Like A Virgin.. Or Not :: essays research papers fc

Like a Virginor nonMadonna had always been a holy icon until the early 1980s when the name Madonna developed a dual connotation. The introduction of the Statess top female sex symbol Madonna created an motion-picture show far opposite of the previously known hallowed one. In pot Fiskes essay Madonna, he depicts the singers character, portraying her as socially and semiotically powerful. Although his essay is currently outdated, Fiske illustrates an illusion of Madonna that Generation Xers at long last accepted and will probably never forget.Sex has always been a controversial matter in American society. Before the 1980s, those that openly supply their views about sex were thought of as promiscuous and perverse, unless they were male. Perhaps, that is why the resplendency of Madonna stirred raving controversy across America. Fiske notes that her image was not a model meaning for young girls in patriarchy, plainly a site of semiotic struggle between the forces of patriarchal c ontrol and cleaning fair sexhoodly resistance, of capitalism and the subordinate, of the adult and the young (Fiske 282). Never before had a woman presented herself so provocatively yet so comfortably. In the beginning, Madonna ultimately sacrificed sexual purity. Her daring exploitation of sex from a feminine signify of view was definitely a breakthrough in 1980s American society. Often, she dressed like a man and grabbed herself in sacred and unobserved places. Actions like these, as Fiske points out, presented a threat but not the tralatitious and easily contained one of woman as a whore but the more radical one of woman as independent of masculinity (Fiske 284). Young girls regarded her actions not as tarty or seductive but as completely acceptable. Eventually, they embraced her image and strived to follow her example of the independent and sexually unchaste woman (Fiske 283). Society has finally accepted feminine independence and license Madonna as the pioneer for intr oducing that autonomy. In many ways, she now represents the womans metamorphosis. As Fiske noted she began by showing both her joyfulness in her own physicality and the fun she finds (found) in admitting and expressing pleasure it is (was) a sexual-physical pleasure that has (had) nothing to do with men(Fiske 285). While this may consume been an impression of Madonna in the 1980s, she has evolved into what society deems as the epitome of badass woman utterly independent. Fiskes essay does not really have much application to the perception of Madonna in todays society.