Since ancient times, aesthetic concepts have evolved. However, in recent years, the male image on the TV screen has made people wonder: what kind of species is this?With the prevalence of cissies, the audience is flooded with images in front of them. The male artists under the gorgeous costumes are no longer the models of masculinity in the past, but are coquettish and cute on the stage, which is disgusting.
Some have compared this phenomenon to artist neutrality, but I don't think that's the root of the problem. The androgynous of female artists is not annoying, but looks capable and atmospheric, but male artists are disgusting because of their sissies.
Mr. Jackie Chan once expressed dissatisfaction with this, he pointed out that these artists make a fuss, teary eyes, and even need emergency care if they are slightly damaged. This phenomenon of "sissies" is excessive, from the original subculture to the mainstream culture, causing many problems in society.
Looking back at history, it is found that the phenomenon of similar "sissies" has also prevailed in all dynasties in China. The Six Dynasties of the Wei and Jin Dynasties and the last years of the Ming Dynasty were all periods full of sissy atmosphere, but it was precisely these years of the death of the country. During the Six Dynasties, there were many famous people in the Wei and Jin dynasties who were known for their beauty, and Pan An was one of them. However, most of them are embroidered pillows, and they lack real strength under the glossy appearance. "Biren" such as He Yan and Pan An are regarded as "Tanmei", but when faced with actual challenges, they often fail.
A similar situation also appeared in the late Ming Dynasty, and the male image represented by Ximenqing was no longer the masculinity of the past, but more like a Pan'an-style sissy dress. He was also shocked by the male figures that the foreign missionary Matteo Ricci saw in Chinese officialdom, who were soft-spoken and even fought in petty fights, no different from women.
However, this aesthetic transmutation is not insignificant. When the "sissy" becomes the mainstream aesthetic, it implies the transformation of values and the corruption of social atmosphere. Historically, this phenomenon has often been accompanied by national turmoil and crisis. The Wei and Jin dynasties faced invasions from the northern peoples, and the late Ming Dynasty was also the Jurchens who moved south, leading to the fall of the country's fate. The increasing number of "sissy" characters seen in front of the audience's screen is a warning.
Changes in aesthetics have a profound impact on society. From history, we can see that the sissy phenomenon is not the direct cause of the country's demise, but the changes in the values and social atmosphere it represents may cause a series of problems and lead to chaos in social order.
Therefore, we need to be cautious about the aesthetic transmutation of the present. Only by being alert to changes in aesthetics and maintaining rationality and prudence can we maintain normal order in society and avoid repeating the mistakes of history.
This article delves into the changes in China's aesthetic concepts in recent years, especially the impact of the phenomenon of male sissy on society. First, the author uses history as an example to point out that similar sissies were prevalent in the Wei and Jin dynasties and the end of the Ming dynasty, which coincided with the fall of China. Through the analysis of aesthetics and social trends in historical periods, this article shows a deep insight into the phenomenon.
The article clearly expounds the definition and presentation of the concept of "sissy", from the changes in the image of artists, such as the phenomenon of male artists coquettish and cute under gorgeous costumes, to celebrities in historical periods such as Pan An, Ximenqing, etc., all provide readers with clear cases. This change in style seems to be a reflection of a change in aesthetics and social values, however, the author does not directly assert that this change is the direct cause of the country's demise, but highlights the problems and the possibility of social unrest that it may cause.
In addition, the article mentions the foreign missionary Matteo Ricci's observation of the male image of Chinese officialdom, compares the similarities between his description of Chinese men and women, and further emphasizes the negative impact of "sissy" on the male image, and the degradation of social mores that this change in aesthetic perception may cause.
The end of the article calls on everyone to be alert to the current changes in aesthetics, and calls for rationality and steadiness. Although the article is clearer in stating ideas and cases, it is slightly vague in the section on the specific impact of "sissy" on society, and perhaps it can go deeper into the connection between the phenomenon of sissy and social unrest, or give more examples to support the author's argument.
Overall, this review chapter delves into the possible impact of changes in aesthetic concepts on society, but it also leaves some room for more in-depth discussion and case support.
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