On the contrary, a thousand different sentiments, excited by the same object, are all right: Because no sentiment represents what is really in the object. It only marks a certain conformity or relation between the object and the organs or faculties of the mind; and if that conformity did not really exist, the sentiment could never possibly have being. Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty. One person may even perceive deformity, where another is sensible of beauty; and every individual ought to acquiesce in his own sentiment, without pretending to regulate those of others. To seek the real beauty, or real deformity, is as fruitless an enquiry, as to pretend to ascertain the real sweet or real bitter. (FROM ESSAY XXIII: OF THE STANDARD OF TASTE) - David Hume
real beauty essays
The association is essential in understanding the effectiveness of the ad. Emotions and instant feelings evoked in the consumer play an active role in steering the judgment that viewers create about the ad, the product, and the brand. The advertisement is a mediator in explaining to the viewers that mostly women forget their physical and emotional self, and become overly critical of themselves. Such self-boosting ads create a sense of bonding among women, and a realization towards them; they are not the only one who is hard on themselves.
Then ad, in the end, captures the emotions of the women who see both the pictures and realize that what they have described themselves is highly critical. Some of them know that they are still beautiful, even if they do not want to express it to themselves. The women demonstrate heightened emotions, and the ad ends with comments of participants. Dove being a hedonic product, had appealed to the senses of women and elicited a desire in them to look after themselves. Women tend to overlook their own needs and forget themselves in the humdrum of familial responsibilities. This ad appealed to the lost urges in women to feel beautiful. This emotion is a powerful and complex emotion incited by the ad. The ad aims to associate a complicated feeling with their product.
The real beauty ad campaign of Dove aimed to break the stereotypical image of women that ads create. Earlier ads of beauty products were celebrity endorsed. The aim was to create a perfect ideal for the consumers that they could achieve by using the product. However, in this campaign, Dove wanted to show its consumers that beauty was in all women, irrespective of how they felt about themselves. The viewers of the ad would associate the advertisement with a brand that appreciates the beauty of an ordinary woman rather than a skinny, adolescent supermodel.
The ad tried to re-create the self-concept of women through experimentation, music, curtain, and emotional appeal to create an association of the brand with the real beauty that is hidden in all women. The ad has tried to appeal to the emotional concept of their target demographics, creating an appeal to look for beauty within themselves. The ad deliberately breaks through the stereotypical idea of beauty. Dove has tried to make a more believable ad. The advertisement attempts to address the fear in women to accept that they might be beautiful. This might be because of a cultural and societal pressure that ordinary women face to remain pure.
Consequently, when they would associate a brand with their natural beauty is Dove. The ad points out that women tend to see themselves as objects that could be beautiful. They do not consider themselves important. However, the knowledge that they are impressive would make them assured in life and turn women into more confident individuals.
Beauty is not necessarily the physical appearance. Beauty is the inner aspect of the heart that causes humanitarian reactions. True meaning of beauty therefore touches on personality and self-esteem. Self-believe brings out the true meaning and feeling of beauty since one is able to love and accept oneself as well as others, thus creating confidence, inner security of personality, better character and strong self-esteem.
In Line with Ballantine and Roberts (2008), Self-esteem is the estimate or consideration of self-worthiness and this is therefore what makes up the true inner beauty. The self-esteem concept therefore indicates truthfulness of beauty as an internal trait that presents the overall sum of all traits of a person. This assists people in finding individual perceptions, personalities, temperaments or individuality.
People are generally interesting, boring, fun-filled or dull. This reaction depends highly on the internal beauty of a person. The personal roles, personal successes/failures, others views, social identity and comparisons are the main factors influencing the development of self-concepts.
Unfair comparisons to others set the loopholes for disappointments over performances. When based on the external or physical appearances, interpretation of beauty causes people to endeavour in protection of a wounded self-esteem since there are possibilities of rationalizing the competitor as having advantage for better performance. Self-identity defines the race, gender, and performance among other issues.
Being aware of a social identity changes the self-concept because when one belongs to a minority group, the social identity changes. Contrary to this concept, social comparison can involve unenthusiastic evaluation of others abilities or opinions. The meaning of beauty can thus cause people to have a comparison that alters the self-concepts and esteem.
True meaning of beauty affects both the self-esteem and self-efficacy. These two aspects are completely difference because of dissimilarity on the sense of competency and effectiveness. The tough achievements and fine manipulations improve the efficacy because one feels good about his/her abilities to set and meet challenging goals. Personal believes and feelings towards achievements thus determine the existence of self-efficacy and appreciation of the true beauty within a personality.
This article will begin with a sketch of the debate over whetherbeauty is objective or subjective, which is perhaps the singlemost-prosecuted disagreement in the literature. It will proceed to setout some of the major approaches to or theories of beauty developedwithin Western philosophical and artistic traditions.
Beauty is no quality in things themselves: It exists merely in themind which contemplates them; and each mind perceives a differentbeauty. One person may even perceive deformity, where another issensible of beauty; and every individual ought to acquiesce in his ownsentiment, without pretending to regulate those of others. (Hume 1757,136)
The judgment of taste is therefore not a judgment of cognition, and isconsequently not logical but aesthetical, by which we understand thatwhose determining ground can be no other than subjective.Every reference of representations, even that of sensations, may beobjective (and then it signifies the real [element] of an empiricalrepresentation), save only the reference to the feeling of pleasureand pain, by which nothing in the object is signified, but throughwhich there is a feeling in the subject as it is affected by therepresentation. (Kant 1790, section 1)
Nevertheless, eighteenth-century philosophers such as Hume and Kantperceived that something important was lost when beauty was treatedmerely as a subjective state. They saw, for example, thatcontroversies often arise about the beauty of particular things, suchas works of art and literature, and that in such controversies,reasons can sometimes be given and will sometimes be found convincing.They saw, as well, that if beauty is completely relative to individualexperiencers, it ceases to be a paramount value, or even recognizableas a value at all across persons or societies.
Both Hume and Kant, as we have seen, begin by acknowledging that tasteor the ability to detect or experience beauty is fundamentallysubjective, that there is no standard of taste in the sense that theCanon was held to be, that if people did not experiencecertain kinds of pleasure, there would be no beauty. Both acknowledgethat reasons can count, however, and that some tastes are better thanothers. In different ways, they both treat judgments of beauty neitherprecisely as purely subjective nor precisely as objective but, as wemight put it, as inter-subjective or as having a social and culturalaspect, or as conceptually entailing an inter-subjective claim tovalidity.
Hume argues further that the verdicts of critics who possess thosequalities tend to coincide, and approach unanimity in the long run,which accounts, for example, for the enduring veneration of the worksof Homer or Milton. So the test of time, as assessed by the verdictsof the best critics, functions as something analogous to an objectivestandard. Though judgments of taste remain fundamentally subjective,and though certain contemporary works or objects may appearirremediably controversial, the long-run consensus of people who arein a good position to judge functions analogously to an objectivestandard and renders such standards unnecessary even if they could beidentified. Though we cannot directly find a standard of beauty thatsets out the qualities that a thing must possess in order to bebeautiful, we can describe the qualities of a good critic or atasteful person. Then the long-run consensus of such persons is thepractical standard of taste and the means of justifying judgmentsabout beauty.
Similarly, Crispin Sartwell in his book Six Names of Beauty(2004), attributes beauty neither exclusively to the subject nor tothe object, but to the relation between them, and even more widelyalso to the situation or environment in which they are both embedded.He points out that when we attribute beauty to the night sky, forinstance, we do not take ourselves simply to be reporting a state ofpleasure in ourselves; we are turned outward toward it; we arecelebrating the real world. On the other hand, if there were noperceivers capable of experiencing such things, there would be nobeauty. Beauty, rather, emerges in situations in which subject andobject are juxtaposed and connected. 2ff7e9595c
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