Mrs. Bennet Pride and Prejudice - 1500 Words

In Jane Austen’s novel, Pride and Prejudice, Mrs. Bennet, the mother of the protagonist, Elizabeth, is generally portrayed as a buffoon who is an adversary for he daughter that is trying to force her into a marriage she does not want. One may wonder how she can be justified in any way, considering that she is known to embarrass her family members and behave idiotically. However, in the time period they live in, a marriage is necessary for all of the family to avoid a terrible fate. Mrs. Bennet, while often behaving improperly, does try to do the best for her daughters based on the world she lives in. Elizabeth Bennet’s refusal of Mr. Collins puts her family at risk of being homeless. In England at the time of great landowners, according†¦show more content†¦As a result of being treated this way, women would have fewer opportunities to advance in their career, which were not often in manufacturing or agriculture for men or women. When women were landless and unm arried, they had little to no political representation or influence. As the BBC stated, â€Å"when parliamentary reform was being debated in 1867, John Stuart Mill proposed an amendment that would have given the vote to women on the same terms as men but it was rejected by 194 votes to 73† (BBC 1). Not until much later would women get the right to vote, meaning that the sisters could not develop a career based on their speaking or intellectual abilities in Britain, which extended to academic positions, as, according to the Republic of Pemberley, â€Å"women did not usually have careers as such, and were not citizens in the sense of being directly involved in politics, there was little generally-perceived need for such higher education for them† (Republic of Pemberley 1). No institution of higher learning would accept women, so that kind of career would have been impossible at the time. In addition to the social barriers of being a working woman, the Bennet sisters wou ld have to face serious economic impracticalities when employed. Women were almost always paid significantly less than their male counterparts, as according to London’s Central Court, â€Å"Female domestic servants earned less thanShow MoreRelated The Lovable Mrs. Bennet of Pride and Prejudice Essay2815 Words   |  12 PagesThe Lovable Mrs. Bennet of Pride and Prejudice      Ã‚  Ã‚   The general impression of Austens novels, which critic D. W. 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Austen often references the class system at the time, often noting one of the multiple heroine’s struggleRead MoreEssay about Social Classes in Pride and Prejudice by Jane Austen1737 Words   |  7 PagesJane Austen’s novel, Pride and Prejudice, was originally to be titled First impressions. Austen suggests she chose the original title late in the novel, after Elizabeth has seen the change in Darcys manners at Pemberley and feels it can only be due to her influence. However, in 1801 anothe r novel was published using that title so Austen renamed and published her novel, Pride and Prejudice, in 1813. (Stovel â€Å"A Contrariety†). The former title accurately depicts the attitudes of several charactersRead MorePride and Prejudice: Plot Synthesis1337 Words   |  6 Pages The novel Pride and Prejudice is a romantic comedy, by Jane Austen. Pride and Prejudice is a story about an unlikely pair who goes through many obstacles before finally coming together. Pride is the opinion of oneself and prejudice is how one person feels others perceive them. The novel, Pride and Prejudice, uses plot, the characters of Mr. Fitzwilliam Darcy and Miss Elizabeth Bennet, and the status of women and social standing, to portray the theme of the novel - pride and prejudice. TheRead More Class, Money, Pride and Happiness in Pride and Prejudice, by Jane Austen1721 Words   |  7 PagesElizabeth Bennet of Austen’s Pride and Prejudice states that she would be happy with someone who â€Å"has no improper pride† and â€Å"is perfectly amiable† (PP 364). While all of these novels give a glimpse into the opinions of happiness, Pride and Prejudice delves into the nuances of happiness, showing the conflicts that come with these intertwining ideas of class, money, and pride. 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An Analysis of Michael Fried’s Art and Objecthood Essay Example For Students

An Analysis of Michael Fried’s Art and Objecthood Essay asdsdasdaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa- aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa- aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa- aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa- aaaaaaaaaaaaaaaaBeginning with Michael Fried’s arguments in his 1967 essay ‘Art and Objecthood’, consider how the status of the art object (painting, sculpture, installation, etc. ) has changed over the last thirty-five years within Art History and fine practice. Frieds essay is a kind of riposte to Judd and Morris, who he decried as literalists, coining the term to describe attitudes in opposition to his abstractionist interpretation of Modernism. For Fried, its theatricality is a symptom of the decadence of literalist works of art, which establishes a staged relationship, in time, between object and beholder. Fried preferences a kind of Modernism which is more authentically abstract: insisting Modern artworks should be abstracted from pretence, from time and from a sense of object. The publication of Frieds essay brought to light to divisions within the Modernist tradition, and seemed to indicate that the heart of these divisions lay in the philosophical conflicts between Idealism and Materialism. So Frieds dislike of the term Minimal Art, has caused him to rename it Literalist Art. He points out that the ambition of Judd and his contemporaries is to escape the constraints of painting: the restrictions imposed by the limitations of the canvas. Composition and the effort to create a pictorial illusion are never, according to Fried, quite convincing enough, quite original enough, to be satisfying. Donald Judd explained the problem: When you start relating parts, in the first place, youre assuming you have a vague whole- the rectangle of the canvas- and definite parts, which is all screwed up, because you should have a definite whole and maybe no parts. Painting is doomed to failure, but perhaps some resolution will arrive with the introduction of a new dimension. In practice, the new dimension brings with it a new focus on the relationships within the work. Judd refers to the relational character of his sculptures as their anthropomorphism, speaking of the correspondence between the spaces he creates, and both Judd and Morris are concerned with unity, completeness, creating a perfect shape capable of overwhelming the fragmentary components. In many ways nothing has physically changed in sculpture since the 1960s. There seems to be a onstant effort to relate parts in Catherine de Monchauxs recent sculpture, although her work, unlike Judds, is more obviously and shameless anthropomorphic in its forms. Her structures appear to be based on the human body, and her titles are like the titles of poems or fairytales. Wandering about in the future, looking forward to the past is virtually surrealist, it seems arbitrary to call this minimalist when the emphasis is not clearly on objects declaring the status of their existence, but instead on some fanta sy story. Never Forget seems to be about memories, the past, things being opened up, revealed and mapped out in a symmetrical and rather beautiful way. Both these works are concerned with the impossible project of re-membering, putting things back together from their parts- and the contrast with Judd is clear- to the extent that they are about parts being reassembled into an ideal whole, de Monchauxs sculptures are more like paintings. In many ways, her work resembles Carl Andres- particularly his Venus Forge. The viewers experience of the work will obviously depend on whether the work is perceived as an object or a subject. In Frieds conception, the art object becomes animated and serves the holistic aspiration of the artist. But the art works subjectivity does not elevate the artist- they have created an object capable of representing itself, and, like Frankenstein observing his monster, are themselves both the observers and observed. If Hesse is, as her diaries suggest, a woman observing herself, then she has an immediate affinity with Judd. .u29ee0c7aa16f8af48fea5031bfc5642d , .u29ee0c7aa16f8af48fea5031bfc5642d .postImageUrl , .u29ee0c7aa16f8af48fea5031bfc5642d .centered-text-area { min-height: 80px; position: relative; } .u29ee0c7aa16f8af48fea5031bfc5642d , .u29ee0c7aa16f8af48fea5031bfc5642d:hover , .u29ee0c7aa16f8af48fea5031bfc5642d:visited , .u29ee0c7aa16f8af48fea5031bfc5642d:active { border:0!important; } .u29ee0c7aa16f8af48fea5031bfc5642d .clearfix:after { content: ""; display: table; clear: both; } .u29ee0c7aa16f8af48fea5031bfc5642d { 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; } .u29ee0c7aa16f8af48fea5031bfc5642d:active , .u29ee0c7aa16f8af48fea5031bfc5642d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u29ee0c7aa16f8af48fea5031bfc5642d .centered-text-area { width: 100%; position: relative ; } .u29ee0c7aa16f8af48fea5031bfc5642d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u29ee0c7aa16f8af48fea5031bfc5642d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u29ee0c7aa16f8af48fea5031bfc5642d .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; } .u29ee0c7aa16f8af48fea5031bfc5642d:hover .ctaButton { background-color: #34495E!important; } .u29ee0c7aa16f8af48fea5031bfc5642d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u29ee0c7aa16f8af48fea5031bfc5642d .u29ee0c7aa16f8af48fea5031bfc5642d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u29ee0c7aa16f8af48fea5031bfc5642d:after { content: ""; display: block; clear: both; } READ: Climbing South Sister EssayBoth artists are engaged in a project of self-replication, where sculpture is an extension of themselves- something projected into space, imbued with some kind of life, in the words of Chav and Fried, written into existence. Frieds idea can be read as gender-neutral, but the phallocentric commentaries of feminist writers such as Camille Paglia will always present a serious threat to any art theory that preferences the projection and prominence of sculpture over the restrictive bittiness of painting on canvas. For Paglia and her school, sculpture is mostly by and about men, and it is an alarming, violent world of construction, projection, erection and self-aggrandising expressiveness. Much of this might just as well read as a preliminary sculptural theory: The sexes are caught in a comedy of historical indebtedness. Man, repelled by his debt to a physical mother, created an alternate reality, a heterocosm to give him the illusion of freedom. Woman inflamed with desire for her own llusory freedom, invades mans systems and suppresses her indebtedness to him as she steals them. Hesses feminist works can be read with a melancholic tone of a woman conscious of and raging about a sexual debt but they do not have to be. Paglia finds male and female equality in Eastern religious traditions: cultures built around ongoing horizontal natural rhythms, unlike the western male preoccupation with vertical climax. Hesses interest in the body is, in Paglias terms. chthonic- she claimed she wanted to keep h er work in the ugly zone, her work defined by