英国艺术作业代写 女性肥胖

Keywords:英国艺术作业代写 女性肥胖

考虑到这一点，女性通常会对自己的肥胖感到极度内疚，因为可以说，瘦不是一种审美，而是来自社会的压力，表明她们的身体是由社会拥有的。我认为娜奥米·沃尔夫在她的书《美丽的神话》中完美地阐述了这一点，尤其是她在《饥饿》一章中写道:“对女性纤瘦的文化迷恋不是对女性美的迷恋，而是对女性服从的迷恋”(沃尔夫，1991年)。我的观点是，她的意思是，女性存在的过时和性别歧视的角色是为了取悦男性，或许更贴切的是取悦整个社会。我认为，女性对苗条的痴迷与政治有关的证据来自于一件事:内疚。女性肥胖怎么可能是一个道德问题，怎么可以用“好”和“坏”来形容呢?我认为，脂肪更多的是一种感觉，而不是身体形式的形容词。如果社会对女性体型的关注是关于性的，那么这将是她和她的情人之间的秘密斗争;如果是关于健康，那是一个女人和她自己之间的问题。相反，我认为女性肥胖的概念只不过是一种营销策略。为了把这个理论与珍妮·萨维尔和她的像布兰德这样的艺术作品联系起来，我相信她近乎功利主义的艺术反应认可了这个理论，并通过说她通过绘画媒介理解了观众。作为观众，她向我们展示了这些不同寻常、不落俗套的女性形象，一个可以与之产生共鸣的身体，以应对她们的反应，并处理由此引发的问题。我也相信这一理论的社会罪恶强加于女性打开一个机会单独讨论一个马克思主义者阅读萨维尔的艺术品,萨维尔的反应是创建对象,解决基于社会主义和辩证批评理论的想法是有真理的混合表示美联储权力的观众的人。我认为Jenny Saville的回应通过挑战这些理论，让观众通过完成的方式成为艺术品的一部分，给了观众力量。考虑到这一点，可以认为她的艺术不再反映社会，而是提供了一种处理这些问题主题的替代方式。
英国艺术作业代写 女性肥胖
Taking this into consideration, women, in general feel extreme guilt towards their fatness because it can be said that being thin is not an aesthetic, but rather a pressure from communities suggested that their bodies are owned by society. I think Naomi Wolf put it perfectly in her book The Beauty Myth especially in the chapter Hunger where she writes: ‘A cultural fixation on female thinness is not an obsession about the female beauty but an obsession about female obedience’ (Wolf, 1991). It is my opinion that she means womankind’s outdated and sexist role of their existence was to please a man and perhaps more relevantly, society in general. I think the proof that the female thinness obsession is political stems from one thing: guilt. How can female fat be a moral issue and be described by words like good and bad? I would argue that fat is more of a feeling rather than an adjective of physical form. If society’s fixation on women’s body types were about sex it would be privately combatted between her and her lovers; if it were about health, between a woman and herself. Instead, I would dispute that the concept of female fatness is no more than a marketing strategy. To relate this theory to Jenny Saville and her artworks like Branded, I believe her almost utilitarian artistic response recognises this theory and has reached out to spectators by saying she understands them through the medium of painting. She has given us as viewers these unusual, unconventional female figures, a body to relate to, to tackle their responses and to deal with the problems raised with.I also believe that this theory of societal guilt imposed on women opens an opportunity to individually discuss a Marxists reading on Saville’s artworks in the way that, Saville’s response to this is to create subjects that tackle criticism based on socialist and dialectic theories with the idea that there is a mixed representation of the truth fed to the spectator by people of power. I think Jenny Saville’s response gives the power back to the spectators by challenging these theories and allowing spectators to become part of the artwork by way of completion. Considering this, it can be suggested that her art is no longer reflective of society, but rather an offering of an alternative way of dealing with these problematic themes.