8a44a5d4e767552779eedf .u49fae6994c8a44a5d4e767552779eedf-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u49fae6994c8a44a5d4e767552779eedf:after { content: ""; display: block; clear: both; } READ: Stereotypical kind EssayIV. Other subcomponents Windows: the girls are only allowed to talk to boys through the windows of their bedrooms. The patio: is where the men would gather. almost like a voice in the back of their heads brings us back down I found that when Lorca uses the word doors, if taken in a figurative sense, may represent both opportunities, and on the other hand, being trapped. More doors = faster you are in finding a way out but in a sense more doors can also = the more trapped, there will always be a door ahead. leading illuminated faint, low glow, secrets are coming to surface but are not revealed.