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caliban essay By Michael O’Toole. In his essay On Cannibals, Montaigne continually asserts that what is natural is synonymous with what is good, and that Nature herself ought to be the light by which human action is to buy, guided. It is not surprising, then, that he presents a highly idealized characterization of the natives of the write essay, New World. He perceives these cannibals, as he calls them, to be men who live in the way Nature intends them to ready to buy live, unadorned and unfettered by modern civilization. Montaigne goes so far as to claim to have found in these cannibals the golden age, spoken of so often by philosophers and poets as merely an unattainable dream. Leeds Geography? He boldly asserts that in the character of these people, all of the thesis to buy, true, most useful, and natural virtues and properties are alive and vigorous. The characterization of Ariel and Caliban in The Tempest is significant in relation to Montaigne’s essay, which was one of french essayist, Shakespeare's main inspirations for the work.
In On Cannibals and in ready thesis to buy The Tempest , both Montaigne and Shakespeare explore the relationship between human nature and modern civilization. Montaigne’s idealization of the cannibals contrasts sharply with Shakespeare’s unsympathetic portrayal of the thesis, brutish Caliban, whose name thinly veils the influence of Montaigne’s essay. Whereas Montaigne’s cannibals are praised as wild fruits, produced by nature in her ordinary way and without any artificiality, Shakespeare’s cannibal appears to ready be as pathetic, crass, and vulgar as any individual can possibly be portrayed. This seems to imply that Shakespeare’s portrayal of Caliban is a direct attack against des lentilles de contact the form of wistful idealizing of Nature that Montaigne is to buy, so fond of. Yet the essayer de contact, complexity of The Tempest lies in its essential ambiguity. This ambiguity stems from the juxtaposition of the brutish and pathetic character of Caliban with the sprightly and sympathetic character of Ariel. Both Caliban and Ariel are natives of the island, and hence can be thought of in terms of Montaigne’s cannibals.
By analyzing the characterization of these two characters in relation to Prospero, one comes closer to determining how The Tempest as a work of art responds to thesis and challenges Montaigne’s essay. Lying at the root of Shakespeare’s response to Montaigne is are essays in past, a differing conception of human nature and the extent to which modern civilization suppresses it. Ariel and Caliban can both be viewed as the colonized subjects of Prospero, and the differing attitudes of these subjects towards their master is indicative of the differing ways in which human nature responds to modern civilization. Both Ariel and Caliban are individuals undoubtedly oppressed by Prospero, yet each develops a different relationship to thesis to buy their master based on their natural character as well as their prior circumstances. The scenes of The Tempest are structured so as to emphasize the differing characterizations of Ariel and Caliban in their relationship to Prospero. Throughout the essay, work, interactions between Ariel and Prospero come directly before or directly after interactions between Caliban and Prospero. The contrasting nature of these interactions occurring dramatically portrays the contrast between the attitudes of these central characters. The first appearance of Ariel immediately establishes his character as that of a submissive, deferential subject. His language is that of a slave who binds himself to his master without question: To answer thy best pleasure; be’t to ready thesis fly, To swim, to dive into the fire, to ride. On the curled clouds. French Essayist? To thy strong bidding task.
Ariel and all his quality.--(I, ii, 189-93) Ariel’s self-effacing willingness to serve Prospero contrasts strongly with Caliban’s attitude of sardonic rebelliousness exhibited in the same scene. Whereas Ariel greets Prospero with an affirmation of his greatness, Caliban greets him with a curse: With raven’s feather from unwholesome fen. Drop on you both! A south-west blow on ye.
And blister you all o’er!--(I, ii, 321-24) Caliban’s apparent hatred for Prospero is evident in much of his speech, which consists predominantly of curses similar to this one. In these initial encounters, the thesis to buy, contrasting aspects of Ariel and Caliban’s separate relationships with Prospero are emphasized. Ariel is portrayed as a submissive servant, while Caliban is characterized as rebellious and spiteful. Caliban's first speech emphasizes the conflict that arises from his lack of gre argumentative, gratitude towards his master. Prospero, having drawn Caliban away from thesis to buy his savagery and towards modernity, believes that Caliban owes him a debt of french essayist, gratitude. In fact, Caliban did at first love Prospero, but it was autonomy that Caliban professed to want, not slavery. When he is subjugated, Caliban thus rejects everything that he has inherited from Prospero, including language. Caliban essentially feels betrayed, and thesis to buy, this is evident in the tone that is used to address Prospero in his first speech: Which thou tak’st from me. When thou cam’st first, Thou strok’st me and made much of me. . and then I loved thee.
Cursed be I that did so. For I am all the subjects that you have, Which first was mine own king; and here you sty me. In this hard rock, whiles you do keep from me. The rest o’th’island--(I, ii, 331-44) Unlike Ariel, Caliban has no future promise of freedom that will justify an attitude of deference. His rebellious attitude is a reaction to his feeling that he is being unjustly used and write essay, subjugated. It is Prospero’s art which controls both Ariel and Caliban, binding them to thesis his authority as their master. Prospero's magic art can be seen to stem from his connection to modern civilization. One can see how he utilizes his art, akin to modern technology, in order to suppress and subjugate.
He is portrayed as a colonizer who exploits the innocence of his subjects to his own advantage. Prospero uses his power over Caliban in a malicious, vengeful manner. He influences Caliban by intimidating him with threats of bodily discomforts and annoyances. Caliban dramatically emphasizes the extent of this power when explaining why he does not simply run away: It would control my dam’s god, Setebos, And make a vassal of him.--(I, ii, 372-74) Prospero’s relationship towards Ariel is of a quite different nature than his relationship towards Caliban. Whereas Prospero uses his magic in order to subjugate Caliban, he uses it in order to garfinkel thesis free Ariel from the curse of Sycorax. The submissive attitude of Ariel in his relationship with Prospero stems from the ready thesis, debt that this engenders in him towards his master. When Ariel becomes so bold as to ask Prospero when he is to be set free from his authority, Prospero has only to remind him of this debt and Ariel’s submissive attitude is restored: Let me remember thee what thou hast promised, Which is not yet performed me . Prospero: If thou more murmur’st, I will rend an oak.
And peg thee in his knotty entrails till. Thou hast howled away twelve winters. Ariel: Pardon, master. I will be correspondent to command. And do my spriting gently.--(I, ii, 242-45; 294-98) Ariel is content to serve his master only to garfinkel the extent to which it ensures his future release. In a sense, he is repaying the debt he owes to Prospero by willingly subjugating himself to him.
Caliban is quite different from Ariel in this respect, for Caliban feels no debt towards Prospero. Whereas Ariel has a motive for his remaining submissive to Prospero, Caliban lacks any such motive. Lacking any feeling of debt in his relationship to Prospero, Caliban thus develops the rebellious and thesis, accusatory attitude that characterizes him through much of the work. One of the most significant differences in character that separates Ariel from Caliban is the way in which each uses language. Whereas Caliban communicates almost entirely by means of how to write an excellent, vulgar curses and complaints, Ariel communicates through poetry and song. Each character’s different approach to language is ready, indicative of their different attitudes and modes of thinking. Ariel’s language is ordered and write gre argumentative, stylistic.
It betrays a mind at ready to buy, ease with his environment, a mind in which creativity and wit have sufficient room to develop. Caliban’s language, on the other hand, is the product of a mind surely in a state of general discomfort and ill ease. Caliban, unlike Ariel, is not of the leeds, mind to produce anything remotely similar to poetry or song. Caliban has entirely rejected language itself: Is, I know how to curse. Ready Thesis To Buy? The red plague rid you. For learning me your language!--(I, ii, 363-65) This is significant in are essays to be in past that by rejecting language, Caliban is rejecting knowledge itself. Ready? With knowledge comes a realization of one’s inadequacy, and Caliban prefers to remain in des lentilles that more primitive state of ready thesis, blissful ignorance. This is not surprising, for french essayist, Prospero has given Caliban the thesis, tools of communication and self-knowledge, but has failed to give him the garfinkel, freedom and self-responsibility with which it is necessary to ready to buy enjoy them. When contrasting Caliban’s speeches with those of Ariel, the difference is leeds dissertations, significant.
Ariel’s songs are filled with alliteration, assonance, rhyme and meter: And then take hands. Curtsied when you have and kissed, The wild waves whist, Foot it featly here and there; And, sweet sprites, the burden bear.--(I, ii, 375-80) This is language suitable to a sprite with little care, almost absurdly childish in its nursery rhyme character. Ariel's language here is pleasant and musical, clearly the to buy, product of tense, a clever mind, yet it possesses none of the insight and import that is characteristic of similar characters in other Shakespeare works, such as The Fool in King Lear . It is not until the second half of The Tempest that one can accurately make any judgements on the characters of Ariel and Caliban. Caliban’s encounter with Stephano and Trinculo adds insight into his character and his attitude. Likewise, Ariel’s enchanting of nearly everyone on thesis to buy, the island is significant in defining this character’s role in the work. It is possible to view Caliban in the first half of the work as a slave who is rebelling against his oppressive master. This characterization is accurate, evidenced by the extent to which Caliban’s language expresses his resentment and essayer, unwillingness to serve Prospero. Ready Thesis? Yet when Caliban encounters Stephano and Trinculo with their celestial liquor, he willingly subjugates himself to them.
Caliban does not ask them for his freedom, as would be expected. Rather, he begs them to be his master, even his god. Caliban thus shows himself to thesis be incapable of autonomy. In his relationship to Stephano, Caliban is even more pathetic than in his relationship to Prospero, for he abandons his rebellious attitude for one of hero-worship and grovelling. By putting himself in willing slavery to Stephano, who is no more than a drunkard and a buffoon, Caliban shows himself to be truly in a pathetic state. The vicious curses that he had constantly sent to his old master Prospero are replaced by requests to lick the shoe of his new master. A drunk Caliban even attempts a poetic song for the first time, and makes a fool of himself by stumbling over his name: Nor fetch in firing. Nor scrape trenchering, nor wash dish. ‘Ban, ‘Ban, Ca — Caliban. Has a new master: get a new man.--(II, ii, 175-80) He joyously hails his new situation as Freedom, high day, unaware that he is simply stepping into another set of ready, chains, this time those of liquor. Caliban becomes a more sympathetic character in the second half of the work.
His weakness is made more apparent, and the ease by which he is manipulated shows him to be a victim of his circumstances, possessing a nature weakened by subjugation and oppression. Although the characterization of Caliban shows him to gre argumentative be a more pathetic character as the play progresses, the characterization of Ariel displays quite the opposite. Ready To Buy? Ariel occupies the most important role of the write gre argumentative, play during the last two acts. It is Prospero who conceives the ideas for thesis, enchanting the shipwrecked Italians, but he can only carry them out with the aid of Ariel. In the same way that Ariel is dependent upon Prospero for his freedom, Prospero is leeds, dependent upon Ariel for the fulfillment of his plans. Thus Ariel’s character is expanded beyond that of the content servant or willing slave.
His role as executor of ready to buy, Prospero’s strategies makes him essential to Prospero’s success. This entails a significant reversal in roles. Ariel becomes the one in control, for it is garfinkel thesis, his power of enchantment upon which Prospero is dependent. Tied into this reversal of ready to buy, roles is an increased confidence and authority in Ariel’s language. Gre Argumentative? In his speech to Alonso, Antonio and Sebastian in Act III, Ariel condemns these three in the same type of ready thesis to buy, authoritarian language which had previously been reserved only to Prospero: Are ministers of Fate. The elements, Of whom your swords are tempered, may as well. Wound the loud winds, or with bemocked-at stabs. Essay? Kill the ready thesis, still-closing waters, as diminish.
One dowle that’s in my plume. My fellow ministers. Are like invulnerable.--(III, iii, 60-66) Ariel’s use of language as a means of intimidation is french essayist, quite different from his sprightly poems and songs of the first two acts. Ready Thesis? His changing use of language is evidence of a changing attitude. As Ariel comes closer to his freedom, his demeanor becomes more confident and less submissive. Write? He is becoming more independent, and thus more strong in character. Where the thesis, second half of the geography dissertations, work shows a Caliban increasingly destitute and pathetic, it shows an thesis Ariel increasingly self-assertive and autonomous. The conclusion of The Tempest shows Prospero regaining his dukedom, Ariel finding his freedom, and Caliban resigning himself once again to garfinkel the authority of Prospero. Although it seems at first to be a pleasant state of affairs, a closer look reveals it to be quite the opposite. Prospero is surely unfit to thesis be a duke, as his overbearing and oppressive nature throughout the play attests to.
And although Caliban’s assertion that he will seek for grace from de contact Prospero indicates that he will be a more willing servant, this can hardly be considered a better state of affairs for to buy, him. It seems as if Ariel, in winning his freedom, is the only one of these characters whose state is truly better than it was at are essays in past, the opening of the play. This is significant in that among these characters, the distinguishing characteristic of ready, Ariel is that he is not human. He is therefore unrestricted by human nature, and human nature in this play is decidedly not portrayed as a liberating force. Especially in the relationship between Prospero and Caliban, one sees the destructive force that exerts itself when a human being takes it upon himself to control another. Shakespeare's word play in naming his characters emphasizes this idea. In the essayer des lentilles de contact, same way that Caliban’s name can be rearranged as Canibal, the ready to buy, letters in Prospero's name can be rearranged to write gre argumentative essay spell out Oppresor. To Buy? This can hardly be seen as coincidence, for french essayist, in the relationship between the two, one is able to discern that Prospero wields his intelligence and modernity as oppressive forces. Montaigne exalts the ready thesis to buy, cannibals for having maintained a civilization so natural and unartificial, but Shakespeare asserts that when exposed to modern civilization, the cannibals become no different than the Europeans.
The moderns employ their magic powers – intelligence, technology, and liquor – to french essayist subjugate and oppress the cannibals. Yet the cannibals willingly allow themselves to be captivated and entrapped by the spell of modernity. Whereas Montaigne praises the cannibals and places blame on modern Europeans, Shakespeare asserts that neither the cannibals nor the ready to buy, Europeans deserve praise – save for are essays supposed to be tense, a few rare individuals, they are both equally pathetic.
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And also any gramatical errors. All That You Can't Leave Behind , Billboard Hot Country Songs number-one singles , Blink 579 Words | 3 Pages. Find The Purpose Of Life “The purpose of life is not to be happy. It is to ready thesis to buy, be useful, to be honorable, to be compassionate, to french essayist, . have it make some difference that you have lived and lived well.”-Ralph Waldo Emerson What is the point of ready thesis, having a TV with no cable? What is the point of living life , if it has no purpose?
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construction essay Are magazines for young men likely to reinforce stereotypical, 'macho' and sexist attitudes in their readers? Men don't define themselves as men in what they read, they define themselves as people who are into thesis to buy, cars, who play golf or fish. Successfully launching a general men's magazine would be like finding the french essayist Holy Grail -- Zed Zawada (campaign 29/8/86 p.41) If this was the case in 1986 what has changed that has resulted in the men's magazine market becoming one of the fastest growing magazine sectors? The number of general interest magazine titles for men, such as Loaded , FHM , Men's Health , and GQ to name a few, has risen from obscurity over the past 10 years. Previously, the term 'men's magazine' referred to publications designed to interest men, such as car, fishing or DIY magazines. The new breed of magazines were aimed directly and overtly at a male readership, using masculinity as a marketing tool. These magazines are seen by thesis to buy, some to be a negative force in society as they objectify women and leeds dissertations are openly sexist.
This essay will argue that the emergence of such titles is in response to a change in to buy masculinity in write essay society, reflected in both the possibility of producing such magazines and within the magazines themselves. The reasons for the inclusion of controversial material, besides that of entertainment, will become evident through looking at the development of men's magazines. This essay will then look both at the style and content of the magazines in terms of the ready thesis to buy construction of masculinity they express, 'macho' or otherwise, and the visual and rhetorical representations of women. Examples from two titles on the market, GQ and Loaded , will be analysed. Essay! GQ or Gentlemen's Quarterly is supposed to be at ready the top end of the market, and Loaded is are essays to be tense leading the tabloid bunch! Do both represent women as sex objects and exhibit a particularly 'macho' masculinity, reinforcing negative stereotypes? If stereotypes are rife, this essay will finally consider whether this has any effect on the attitudes of the readers of men's magazines.
Outlining several theories on how and thesis why such magazines developed, will help explain why stereotypical and objectifying material is included within the write essay publications. Theorists Judith Butler and Foucault argue that gender is fluid, and can change within different contexts and over ready time. A shift in the attitudes and lifestyles of British men over the past 10 years opened up a market for men magazines. Tim Edwards asserts that it is the expansion in the concept and practice of garfinkel thesis men's fashion since the mid-1980's, which resulted in ready thesis the emergence of style magazines such as GQ and Arena aimed specifically at the new style conscious male readership. Nixon states that the advertising/publishing nexus focusing on new male readers was an important site for the public formation and development of general interest men's magazines. In order to create revenue, magazines have to attract advertisers and to attract advertisers they have to have a high readership. Magazines have found the are essays supposed tense Loaded formula i.e. Thesis To Buy! beer, sex and babes, to be the most successful, consequently even the more upmarket titles are beginning to turn more 'laddish'. Others argue that the emergence of such magazines is an attempt to regain male dominance. Garfinkel! Lacey suggests that it is the to buy diminishing of men's power that has resulted in such publications. The celebration of 'laddishness' is a desperate attempt to grasp what is left of traditional male identity. He states that the loss of power is leeds geography a positive issue, but is worried that the danger is a reactionary backlash where angry men attempt to put 'their women' back in to buy the kitchen. Further to this point Stevenson and tense Kenny ask 'do we live in an era of to buy greater risk' ? stating that feminism disrupts the certainties of the gender order.
This, along with the disappearance of to be in past jobs for life and the increased visibility of diverse sexuality's, are proving problematic for the once dominant male. The magazines are currently caught between an attempt to construct masculinity as a form of fundamentalist certitude, while simultaneously responding to ready thesis a world where gender relations are changing. Men's magazines can therefore be seen as a cultural response to social change. It has been argued that men's magazines are not solely responding to how to write gender changes, but are a reaction to feminism and an attempt for men to regain some of the power they lost through this movement, in other words to return to a pre-feminist masculine ideal. As Stevenson puts it 'a 'blokelash' against feminism.'  Southwell, former editor of Loaded , admits otherwise, he insists Loaded was never conceived as an anti-feminist backlash, with the swaggering loutish lad ousting the feminised new man. Immaterial of whether these publications were the result of a backlash against feminism, or whether there was merely a gap in thesis market, masculinity is in crisis. Roger Horrocks is one critic who believes that masculinity in french essayist western culture is in deep crisis.
With the benefits masculine gender can bring, with it comes a mask or disguise. The emphasis on male dominance in to buy public areas of thesis life has tended to obscure the ready emotional poverty of write gre argumentative essay many men's lives. Magazines tend to ready thesis reflect this in that they portray only one side of french essayist masculinity, leaving out the emotional bit, and concentrating on the outward display of thesis to buy masculinity. Here one can see that the stereotyping of men within these magazines as macho male and ignoring the garfinkel thesis stereotypical 'emotional male' or even 'soft lad', can lead to problems and ready to buy criticisms. Horrocks asserts that little attention has been paid to the stereotypes that are attached to essayer men, or there has been the unspoken assumption that these are preferable. 'In this world, 'real men' are fearless and invulnerable, unburdened by emotion or sensitivity to others.' Buckingham is ready thesis to buy asserting that to be seen as a real man, you can not show emotion, and so men's magazines exclude sensitive issues and emotions in order to be seen as magazines for 'real men'. Write Gre Argumentative Essay! In discussing the release of a new magazine 'Deluxe' in an article for thesis the media guardian, John Dugdale writes 'even though banning babes sacrifices the one sure-fire sales-boosting device in today's men's market, not least by reducing horny schoolboy appeal. Are there really 150,000 soft lads out there.'  There appears to be a widely held assumption that if you don't mind the absence of scantily dressed babes from your magazine, then you are a soft-lad. 'What is obviously missing from this celebration of one-night stands, obsessive consumerism and male bonding is des lentilles how men's needs for reciprocity and emotional warmth are to be met.' (Stevenson et al, 2000) Metcalf and Humphries in their 1985 book ' The sexuality of ready thesis men' describe a masculinity that doesn't seem too far removed from what magazines are portraying today. The authors described a masculinity characterised by aggression, competitiveness, emotional ineptitude and coldness and dependent on an overriding and exclusive emphasis on penetrative sex. What also emerged was the side of masculinity that the magazines try to avoid, a sense of the fears, anxieties and write gre argumentative essay pain expressed by these men in relation to established script of masculinity; anxieties about sexual performance, estrangement from emotions, and poor relations with fathers. By looking at the style and content of two major men's magazines, the extent to which stereotypes, sexist attitudes and 'macho' masculinity's are used will become evident.
Loaded , launched in May 1994, is evidently more anti-style conscious than the other titles, due to a more working class emphasis. It played a large part in thesis to buy the social construction of the New Lad, a masculinity which Edwards describes as: 'Selfish, Loutish and inconsiderate to a point of how to write an excellent infantile smelliness. He likes drinking, football and fucking, and in that order of preference. in short he is that most ghastly of all configuration, defensively working class which also means defensively masculine'. (Edwards, 1997) GQ 's catch phrase is 'the magazine for men with an IQ,' in which it takes pleasure in the more traditional masculinity, including coverage of executive concerns and ready pitching itself at a more serious minded conservative older reader than the other titles. At it's release GQ was organised around menswear and supposed in past style, popular music was absent and the kind of figures interviewed or profiled in GQ tended to be traditional professionals rather than the media-fashion-art based individuals of other titles. Visualised representation of women were marginal. It is now evident that it has moved closer towards titles such as Loaded , taking on a more populist approach, but still trying to thesis hold onto its glamour element, and maintain an french essayist interest in health and fashion. Edwards believes the primary role of men's style magazines is to encourage and ready thesis to buy perpetuate spending amongst its readers, evident through the emphasis upon consumption as a means to how to an excellent essay join the new style elite, the high-profile advertising, and the visual attention paid to commodities. Thesis! One must wear the right suit, visit the right shops, and get seen in the right apparel. This leads to the construction of masculinity in how to an excellent terms of commodities, leading ultimately to masculinity as a matter of how one looks and not what one does. Although Edwards was talking about a previous ilk of ready thesis magazines in the late Thatcherite era of rampant consumerism, the emphasis on commodities is still very apparent in today's magazines.
There is gre argumentative essay a difference between the thesis to buy commodities promoted by each magazine. GQ includes a section on 'motoring', 'interiors' and a 'style plus' feature, a fashion spread including a further commodity. For example 'Tooled up' (April 2000) features the are essays supposed to be in past tense latest DIY tools. Figure 1 reveals two aspects of GQ , firstly their target market. The garden furniture featured is aimed at the high earning, garden-proud individual. Secondly the ready thesis to buy feature uses women to make it more appealing to the reader. The subtitle states 'Garden feature doesn't have to be strictly for essayer de contact the birds once the summer is over.' The bottom picture includes an abandoned bikini top, and the top photograph features the bare legs of thesis a women. Here one sees that GQ also objectifies women and insinuates sex to try and sell it's product, and make a feature on furniture more appealing. Loaded on leeds geography dissertations, the other hand focuses on entertainment items, such as computer games, fashion accessories, such as watches and trainers, and personal items such as mobile phones. Ready Thesis To Buy! Figure 2 reveals the accoutrements of the Loaded man. The model is geography dissertations young with large, innocent eyes staring straight into the camera, he is rather self-assured.
His pose, with his hands raised, suggests he is admitting he is guilty of being a bit of a player (sexually), suggested by the pack of cards and the play boy wallet. His facial expression, which is rather cheeky, suggests he is unperturbed by this revelation. This man is a ladies man, and ready to buy he is french essayist not ashamed, in fact he is prepared with his condom carrying case, and to buy his toothbrush! Theodor Adorno (1903-69) would be extremely disgruntled with men's magazines. Firstly, he would suggest that it is the culture industries that churn out supposed to be tense, these unsophisticated magazines, replacing the more critical art forms which might lead people to to buy actually question social life. Further, he would say that it is the culture industries that cultivate false needs in people. These are needs that can be fulfilled by the capitalist system, and replace and suppress the tense true needs of creativity, independence and genuine happiness.
Adorno would be unhappy with the ready thesis to buy commodities that the magazines promote, and the idea that you are the man you are through what you buy. Write! Not only is this satisfying ones false needs, but it also displays commodity fetishism, in that social relations and cultural experiences are objectified in terms of money. The readers are delighted by products because of how much they cost. Sexism is an infamous trait of men's magazines, and it is ready to buy believed that this will inevitably produce sexist attitudes amongst the readers. The April 2000 edition of Loaded includes 'The Stockings World Cup' (Figure 3), a competition to find the winning stockings from '32 qualifiers played over 64 legs' . Dissertations! The judges objectify the winner remarking 'Karen showed us how much they make us fancy her'. The only worth of this article was that readers got to see 32 pairs of stockings photographed. Southwell states that a lot of what could be called sexism in Loaded is just a joke, he continues 'if some reader takes it as normal conversation then they don't get it and they're never going to get it' . But isn't this the problem? Those who take these derogatory comments concerning women at face value will think this is normal behaviour and so transfer such attitudes into the real world. Lacey believes so, 'whether the distancing effect provided by ready thesis to buy, irony legitimises Loaded , and its ilk, is leeds doubtful; irony appears to be lost on the bog standard 16 year old.'  Peter Howorth, the previous editor of Esquire attempts to thesis to buy justifies the objectification of women by saying 'Any good magazine must offer a balance of content, and part of that balance, if it is to reflect the interests of men, will inevitable be articles on geography, beautiful women' . This suggests that the magazines are just reflecting the readers interests. Feminists have argued that whatever the psychology of the men who rape, the ready thesis to buy background to its prevalence must be located in societies which define 'masculinity' at least in part, in to be in past terms of the assertion of heterosexual power, and which continue to produce images across all forms of representation depicting women as the prototypical object of sexual desire, men as its prototypical subjects.
This can be seen in figure 4, where Jordan, merely famous because she is beautiful, is seen staring at thesis to buy the viewer in des lentilles de contact a pose which could be seen as soft porn. Segal argues in response that masculine power may be privileged in our culture, but men are not merely sexual predators, nor women merely sexual prey, and thesis to buy that this view fails to accommodate contradiction and diversity. A further characteristic evident through the style and content of both magazines, and all men's magazines in general, is how to write an excellent essay that they assert the heterosexuality of their readers. Ready To Buy! Edwards states this is due to the high level of anxiety concerning the possibility of off-putting their heterosexual readers if homosexuality is too overtly or openly condoned. The magazines stress the virtues of a single lifestyle, as Stevenson et al state 'The great prize of bachelor hood is represented as a life where one has little responsibility for others and where one is essayer de contact truly free to do as one chooses, further, marriage is ready viewed as a form of social constraint, preventing men in their early 30's from living a life of consumption and sexual freedom.'  This could be seen as merely reflecting society rather than truly advocating single life. Whereas Edwards sites consumption as the major site of masculinity's in magazines, Sean Nixon believes that it is within the fashion photography that the an excellent essay new coding's of masculinity, and there is more than one, are most extensively elaborated.
Menswear is seen primarily in to buy terms of utility. The main example is the suit, both a symbol of garfinkel thesis masculine sexuality and a uniform of respectability. GQ focus quite strongly on the suit within its fashion pages. Thesis To Buy! Figure 4 depicts Brett Anderson, the lead singer of suede, modelling Gucci's latest collection. By using Brett as a model it raises the profile of the shoot immediately, and involves an element of aspiration. In this photograph Anderson is situated in how to write a large, panelled room. Many signifiers within the picture go against thesis to buy, the 'macho' male mould. Anderson looks introspective and pensive, and the full body shot reveals a vulnerability. Figure 6is a sharp contrast to the previous photograph, it depicts a fashion shoot titled 'lounging' which featured in Loaded (April, 2000).
It depicts casual wear, as opposed to write gre argumentative essay the respectable, working suit featured in GQ . All that is featured of the model is thesis to buy his feet, but he is obviously relaxing on write gre argumentative essay, a sofa with his feet up, suggesting an untroubled, relaxed man. Ready Thesis! The main element of the photograph is the extreme close up of the women's face on the television screen, her lips are parted and her eyes are closed. It is to be tense a very sexual face, again highlighting the fact that women are used throughout the magazine, even within fashion shoots, as objects for men to look at, and ready thesis to buy highlighting the laddish masculinity of the male. Edwards believes that Loaded is taken too seriously by those who don't know better. But does the content of Loaded effect its readers? Adorno would argue that such material keeps its audience passive and preserves the are essays to be tense dominant of capitalism at the expense of true happiness for the reader.
Foucault, would structure his argument around power. Ready To Buy! In 'The History of Sexuality' he argued that people do not have power implicitly, individuals engage in it. He argues that there is no hierarchical power establishments stating: 'power comes from below; there is no binary and all-encompassing opposition between rulers and ruled at the root of power and serving as a general matrix - no such duality extending from the top down and reaching on more and more limited groups to the very depths of the social body'.  (Foucault,1981) Further, he would argue that the garfinkel thesis individual person has power to resist the media, 'where there is power there is resistance .' This rejects the elitist view of the Frankfurt school, who believed the culture industry had an effect of anti-enlightenment, Adorno asserts 'it impedes the development of autonomous, independent individuals who judge and decide consciously for themselves.'  John Fiske is another theorist who would reject Adorno's notion of a mass negative effect on the audience of ready mass media, and would see the audience as individuals who read their own meanings into a text. In his work 'Moments of Television' Fiske discusses his theories in relation to television, but these can also be applied to other media. 'Making sense of popular television, then, is the to be in past tense process of thesis to buy activating meanings from it, and this process is controlled within more or less determined boundaries by the socially situated viewer. adequate space for different people to make different meaning'. (Fiske, 1989) Further he would reject Adorno's notion of corporations deciding what is popular culture and are essays in past stress that popular culture is made by thesis, the people for the people.
'It cannot conceive of the text as a site of to be struggle for the power to make meanings, or of the notion that what finally determines the ready meanings and pleasures provoked by a text is the social situation of the viewer-reader, not the interests of the producers and their ideological investment in consumer capitalism.' (Fiske, 1989) It is evident that magazines for young men do include stereotypical images of both men and women. De Contact! They depict a fearless, competitive, 'laddish' masculinity, ignoring the emotional, sensitive male, and women are depicted as objects for men's contemplation and enjoyment. But it should be remembered that Stereotypes can be seen as an unavoidable part of mass media representation. Further these magazines are merely trying to entertain the reader, they are not seriously on a crusade to return to a pre-feminist ideal, or to harm anyone in an attempt to provide entertainment. Former editor of Loaded James Brown describes the magazine as 'all about having the best fucking time of your life.'  Further, the inclusion of thesis sexist material and stereotypical images are enjoyable to the reader but are not likely to change their attitudes towards society. The readers have the power to reject such material and are able to make their own, individual meanings from the messages within men's magazines. Therefore, men's magazines can be seen merely as entertainment for, and an escape for, the garfinkel heterosexual male. Buckingham, D. Reading Audiences: Young People and The Media (Manchester, 1993) Carter, H. 'New Man, Old Myth?' in to buy 20:20 Media Magazine , winter 1996, pp.14-15.
Dugdale, J. 'Middle Man' in garfinkel Media Guardian, March 30 1998. Dugdale, J. 'Time to Reload' in Media Guardian, November 30 1998. Edwards, T. Men in the Mirror: Men's Fashion, Masculinity and Consumer Society (London, 1997) Fiske, J. 'Moments of Television: Neither the text nor the thesis audience' in Seiter, E, et al, eds., Remote Control: Television, Audience and Cultural Power (London, 1989) Foucault, M. French Essayist! 'The History of ready thesis to buy Sexuality' p.92-102 in Storey, J ed. Cultural Theory and gre argumentative Popular Culture, A Reader (Hemel Hempstead, 1981) Horrocks, R. Masculinity in Crisis: Myths, Fantasies and thesis Realities (London, 1994) Kenny, M. and Stevenson, N. 'Masculinity: A Risky Path to Take?' in Rutherford, J, ed. The Art of Life: On Living, Love and Death (London, 2000) Lacey, N. ' Loaded Lads and Lasses', in In The Picture , no.
29, winter 1996, pp. 16-17. Nixon, S. 'Exhibiting Masculinity' in Hall, S, ed., Representation: Cultural Representations and Signifying Practices (London, 1997 ) Nixon, S. Hard Looks: Masculinity's; Spectatorship and essay Contemporary Consumption (London, 1996) Stevenson, N; Jackson, P and ready thesis to buy Brooks, K. 'The Politics of 'new' men's lifestyle magazines' in European Journal of Cultural Studies (London, 2000) Strinati, D. Are Essays In Past Tense! 'An Introduction to Theories of thesis popular Culture' (New York, 1995) Van Zoonen, L. 'Gender and Media Reception', in Feminist Media Studies (London, 1994)
Jones, D, ed. ' GQ ' magazine, April 2000. Jones, D, ed. ' GQ ' magazine, July 2000. Southwell, T ed. ' Loaded ' magazine, April 2000.  Edwards, T. Gre Argumentative! Men in to buy the Mirror: Men's Fashion, Masculinity and Consumer Society (London, 1997) p.72.  Edwards, T. Men in the Mirror: Men's Fashion, Masculinity and Consumer Society (London, 1997) p.5.
 Nixon, S. Hard Looks: Masculinity's; Spectatorship and Contemporary Consumption (Essex, 1996) p.145.  Lacey, N. ' Loaded Lads and Lasses', in In The Picture , no. 29, Winter 1996, pp. Leeds Geography! 16-17.  Kenny, M and Stevenson, N. 'Masculinity: A Risky Path to Take?' in Rutherford, J, ed.
The Art of Life: On Living, Love and Death (London, 2000) p.135.  Stevenson, N; Jackson, P and Brooks, K. 'The Politics of 'new' men's lifestyle magazines' in European Journal of Cultural Studies (London, 2000) p.377.  Kenny, M and Stevenson, N. 'Masculinity: A Risky Path to Take?' in Rutherford, J. ed. The Art of Life: On Living, Love and Death (London, 2000) p.137.  Dugdale, J. 'Time to Reload' in Media Guardian, November 30 1998, p.2.  Horrocks, R. Ready To Buy! Masculinity in supposed in past Crisis: Myths, Fantasies and Realities (London, 1994) p.26.  Buckingham, D. Reading Audiences: Young People and The Media (Manchester, 1993) p.89.  Dugdale, J. 'Middle Man' in ready thesis to buy Media Guardian, March 30 1998, p.4.
 Stevenson, N; Jackson, P and Brooks, K. 'The Politics of 'new' men's lifestyle magazines' in an excellent essay European Journal of Cultural Studies (London, 2000) p.379.  Nixon, S. 'Exhibiting Masculinity' in Hall, S, ed., Representation: Cultural Representations and to buy Signifying Practices (London, 1997 ) p.295.  Edwards, T. Men in the Mirror: Men's Fashion, Masculinity and Consumer Society (London, 1997) p.82.  Edwards, T. Men in the Mirror: Men's Fashion, Masculinity and how to write essay Consumer Society (London, 1997) p.74.  Gauntlett, D. Ready Thesis! 'Theory, gender and identity resources - Theodor Adorno' at http://www.theory.org.uk/ctr-ador.htm (accessed: 9 November 2000)  Carter, H. 'New Man, Old Myth?' in 20:20 Media Magazine , winter 1996, pp.14-15.  Lacey, N. ' Loaded Lads and Lasses', in In The Picture , no. 29, pp. 16-17.  Stevenson, N; Jackson, P and des lentilles de contact Brooks, K. 'The Politics of 'new' men's lifestyle magazines' in to buy European Journal of Cultural Studies (London, 2000) p.376.
 Segal, L. 'Sexualities' in Woodward, K. ed., Identity and french essayist Difference (London, 1997) p.208.  Segal, L 'Sexualities' in ready to buy Woodward, K, ed., Identity and Difference (London, 1997) p.208.  Edwards, T Men in the Mirror: Men's Fashion, Masculinity and essayer de contact Consumer Society (London, 1997) p.75.  Stevenson, N; Jackson, P and Brooks, K 'The Politics of 'new' men's lifestyle magazines' in European Journal of Cultural Studies (London, 2000) p.378.  Nixon, S Hard Looks: Masculinity's; Spectatorship and Contemporary Consumption (Essex, 1996) p.4.  Foucault, M. 'The History of Sexuality' p.92-102 in thesis to buy Storey, J ed. Des Lentilles! Cultural Theory and Popular Culture, A Reader (Hemel Hempstead, 1981) p.166.  Strinati, D. 'An Introduction to to buy Theories of popular Culture' (New York, 1995) p.54.
 Fiske, J. 'Moments of Television: Neither the thesis text nor the audience' in Seiter, E, et al, eds., Remote Control: Television, Audience and Cultural Power (London, 1989) p.58.  Fiske, J. 'Moments of Television: Neither the text nor the audience' in ready Seiter, E, et al, eds., Remote Control: Television, Audience and Cultural Power (London, 1989) p.61.  Dugdale, J. 'Time to Reload' in Media Guardian, November 30 1998, p.2. Unfortunately, most of the images from the original essay could not be reproduced here. This is what they were: Figure 1 GQ interiors 'Keep off the grass' in GQ July 2000. Figure 2 Loaded fashion article 'Picked Pockets' in Loaded April 2000. Figure 3 'The Stockings worldcup' in Loaded April 2000. Figure 4 'Who is Kate Price' article on Jordan in Loaded April 2000. Figure 5 GQ fashion spread 'He's in Fashion' in GQ April 2000.
Figure 6 Loaded Fashion Spread 'Lounging' in in past tense Loaded April 2000. This essay was written in autumn 2000, when Lucy Brown took the module 'Communications Theory' at the Institute of Communications Studies, University of Leeds, UK.