“For Women To Rise We Must Close 'The Confidence Gap'.” Forbes, Forbes Magazine, 1 Feb. 2016, www.forbes.com/sites/margiewarrell/2016/01/20/gender-confidence-gap/#394e64da1efa. Unlike men, most women are not born with confidence. As young girls, they are brought down and conditioned to by society to become insecure of their image. However, Demetria stood up for herself, she showed her confidence in herself. Demetria wanted the viewers to see that Jan in fact did not hurt her feelings, she is still the beautiful, confident woman who believes in herself worth and beauty.
He believes that this woman’s purpose was to trip him up and get pleasure from it. Sammy goes on to describe the three young women. The first one he refers to as the “chunky one” (230), whom he describes as having a “sweet broad soft looking can” (230), in reference to her backside. He also adds, “With two crescents of white under it where the sun never shines” (230), indicating that he is really gawking at her backside. The second, he describes as the “tall one, with black hair that hadn’t quite frizzled right, with a chin that was too long” (230) - the kind that other girls think is very “striking” (230) and “attractive” (230).
He presumes that this woman’s purpose was to trip him up and get pleasure from it. Sammy goes on to describe the three young women. The first one he calls the “chunky one” (230), whom he describes as having a “sweet broad soft looking can” (230), in reference to her backside. He also adds, “With two crescents of white under it where the sun never shines” (230), showing that he is really gawking at her backside. The second, he describes as the “tall one, with black hair that had not quite frizzled right, with a chin that was too long” (230) - the kind that other girls think is very “striking” (230) and “attractive” (230).
Keira is presented as the super-woman which Goldman (1992) describes as “sublimely self-confident and secure, poised, effortlessly beautiful, [moving] with a style and grace called ‘presence’... independent and successful; liberated, yet feminine and romantic; modern, yet traditional at the same time” (107-108). By looking past the camera Keira becomes the subject of envy. This envy can only be achieved by distance, we look to her but she does not look back at us, her demeanour signifies confidence, which we watch but do not have a connection to (Goldman 1992, 118). Throughout the ad, Keira exudes a confidence in a playful yet mature way. This confidence, however, rises from her relation to men.
The way people feel towards the product leads them in buying it. This reading connects to the Neutrogena commercial because people who advertise these commercials know that many women wishes to have a perfect skin with no pimples, marks in their face, and wrinkles. In the commercial Neutrogena Healthy Skin Liquid Makeup, they use a woman that has perfect skin with no pimples or marks in her face. They use the phrase “Skin can grow more beautifu... ... middle of paper ... ...I believe the way commercials advertise their products it’s a bad thing due to the fact that many of them use skinny women, attractive men, women with a perfect skin that doesn’t even exist in real life.
In Jane Eyre, Charlotte Bronte uses characters as foils to show contrast to Jane and other minor and major characters. The entire book shows contrast, and it not only compares them to Jane but characters like Mr. Rochester. Charlotte Bronte also used foils to show complexity and diversity in many characters including Jane. In the beginning of Jane Eyre, Charlotte Bronte use Georgiana reed one of Jane’s extremely privileged and wealthy cousins as the first foil. Georgiana reed was depicted as “her beauty, her pink cheeks …delight to all who looked at her (Bronte 20).” Georgiana has beautiful blue eyes with yellow ringlet hair, compared to Jane who is said to look plain and even in some cases ugly “Do you think, because I am poor, obscure, plain, and little(72).” Jane being compared to Georgiana; helps me see Jane’s characteristics because Jane knows that superficial things such as wealth and beauty can only get one so far in life, it shows me that Jane is independent and determined to surpass her current situation.
Sammy watches every step the girls take while criticizing and admiring them at the same time. His observations of the leader who he refers to as Queenie and her followers give him an insight of who they are personally. Sammy likes Queenie as she possesses confidence which sets her apart from the group. Sammy, still being a young boy likes that her bathing suit has “slipped on her a little bit” (Updike 158). Updike conveys the obvious that Sammy cannot look away from Queenie when “there was nothing between the top of the suit and the top of her head except just her”.
It is in this corner that Zephar and Chloris fly. Zephyr and Chloris are the wind-gods and they are actively blo... ... middle of paper ... ...t they look ill to me. The sad past of this matter is that this seems to be the look that sells and that guys find attractive. All of this causes the indirect weight struggle that almost all females face from a very young age through out most of their lives. To see that beauty can come in all sizes make me for once feel comfortable when I look at another women's body.
The woman on this vintage advertisement is meanly to attire any men that pass anywhere close to her because of all the skin that she is showing. That bathing suit she has on is reveling and provoking as she is not only showing that Yeast works but also she can get all the men that she wanted with that new sexy body she got.
With these quick and most likely mindless observations, Sammy exposes himself as a person who judges others based on appearances. As he takes note of the three girls, he sees “the queen… [with] a kind of prim face. Walking into the A&P with your straps down, I suppose it’s the only kind of face you can have”(370). Sammy’s observations of the girls in bathing suits are not the only ones made throughout the story. However, the notice taken of the girls is the most kind.