ᎤᏬᏚ

ᎯᎠ ᎾᏍᎩᏯᎢ ᎯᎠ ᎠᏲᎵ ᎠᎨᏴ ᎨᏒᎢ ᎠᏓᏙᎵᏍᏗ ᏗᎬᏟᎶᏍᏙᏗ ᏴᏫ ᎤᏬᏚ, ᎠᎴ ᎾᏓᏛᏂᏌᏁᎲ ᎢᏳᏍᏗ ᎧᏃᎮᏗ ᎭᏫᎾᏗᏢ ᏗᏟᎶᏍᏙᏗ.

ᎤᏬᏚ ᎨᏒᎢ ᏧᎬᏩᎶᏗ ᎤᎾᎵᎪᏅᎯ ᎬᏙᏗ ᎢᎦᏛ ᎠᎴ ᎠᎵᏤᎸᎮᏍᎩ ᎥᎦᏔᎲᎢ ᎥᎴᏂᏙᎲ ᎤᏤᎵ ᎪᎯᏳᏙᏗ ᎠᎴ ᎦᏛᎬᎢful ᎢᎦᏛ ᎭᏫᏂᏗᏢ ᏓᎦᏘᎴᎦ ᎭᏫᎾᏗᏢ ᎯᎠ perceived ᎡᎶᎯ —ie. ᎪᏢᏒᎢ, ᏥᏍᏚ, ᎠᏰᎸ ᏄᏛᎿᏕᎬ, ᎠᎵᎮᎵᏥᏓᏍᏗ, ᎣᏍᏓᎯᎨ, ᎠᎴ ᎬᎨᏳᎢ. ᎥᎦᏔᎲᎢ "ᎤᏬᏚ" ᎠᏓᏠᏯᏍᏙᏗ ᎯᎠ ᎪᎷᏩᏛᏗ ᏓᎦᏘᎴᎦ ᏥᏄᏍᏗ ᎠᎴᏂᏙᎲ ᎭᏫᎾᏗᏢ ᎤᏘᏴᎯ ᎠᎴ ᏅᏩᏙᎯᏯᏛ ᎬᏙᏗ ᎤᏁᎳᏅ ᎤᏬᏢᏅ, ᎦᏙ ᎤᏍᏗ ᎭᏫᎾᏗᏢ ᎠᎦᏔᎲᏍᏗ ᏂᎬᏂᏏᏍᎬ ᎤᏓᏅᏖᏗ ᎠᎴ ᎤᎦᏙᎲᏒ ᎠᎦᏎᏍᏙᏗ, ᏗᏓᏓᏂᎸᎢᏍᏗ, ᎠᎴ ᎠᎵᎮᎵᏥᏓᏍᏗ.

ᎭᏫᎾᏗᏢ Ꮝ ᎤᎪᏗᏗ ᏭᏓᎪᎾᏛ ᎤᏓᏅᏖᏗ, ᎤᏬᏚ ᎨᏒᎢ ᏄᏪᏒᎩ ᎠᏛᎯᏍᏙᏗ ᏂᎯ ᎤᎦᏙᎲᏒ ᎤᏙᎯᏳ ᏄᏍᏛ ᏛᏙᏓᎧᏂᏍᎬ ᎬᏙᏗ ᎾᏍᎩ ᎣᏏ ᎠᏰᎸᏗ ᎯᎠ ᎦᏛᎬᎢ ᏌᏊ ᎤᏤᎵ ᎣᏤᎵ ᎠᎴᏂᏙᎲ ᎭᏫᏂᏗᏢ ᏂᎬᏩᏍᏛ ᎥᎴᏂᏙᎲ. "ᏗᎦᏘᎴᏍᏗ ᎤᏬᏚ" ᎠᎾᏍᎬᏘ ᎾᏍᏋ ᏂᎦᎥᏇ Ꮎ ᎠᎦtᎤᏕᏍᏗ ᎠᎴ resonates ᎬᏙᏗ ᎠᏏᏴᏫ ᎦᏛᎬᎢ. ᏯᏛᎾ ᏧᏁᎸᏗᏯ ᎠᎴ ᎠᎦᏓᏅᏖᏗ ᎠᎾᏕᎶᏆᏍᎬ ᎤᎭ ᎢᏳᏓᎵᎭ focused ᎾᎿ ᎯᎠ ᎤᏁᎳᏅᎯ ᎠᎦᏘᏯ ᎠᎴ ᎾᏍᎦᏅᎾ ᎤᏬᏚ, ᎧᏁᎢᏍᏗᏱ ᏂᎬᏩᏍᏛ ᎤᏬᏚ ᏥᏄᏍᏗ ᎤᏔᏂᏗ ᎦᏙᎯ ᎠᏂᏏᏴᏫ ᏄᎾᏍᏛ ᎤᏬᏚ (ie. ᏚᏳᎪᏛ) ᎠᎴ ᎧᏁᎢᏍᏔᏅᎯ ᏂᎦᏛ ᎣᏩᏒ-centered ᎠᎴ ᎢᏳᏍᏗ ᏯᏛᎿ ᏄᎶᏍᎨᏗᏴᎾ ᏥᏄᏍᏗ ᏚᎳᏏᏔᏅᎩ ᎭᏫᎾᏗᏢ ᎤᎧᏁᎳ. ᎯᎠ ᎯᎸᎯᏳᎢ ᎧᏃᎮᎸᏍᎩ ᎤᏬᏚ ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, ᏗᏓᏅᏓᏁᏗᏱ ᎬᏙᏗ ᎯᎠ ᎤᎾᏤᎵᏛ ᎠᏰᎵ recognizing ᎤᏬᏚ ᎠᎴ ᎦᎶᏍᎬ ᎾᎾᎯ ᏄᎶᏍᎨᏗᏴᎾ. ᎯᎠ ᎡᏙᎲᎩ ᎯᎠ ᎣᏩᏒ ᎭᏫᎾᏗᏢ ᏂᎦᎵᏍᏗᏍᎬᎫ ᏴᏫ ᏄᏍᏗᏓᏅ ᎤᏅᏔᏂᏓᏍᏗ Ꮎ ᎤᏬᏚ ᎨᏒᎢ ᎢᎬᏩᏍᏗᎭ ᏗᎧᏁᎸ Ꮝ ᏴᏫ ᎦᏛᎬᎢ, ᎾᎿ ᎢᏴ ᏴᏫ ᎤᏬᏚ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎯᎠ ᎾᏓᏛᏂᏌᏁᎲ ᎤᏔᏂᏗ ᎦᏙᎯ ᎡᏆ ᎢᎨᏍᏙᏗ ᏂᎬᏩᏍᏛ ᎤᏬᏚ. ᎢᏳᏃ ᏰᎵ, ᏓᎦᏘᎴᎦ ᏰᎵᏇ ᎾᏍᏋ ᎧᏁᎢᏍᏔᏅᎯ ᏥᏄᏍᏗ ᎤᎾᏙᏣᎵ ᏂᎦᎵᏍᏗᏍᎬᎫ ᏧᏓᎴᏅᏓ ᎢᏗᎦᎪᏘ, ᏯᏛᎿ ᏥᏄᏍᏗ "ᏗᏟᎶᏍᏔᏅ," ᎠᎴ "ᎢᎦᏘᎭ ᎬᏗ ᎪᎳᏨᎯ" ᎤᏬᏚ.

ᎭᏫᎾᏗᏢ ᎯᎠ ᎪᎯᏊ ᎢᏴ ᏥᎩ ᏄᏍᏗᏓᏅ, ᎯᎠ ᏓᎦᏘᎴᎬ ᎤᏬᏚ ᏥᏄᏍᏗ ᎤᏅᏔᏂᏓᏍᏗ ᎧᏁᏉᏍᏗ ᎣᏓᏅᏛ ᎠᎴ ᎤᏬᎯᏳᏒ ᎤᎭ ᏭᏪᏙᎢ ᎠᏰᎵ societal ᏗᏟᏴ ᏗᎦᏬᏂᎯᏍᏗ ᎦᏙ ᎤᏍᏗ ᎠᏰᎵ ᏴᏩtᎤᏫᏛ ᎠᏯᏙᎯᎲ ᎠᏓᏛᏳᏤᏗ, ᏧᏂᎧᎿᏩᏛᏍᏗ, ᎠᎴ ᏴᏫ ᏂᏚᏳᎪᏛ. ᎯᎠ ᏓᎦᏘᎴᎬ ᎤᏬᏚ ᎾᏍᎩᎾᎢ ᏂᏚᏰᎸᏛᎢ commercialism ᎨᏒᎢ ᎧᏃᎮᎸᏗ ᎤᏔᏂᏗ ᎦᏙᎯ ᎯᎠ "ᎥᎦᏔᎲᎢ ᏓᏄᏩ," ᎾᎿ ᎢᏴ feminism ᎢᏯᏛᏁᎵᏓᏍᏗ ᎠᏆᏤᎵ ᎠᎾᏗᏍᎩ ᏯᏛᎿ ᏓᎦᏘᎴᎬ ᎧᏁᏉᏍᏗ ᎦᎵᏓᏍᏛ (ie. "ᎯᎠ ᎤᏬᏚ ᎢᏰᎵᏍᏗᎢ") ᎤᏟ ᎬᏰᎸᏗ ᎬᎾᏬᏍᎬ ᎾᏍᎦᏅᎾ ᎪᎵᏍᏗᏱ ᎤᏬᏚ. ᎯᎠ ᏗᏙᎳᎩ ᎠᎿᏗᏢ ᎤᏬᏚ ᎨᏒᎢ ᎠᏍᏕᏯᏍᏗ —ie. ᎯᎠ perceived ᎦᎷᎶᎩ ᎤᏬᏚ, ᎦᏙ ᎤᏍᏗ ᏄᎵᏂᎬᎬ ᎡᎯᏍᏛ ᎠᎴ ᎠᏛᎯᏍᏙᏗ deeper ᏗᎦᏘᎴᎩ ᏄᏍᏛ ᎧᏃᎮᏗ ᎥᎦᏔᎲᎢ ᎯᎠ ᏗᎦᏘᎴᏍᏗ.

ᎤᏬᏚ ᎠᎴ ᎠᏒᎾᏍᏗᏱ

ᎪᎵᏍᏗᏱ ᎯᎠ ᎤᏁᎳᏅ ᎤᏬᏢᏅ ᎠᎴ ᎦᏛᎬᎢ ᎤᏬᏚ ᎨᏒᎢ ᏌᏊ ᎯᎠ ᏍᏚᎢᏍᏗ ᎢᏳᏍᏗ ᎧᏃᎮᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᏁᎵᏒ ᏓᏕᏲᎲᏍᎬ ᎤᎾᏅᏛ ᏥᏄᏍᏗ ᎠᏒᎾᏍᏗᏱ. ᎯᎠ ᎠᏟᎶᏍᏗ ᎠᎴ ᏗᎫᎪᏔᏅ Robert Schumann ᎠᏥᎸᏉᏗ ᎠᏰᎵ ᏔᎵ ᏧᏓᎴᏅᏓ ᎤᏬᏚ, ᏂᎬᏩᏍᏛ ᎤᏬᏚ ᎠᎴ ᎤᎳᏂᎬᎬ ᎤᏬᏚ: ᎯᎠ ᎠᎴᏅᏔᏅ ᎠᎴᏂᏙᎲ ᎠᏩᏛᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᎪᏩᏛᏗ ᎤᏁᎳᏅ ᎤᏬᏢᏅ, ᎯᎠ ᎣᏂᏯᎨ ᎭᏫᎾᏗᏢ ᎠᏍᎦᏯ ᎤᏤᎵ ᎠᏕᎶᎰᏍᎩ, ᏗᏁᏝᎾ ᎢᏳᏩᎪᏗ ᎾᎾᎯ ᎤᏁᎳᏅ ᎤᏬᏢᏅ. Schumann ᎤᏓᏎᎮᎸ Ꮎ ᎭᏫᎾᏗᏢ ᏗᎧᏃᎩᏛ, ᎠᎴ ᏐᎢ ᏗᏟᎶᏍᏙᏗ, ᎢᏧᎳ ᏧᏓᎴᏅᏓ ᎤᏬᏚ ᎦᎾᏄᎪᎢᏍᏗ, ᎠᎴ ᎯᎠ ᎠᎴᏅᏔᏅ ᎨᏒᎢ ᎾᏍᎩ ᎤᏩᏒ ᎠᎵᎮᎵᏥᏓᏍᏗ ᎧᎵᏬᎯ ᎠᎵᎮᎵᏍᏗ, ᎾᎯᏳᎢ ᎯᎠ ᎣᏂᏯᎨ ᎠᎴᏂᏍᎬ ᎭᏢᏃ ᎯᎠ ᎠᎴᏅᏔᏅ ᏧᎦᎶᎦ ᎤᏣᏘᎾ.

ᏗᎪᏪᎵᏍᎩ ᏗᎧᏃᎮᎸᏍᎩ ᏂᎦᏛᎢ MacKenzie, ᎢᎬᏱ ᎬᏔᏅᎯ ᎤᏤᎵ ᎢᎬᏱᎨᏍᏙᏗ ᏧᏂᎸᏫᏍᏓᏁᏗ ᎢᏯᏓᏛᏁᎸ ᎤᏬᏚ ᏥᏄᏍᏗ ᎤᏓᏎᎦᏤᏗ ᏄᏍᏛ ᏗᎧᏃᏗ ᏌᏊ ᎤᏤᎵ ᎠᎦᏓᏅᏖᏗ. ᎾᏍᎩ ᎠᏍᎦᏯ ᎬᏔᏅᎯ ᎯᎠ ᏱᏓᏟᎶᏍᏔᏅ ᏌᏊ ᎤᏤᎵ ᎠᏓᎾᏆᏘᏍᏗ ᏏᏓᏁᎸᎯ ᎠᏁᎳ, Shona MacKenzie, ᎦᎪ ᎠᎦᏎᏍᏔᏅ ᎤᏩᏒ ᎠᎨᏴ ᎾᏍᏋ ᎤᏬᏚᎯ, ᎠᎴ MacKenzie ᎠᎦᏎᏍᏔᏅ ᎾᏍᎩ ᎠᎨᏴ ᎤᏁᎩᎸᏗ ᎢᏧᎳ ᎭᏫᎾᏗᏢ, ᎠᎴ ᎠᏥᏄᏉᏫᏍᎬ, "ᎾᏍᎩᏯᎢ ᎠᏲᎶᎬ ᎠᏥᎸᏍᎩ, ᎾᏍᎩ ᎢᎬᏂᏏᏍᎩ ᎢᏳᏓᎵᎭ ᎭᏫᎾᏗᏢ ᎤᎳᎪᎲᏍᏗ, ᎠᏲᎱᎯᏍᏗ ᎠᏲᎱᎯᏍᏗ, ᎤᏁᎩᎸᏗ ᎠᎴ ᎤᎪᏏᏛ"

ᏧᏣᏔᏊ ᎪᎷᏩᏛᏗ ᎠᏗᎭ Ꮎ ᎤᏬᏚ ᎨᏒᎢ ᎯᎠ ᎦᎾᏄᎪᏨᎢ ᏧᏓᎴᏅᏓ ᎠᎴ ᏴᏫ Ꮎ ᎠᎴ ᎣᏍᏛ. ᎪᎯ ᎤᎭ ᎤᎪᏗᏗ ᎠᎵᏍᏕᎸᏗ ᏱᏓᏟᎶᏍᏔᏅ. ᎤᎪᏗᏗ ᏴᏫ ᏗᎫᎪᏗᏍᎩ ᏄᎵᏂᎬᎬ ᎤᎵᎶᎯ ᏴᏫ ᎠᎴᏂᏙᎲ ᎾᏍᏋ ᎣᏍᏛ, ᎢᏧᎳ ᏄᎵᏂᎬᎬ ᎠᎴ ᎾᎿ deeper ᎤᏩᎾᏕᏍᎩ. ᎯᎠ ᎯᎸᏍᎩ ᎢᎧᏁᏣ "ᎤᏬᏚ ᎨᏒᎢ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᎦᏙᎵ ᎯᎠ ᎾᎿ," ᏱᏂᎬᏛᎾ, ᎠᏂᏁᎢᏍᏗ Ꮎ ᎤᏬᏚ ᎨᏒᎢ ᏂᎦᏛ ᎧᎵᎢ ᎢᎦᏛ.

ᎤᎪᏗᏗ ᎠᎪᏩᏛᏗ ᏂᎬᏩᏍᏛ ᎤᏬᏚ ᎦᏇᏅᏗ ᎭᏫᏂᏗᏢ petals ᎠᏥᎸᏍᎩ.

"ᎤᏬᏚ ᏥᏄᏍᏗ ᎣᏍᏓᎯᎨ" ᎤᎭ ᎤᎪᏗᏗ ᎦᏛᎬᎢ counterexamples ᎬᏙᏗ Ꮭ ᏚᏓᏂᎸᏨ ᎪᎷᏩᏛᏓ. ᎾᏍᎩ ᎯᎠ ᎠᏠᏯᏍᏛ ᏯᏛᎿ ᏧᏓᎴᏅᏓ ᏥᏄᏍᏗ ᎤᏴᏢ, ᎠᎴ ᎤᏯᏔᎳᏨ ᎤᎧᏲᏗ ᎢᎾᎨ ᎣᏓᎸ ᎠᏍᏓᏅᏅ. ᎤᎪᏗᏗ ᏴᏫ ᎠᏩᏛᏗ ᎤᏬᏚ ᎭᏫᎾᏗᏢ ᎤᏁᎳᏅ ᎤᏬᏢᏅ, ᎦᎾᏆᏘᏍᏗ ᎾᏍᎩ ᏱᏓᏟᎶᏍᏔᏅ ᎠᎴᏂᏙᎲ "ᎩᎦᎨ ᎭᏫᎾᏗᏢ ᎦᏅᏙᎬ ᎠᎴ ᎠᎩᏍᎬᎢ" (Tennyson). ᏄᏓᎴ ᏗᎦᎪᏗ counterexample ᎠᎴ ᎤᎸᏓᎴᏍᎩ ᎠᎴ ᎠᎾᏓᎵᏍᎦᎾᏁᎲ ᏧᏂᎸᏫᏍᏓᏁᏗ ᏗᏟᎶᏍᏙᏗ, ᎦᏙ ᎤᏍᏗ ᏰᎵᏇ ᎾᏍᏋ ᎣᏍᏛ, ᎠᎴ ᎠᎴ ᎢᏅᎯ ᎢᏳᏓᎵ ᎤᏬᏚᎯ.

ᎾᏍᎩ ᎨᏒᎢ ᎠᏔᎴᏒ ᎠᎹᏱ ᎤᎾᏅᏛ Ꮎ ᏴᏫ ᎤᏤᎵ ᎠᏏᎾᏒᎢ ᎤᏙᎷᏬᏗ ᎠᎴ ᏧᎾᏍᏗ ᎤᎾᏤᎵ ᎤᏓᏅᏖᏗ ᎤᏬᏚ. ᏗᏁᏍᎨᏍᎩᎠᎾᏍᎬᏘ ᏗᎧᏃᏗᎢ ᎠᏥᏄᏉᏫᏍᎬ--ᎤᏙᎯᏳ ᎠᏓᏁᎸ ᏥᏄᏍᏗ ᎤᏁᎩᎸᏗ, ᎠᎴ ᎤᎪᏗᏗ ᏄᎬᏫᏳᏌᏕᎩ ᏗᏁᏍᎨᏍᎩ ᏰᎵᏇ ᎠᎪᏩᏛᏗ ᎠᏥᏄᏉᏫᏍᎬ--ᎤᏙᎯᏳ ᏓᏍᏓᏅᏅ ᏚᎷᏨᏥᏄᏍᏗ ᎤᏍᏗ ᏥᏄᏍᏗ ᎠᏰᎵ ᎢᏴ ᎢᎦᎢ ᎢᎦᏘ. ᎤᎪᏗᏗ ᏗᎧᏃᎩᏛ ᏰᎵᏇ ᎾᏍᎩᏯᎢᎨᏙᏗ ᎠᏛᎩ ᏥᏄᏍᏗ ᏂᏓᏙᎳᎬᎾ ᎤᏃᏴᎬ Ꮎ ᎤᏤᎵ ᎦᎸᎳᏗ ᎠᎴ ᎡᎳᏗ ᎾᎥᎢ ᏥᏄᏍᏗ ᎤᏍᏗ ᏥᏄᏍᏗ ᏔᎵ ᏌᏊ ᎢᎦᏛ ᎤᏃᏍᏛ ᎯᎠ ᎾᎿ ᎢᏴᎢ ᎯᎠ ᏐᎢ ᎠᏓᏚᎬ ᎪᏪᎵ. ᎤᎪᏗᏗ ᏴᏫ ᎤᎭ ᎤᏠᏱ ᎠᏒᎾᏍᏗᏱ ᎬᏩᏚᏫᏛ ᎯᎠ ᏗᎦᎸᏫᏍᏓᏁᏗ ᎠᎴ hobbies ᎤᏅᏌ've mastered.

ᎤᏬᏚ ᏥᏄᏍᏗ quantifiable ᎠᎴ ᎠᏟᎶᏍᏗ ᎦᏙᎯ ᎤᎾᏓᏡᎩ ᏚᏙᏢᏒᎢ ᎾᏍᎩ ᎯᎠ ᎠᎨᏲᏅᎯ ᎠᎴ ᎥᎦᏔᎲᎢ viewer ᎡᏆ ᏗᏓᏅᏓᏁᏗᏱ ᎠᏚᏓᎸᏗ ᏙᎯ ᎠᏕᏗ ᎧᎵ ᏂᎨᏒᎾ. ᎯᎠ ᎢᏴ, ᎤᏬᏚ ᎨᏒᎢ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᎦᏙᎵ ᎯᎠ ᎾᎿ ᎾᏍᎩ ᎤᏩᏒ ᎾᏍᎩ ᎢᎬᏂᏏᏍᎩ ᎢᏅ ᏥᏄᏍᏗ ᎯᎠ ᎾᎿ ᏙᎯ ᎠᏕᏗ ᎧᎵ ᏂᎨᏒᎾ. ᎾᏍᎩ ᎨᏒᎢ ᎤᏙᎯᏳᎢ ᎢᎦᏛ ᎠᎴ ᎭᏫᎾᏗᏢ ᎠᎾᎵᏐᏈᎸᏍᎬ ᏌᏊ ᎤᏤᎵ ᎪᎱᏍᏗ ᎨᏒ ᎠᎴ ᎪᎵᏍᏗᏱ.

Theories ᎤᏬᏚ

ᎯᎠ ᎢᎬᏱᏗᏢᏍᏗ ᎪᎷᏩᏛᏗ ᎤᏬᏚ ᏰᎵᏇ ᎾᏍᏋ ᎠᏩᏛᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᏧᏂᎸᏫᏍᏓᏁᏗ ᎯᎸᎯᏳᎢ ᎠᎪᎢ ᏗᏕᎶᏆᏍᎩ ᏂᏛᎴᏅᏓ ᎯᎠ ᎬᏂᎨᏒ ᏄᏍᏛᎢ-Socratic ᎠᎴᏫᏍᏙᏗ, ᏯᏛᎿ ᏥᏄᏍᏗ Pythagoras. ᎯᎠ ᎬᏂᎨᏒ ᏄᏍᏛᎢ ᎠᏃᏪᎵᏍᎬ ᎠᏠᏯᏍᏔᏅ Pythagoras ᎠᎦtᎤᏕᏍᏗ Ꮎ ᎯᎠ ᎣᏩᏒ ᏗᏕᎶᏆᏍᏗ, ᎢᏳᏃ ᎾᏍᎩ ᏂᎨᏒᎾ Pythagoras ᎤᏩᏒᎠᏍᎦᏯ, ᎤᎪᎲᎩ ᎤᎳᏂᎩᏓ ᏗᎵᎪᏔᏅᎯ ᎠᏰᎵ ᏗᏎᏍᏗ ᎤᎬᏩᎵ ᎠᎴ ᎤᏬᏚ. ᎭᏫᎾᏗᏢ ᎾᏍᎩᎾ, ᎤᏅᏌ ᎪᏪᎶᏗ Ꮎ ᏓᎦᏘᎴᎦ ᎤᏬᏚ ᎧᎵ ᏗᏙᎳᎩ ᎯᎠ ᏓᎶᏂᎨᏍᏙᏗ ᎠᎾᎵᏐᏈᎸᏍᎬ ᎢᎦᏰᎵᏒ ᎤᏟ ᎢᎦᎢ ᎤᎵᎶᎯ. ᎢᎦᏛ ᎪᎯᏊ ᎢᏴ ᏥᎩ ᏅᎠᏯᏍᏗ ᎤᏁᎵᏒᎯ ᎦᎫᏍᏛᏗ ᎪᎯ, ᎭᏫᎾᏗᏢ Ꮎ ᏴᏫ ᎾᏍᎩ ᎤᏤᎵ facial ᏄᏍᏛ ᏗᎨᎦᏃᏗ ᎠᎴ ᏄᏍᏛ ᎢᏯᏛᏁᏗ ᎠᎴ ᎤᏬᏚ ᎧᎵ ᏗᏙᎳᎩ ᎯᎠ ᏓᎶᏂᎨᏍᏙᏗ ᎠᎾᎵᏐᏈᎸᏍᎬ ᎠᎴ ᎤᏠᏱᎭ ranked ᏥᏄᏍᏗ ᎤᏟ ᎢᎦᎢ ᎤᎵᎶᎯ ᎬᎾᏬᏍᎬ ᎾᏍᎩ ᎾᏍᎩ ᎤᏤᎵ ᏚᎾᎧᏛ ᎠᎴ ᎾᏍᎩ ᏂᎨᏒᎾ.

ᎧᎵ ᏗᏙᎳᎩ ᎯᎸᎯᏳᎢ ᎠᏴᏫᏯ ᏩᏎᏍᏗ ᎾᎿ, ᎯᎠ ᎤᏬᏚᎯ ᎨᏒᎢ Ꮎ ᎦᏙ ᎤᏍᏗ ᏂᏛᎴᏅᏓ ᎢᏳᏊ ᎢᏳᏊ ᎨᏒᎢ ᏂᎪᎯᎸᎢ ᎢᏤ. Ꮎ ᎨᏒᎢ ᎯᏁᎩ, ᎾᏍᎩ ᎠᎲᏍᏗ ᎯᎠ ᎣᏓᏅᏛ ᏂᏛᎴᏅᏓ ᎯᎠ ᎡᎶᎯ ᎭᏫᎾᏗᏢ ᎦᏙ ᎤᏍᏗ ᏧᏓᎴᏅᏓ ᎠᏛᏍᎬ ᎠᎦᏴᎵ. ᎠᎴ ᎠᎦᏎᏍᏗᏍᎬ Ꮎ ᎯᎠ ᎠᎪᏩᏛᏗ ᎢᏯhᏛᏁᎵᏓᏍᏗ ᎠᎵᏍᎪᎸᏙᏗ ᎢᏧᎳ ᎠᏴ ᎠᎪᏩᏛᏗ ᎾᎥᎢ ᎠᎲᏏᏓᏍᏗ ᎯᎠ ᏐᏈᎵ ᎤᏂᏴᏍᏗ, ᎤᏟ ᎬᏰᎸᏗ ᎬᎾᏬᏍᎬ ᎦᏁᏟᏴᏍᎬ, ᏄᏍᏛ ᏗᎨᎦᏃᏗ ᎯᎠ ᏄᏍᏗᏓᏅ ᎾᎿ ᎠᏓᏁᎳᏅᎯ ᎠᎴᏅᏙᏗ, ᎪᎯ ᎯᎸᎯᏳᎢ ᏩᏎᏍᏗ ᎾᎿ ᎤᏁᎵᏒᎯ ᎠᏍᏓᏯ ᎠᎵᏍᏕᎸᏗ.

ᏄᏓᎴᎿᎥ ᎥᎦᏔᎲᎢ ᎤᎭ deified ᎤᏬᏚ, ᎢᏯᏛᏁᎵᏓᏍᏗ ᎭᏫᎾᏗᏢ ᎠᎨᏴ ᏚᏙᏢᏒ. ᎠᎭᏂ ᎨᏒᎢ ᏙᎪᏩᎸ ᎯᎠ goddesses ᎤᏬᏚ ᎭᏫᎾᏗᏢ ᏅᎩ ᏄᏓᎴᎿᎥ mythologies.

• ᎤᏬᏚ - ᎠᎪᎢ ᎤᏁᎳᏅᎯ
• Freya - Norse ᎤᏁᎳᏅᎯ
• Lakshmi - Hindu ᎤᏁᎳᏅᎯ
• ᎠᏨᏍᏛ - ᎶᎻ ᎤᏁᎳᏅᎯ

ᎤᏬᏚ ᎠᏓᎪᎾᏙᏗᎠᏆᏤᎵ ᎠᏛᏗ ᎾᏍᏋ ᏰᎵᏆ ᎢᏯᏛᏁᏗ ᏗᎫᎪᏗᏍᎩ ᎤᏬᏚ. ᎯᎠ millihelen ᎨᏒᎢ ᏱᏓᏟᎶᏍᏔᏅ ᎤᏬᏢᏗ ᎧᏁᎢᏍᏔᏅᎯ ᏥᏄᏍᏗ ᎯᎠ ᎠᏏᎾᏍᏛ ᏌᏊᎭ ᏴᏫ ᎤᏬᏚ. ᎪᎯ ᏗᎫᎪᏔᏅ ᏂᏛᎴᏅᏓ ᎯᎠ ᏄᎵᏍᏔᏂᏙᎸ Helen Troy ᏥᏄᏍᏗ ᎤᏓᏁᎸᎩ ᎭᏫᎾᏗᏢ Christopher Marlowe ᎤᏤᎵ ᎯᎠ ᎤᏦᎠᏎᏗ ᎧᏃᎮᏍᎩ ᎦᎾᎦᏘ Faustus, ᎭᏫᎾᏗᏢ ᎦᏙ ᎤᏍᏗ ᎾᏍᎩ ᎠᎨᏴ ᎤᏬᏚ ᏥᏄᏍᏛᎩ ᏄᏪᏒᎩ ᎤᎭ launched ᎠᎦᏴᎵ ᏥᏳ ᏧᏔᏅ. ᎯᎠ millihelen ᎨᏒᎢ ᎾᏍᎩ ᎢᎬᏂᏏᏍᎩ ᎯᎠ ᎢᎦᎢ ᎢᎦᏘ ᎤᏬᏚ Ꮎ ᏰᎵᏇ ᎠᏓᎴᏂᏍᎬ ᏌᏊ ᏥᏳ.

ᎯᎠ ᎠᏓᎴᏂᏍᎬ ᎠᏝᏅᎯ ᎾᎥᎢ ᎠᎪᎢ ᎠᎴ ᎶᎻ ᏓᎾᏛᏁᎵᏍᎬ ᎠᏫᏒᏗ ᎯᎠ ᏰᎵᏊ ᏗᏙᎳᎩ ᎾᏍᎩᎾᎢ ᎠᏍᎦᏯ ᎤᏬᏚ ᎭᏫᎾᏗᏢ ᏭᏕᎵᎬᏗᏢ ᎠᏓᏅᏘᏐᏗ. ᎯᎠ ᎤᎵᎶᎯ ᎶᎻ ᎨᏒᎢ ᎯᎠ ᎤᏟ ᎢᎦᎢ ᏄᎵᏂᎬᎬ ᎤᏙᏢᏒ ᎤᏓᏅᎦᎸᏓ ᎠᏍᎦᏯ ᎤᏬᏚ. ᎾᏍᎩ ᎠᏍᎦᏯ ᎨᏒᎢ ᎤᎵᎶᎯ ᎧᏁᎢᏍᏔᏅᎯ (ᎤᏠᏱ ᎪᎯ ᎢᎦ ᎤᏤᎵ lyudetiyvda ᎠᏍᎦᏯ ᎤᏬᏚ) ᏥᏄᏍᏗ: ᎡᏆᎯᎨᏍᏙᏗ (ᎦᏬᎯᎸᏙᏗ 6 ᏧᎾᎳᏏᏕᎾ ᎢᏅ ᎢᎦᏘ), ᎢᏅ ᎤᏟ ᎢᎦᎢ ᏄᎵᏂᎬᎬ, ᎦᏅᎯᏓ-ᎠᏗᏌᏓᏗᏍᏗ, ᎬᏙᏗ ᎧᎵ ᎠᏍᎪᎵ ᎤᎭᎨᏛ ᎤᏍᏗᏰᎬ, ᎦᎸᎳᏗ ᎠᎴ ᎠᏯᏖᎾ ᎢᎬᏱᏗᏢ ᎠᏍᎪᎵ - ᎪᏪᎶᏗ ᎪᎱᏍᏗ ᎨᏒ – ᎠᏯᏖᎾ-ᎠᏫᏒᏗ ᏗᎦᏙᎵ, ᎤᎳᏂᎩᏓ browline, ᎤᎳᏂᎩᏓ ᎧᎵᏬᎯ ᎦᏴᏐᎵ ᎠᎴ ᏌᏆᎦᏘ, ᎠᏂᎦᏲᎵ ᎠᎰᎵ, ᎠᎴ ᎤᎳᏂᎩᏓ ᎠᏳᎨᏂ ᎠᏍᏓᏅᏅ. ᎪᎯ ᎤᎾᏓᏟᏌᏅ ᎦᏃᏢᎩ ᏄᎬᏫᏳᏒ ᏯᏓᎢᏗᏏ, ᏥᏄᏍᏗ ᎾᏍᎩ ᎾᏛᏁ ᎪᎯ ᎢᎦ, ᎠᏛᎯᏍᏙᏗ ᎠᏒᎾᏍᏗᏱ "ᏩᎦᎸᎳᏗᏴ" ᎭᎦᏔ ᎤᏓᏅᎦᎸᏓ ᎤᎵᎶᎯ masculinity.

ᎪᎯ ᎤᎵᎶᎯ ᏥᏄᏍᏛᎩ strived ᎾᏍᎩᎾᎢ ᎭᏫᎾᏗᏢ ᎢᎬᏱ Hollywood ᎾᎥᎢ ᏯᏛᎿ ᏄᎬᏫᏳᏌᏕᎩ ᏥᏄᏍᏗ Louis B. Mayer ᎾᎾᎢ MGM ᎦᎪ ᎠᏑᏰᏛ ᎤᏤᎵ ᏴᏫ ᎾᏍᎩᎾᎢ ᎤᎾᏤᎵ ᏄᏩᎾᏒᎾ ᎤᎵᎶᎯ ᎠᎦᏘᎭ ᎠᎴ ᏄᎵᏂᎬᎬ. ᎭᏫᎾᏗᏢ ᎯᎠ ᏧᎬᏩᎶᏗ ᎠᎦᏘᏯ ᎢᏯhᏛᏁᎵᏓᏍᏗ ᎢᎬᏱ Hollywood ᎠᎴ ᎢᏧᎳᎭ ᎾᎯᏳᎨᏒ ᎯᎠ ᎤᏠᏱ iyuwakodi ᎭᏫᎾᏗᏢ ᎤᎵᎶᎯ ᎢᎬᏁᎯ ᏴᏫ ᎨᏒᎩ ᎠᏣᏅᏙ ᎠᏍᏆᏙᏅᎯ ᎠᎴ ᎪᏪᎶᏗ ᎾᏍᎩᎾᎢ ᎤᎾᏤᎵ lyudetiyvda ᎤᎵᎶᎯ ᎣᏍᏛ ᎠᎦᏘᎭ ᎠᎴ ᎠᏏᏴᏫ ᎠᏣᏅᏗ ᎾᏍᎩᏯᎢ Tyrone ᎤᎳᏂᎬᎬ, Gary Cooper, ᎠᎴ Cary ᎠᎵᏍᎪᎸᏙᏗ ᎦᎪ ᎨᏒᎩ ᏂᎦᏛ ᎠᏓᏙᎵᏍᏗ ᎤᎵᎶᎯ ᎭᏫᎾᏗᏢ ᏩᎦᎸᎳᏗᏴ ᎦᎶᎯᏍᏗ. ᎪᎯ ᎢᎦ ᎤᎪᏗᏗ ᎠᏛᏁᎵᏍᎩ ᎿᏛᎦ ᎾᏍᎩ ᏂᎨᏒᎾ ᏰᎵ ᎢᎩᏛ Ꮎ lyudetiyvda ᎦᎳᏅᎯ, ᎩᎳ ᎠᎴ promoted ᎾᏍᎩᎾᎢ ᎤᎾᏤᎵ ᎠᎦᏘᎭ ᏯᏛᎿ ᏥᏄᏍᏗ ᏕᎬᏔᏛ Pitt ᎠᎴ Matt Damon.

ᎠᏛᎯᏍᏙᏗ ᎤᏬᏚ

Template:Simplify Template:Unsourced ᎭᏫᎾᏗᏢ ᎯᎠ 1990 ᎠᎦᏎᏍᏙᏗ ᎾᎥᎢ Langlois & Roggmann ᎾᏍᎩ ᏥᏄᏍᏛᎩ ᎠᏩᏛᏗ Ꮎ ᏭᎶᏒᏍᏔᏅ ᎢᎦᏘᎭ ᎢᎬᏁᎸ ᎤᎧᏛ ᏥᏄᏍᏛᎩ ᎠᎦᏎᏍᏔᏅ ᎯᎠ ᎤᎪᏗᏗ ᎤᎵᎶᎯ ᎾᎥᎢ ᎯᎠ ᎠᎦᏎᏍᏙᏗ ᎤᎾᏓᏟᏌᎲ. ᏧᏠᎯᏍᏗ ᎤᎧᏛ (ᏌᏊ ᎢᏧᎳ sexes) ᏥᏄᏍᏛᎩ generated ᎾᎥᎢ combining ᏂᎦᏛ ᎯᎠ ᎤᎪᏗᏗ ᏧᏣᏔᏊ ᏄᏍᏛ ᏗᎨᎦᏃᏗ ᏂᏛᎴᏅᏓ ᎤᎾᏓᏟᏌᎲ ᏗᎨᎦᏟᎶᏍᏔᏅ. ᎯᎠ ᏄᎵᏍᏔᏅ ᏥᏄᏍᏛᎩ ᎤᎧᏛ ᏅᏙᎲᏅ ᏂᎦᎵᏍᏗᏍᎬᎫ irregularities, ᎠᎴ ᎾᏍᎩ ᎨᏒᎢ asymetrical ᏄᏍᏛ ᏗᎨᎦᏃᏗ. ᎾᏍᎩ ᏥᏄᏍᏛᎩ ᎧᏁᎢᏍᏔᏅ Ꮎ ᎯᎠ ᏄᏍᏛ ᏗᎨᎦᏃᏗ ᏄᏓᏛᏁᎸᎩ ᎠᎾᏍᎬᏘ ᎠᏓᏎᎮᏗ ᎦᎷᎶᎩ ᎠᏛᎯᏍᏙᏗ ᏧᏓᎴᎿᎢ, promoting ᎢᏧᎳᎭ ᏗᏂᏱᎴᎩ ᎾᏍᎩᎾ ᎨᏒ ᏂᎪᎯᎸ ᎤᏚᎳᏗ ᎤᎾᎵᎪᎯ. ᎤᏍᏆᏂᎪᏗ, ᎭᏫᎾᏗᏢ ᎯᎠ ᎤᏠᏱ ᎠᎦᏎᏍᏙᏗ, combining racial ᏄᏍᏛ ᏗᎨᎦᏃᏗ ᏂᏛᎴᏅᏓ ᎦᎵᏓᏍᏛ ᏚᎾᏓᏟᏌᎲ ᎭᏫᎾᏗᏢ creating meta-ᎢᎦᏘᎭ ᎢᎬᏁᎸ ᏧᏠᎯᏍᏗ ᎤᎧᏛ ᎠᏛᎯᏍᏔᏅ ᎤᏣᏘ ᎯᎠ ᎤᏠᏱ ᏂᏚᎵᏍᏔᏅ.

ᎾᎿᎢ ᎠᎴ ᏦᎢ ᏄᏦᏍᏛᎾ contributors ᎠᏛᎯᏍᏙᏗ ᎤᏬᏚ: averageness, ᎢᏗᎦᏘᎭ, ᎠᎴ sexual dimorphism. Averageness ᎨᏒᎢ sexually preferable ᎢᎬᏂᏏᏍᎩ ᎾᏍᎩ ᏰᎵᏊ ᏱᎩ ᏄᏍᏛ ᏨᏓᏓᏄᏍᏛ ᏨᏓᏓᎨᏁᏗ ᎠᏂᏙᎾᎥ ᎾᎯᏳᎨᏒ ᏚᏙᎳᏩᏛᎲ, heterozygosity, ᎠᎴ ᏗᎦᎸᏫᏍᏓᏁᏗ optimization. ᎠᏤᎯᏐᏗᏱ ᎢᏗᎦᏘᎭ ᎨᏒᎢ sexually preferable ᎢᎬᏂᏏᏍᎩ ᎾᏍᎩ ᏰᎵᏊ ᏱᎩ ᏄᏍᏛ ᏨᏓᏓᏄᏍᏛ ᏨᏓᏓᎨᏁᏗ ᎯᎠ ᏅᏏᎾᏒ ᎦᏬᎯᎵᏴᏍᏗ reliably environmental ᎤᎳᏂᎬᎬ. Sexual dimorphism ᎨᏒᎢ sexually preferable ᎢᎬᏂᏏᏍᎩ ᎾᏍᎩ ᎠᎾᏓᏎᎮ sexual ᎤᏩᎾᏐᎲᎯ, ᎠᏤᎯᏐᏗᏱ ᏰᎵᏊ ᏱᎩ, ᎠᎴ ᎠᏰᎸ ᏄᏛᎿᏕᎬ. ᎠᏍᎦᏯ ᏫᏚᏳᎪᏛ ᎤᏟ ᎬᏰᎸᏗ feminized ᎤᎧᏛ ᎭᏫᎾᏗᏢ ᎠᎨᏴ, ᎾᎯᏳᎢ ᎠᎨᏴ' ᎤᏟ ᎠᏰᎸᎯ varies ᎥᎵᏍᎦᏍᏙᏗᏍᎬ ᎾᎿ ᎯᎠ dadanetlivysegv ᎤᎾᏤᎵ ᎠᏓᏠᎯᏍᏗ ᎠᏓᏠᎯᏍᏗ.

ᏚᏳᎪᏛ ᎤᏬᏚ

ᎢᏧᎳᎭ ᏚᏳᎪᏛ formulae ᏰᎵᏇ ᎾᏍᏋ ᎠᎦᏎᏍᏔᏅ ᎤᏬᏚᎯ. $e^{i \pi} +1 = 0$ ᎨᏒᎢ ᏱᏓᏟᎶᏍᏔᏅ ᎠᎦᏎᏍᏔᏅ ᏌᏊ ᎯᎠ ᎤᎪᏗᏗ ᎤᏬᏚᎯ ᎢᏳᏍᏗ ᎧᏃᎮᏗ ᎭᏫᎾᏗᏢ ᏗᏎᏍᏗ ᎤᎬᏩᎵ (ᎠᎪᏩᏛᏗ Euler ᎤᏤᎵ ᎢᏗᎦᏘᎭ). ᎯᎠ ᏗᎪᏪᎵᏍᎩ ᏗᎧᏃᎮᎸᏍᎩ Edna ᏒᎯᏰᏱ. Vincent Millay ᎤᏬᏪᎳᏅ Ꮎ "Euclid ᎤᏩᏒ ᎤᎭ ᎤᎦᏔᏅ ᎾᎿ ᎤᏬᏚ ᎤᏰᎸᎭ" ᎭᏫᎾᏗᏢ ᎦᏛᎬᎢ ᎯᎠ ᎦᏅᎾᏩ ᎤᏬᏚ ᎤᎪᏗᏗ ᏴᏫ ᎤᎭ ᎠᏩᏛᏗ ᎭᏫᎾᏗᏢ ᎯᎠ ᎤᏂᎦᏛᎲᏍᎩ ᎭᏫᎾᏗᏢ ᎯᎠ ᎠᏓᏃᎮᏗ Euclid ᎤᏤᎵ ᎢᏧᏓᎴᎩ.

ᏄᏓᎴ ᏗᎵᎪᏔᏅᎯ ᎠᏰᎵ ᏗᏎᏍᏗ ᎤᎬᏩᎵ ᎠᎴ ᎤᏬᏚ ᎦᏙ ᎤᏍᏗ ᏚᎾᏁᎶᏅ ᏧᏓᏃᏣᎵ ᎠᏛᏁᎵᏍᎩ ᎤᏍᏆᎸᎡᎲ ᎭᏫᎾᏗᏢ Pythagoras' ᎤᏬᎳᏨᎯ ᏥᏄᏍᏛᎩ ᎯᎠ ᎦᎶᎯᏍᏗ ᎭᏫᎾᏗᏢ ᎦᏙ ᎤᏍᏗ ᏗᎧᏃᎩᏛ ᎦᏃᏢᎩ ᎤᏃᏴᎬ ᏰᎵᏇ ᎾᏍᏋ ᎠᏓᏁᎳᏅ ᎭᏫᎾᏗᏢ ᏚᏳᎪᏛ ᎠᏍᏓᏩᏗᏒ, ᎦᏙ ᎤᏍᏗ ᏅᎬᎪᎪᎩ ᎾᎾᎢ ᎤᏠᏱᎭ ᏰᎵ ᏚᏝᏅᏛ ᎤᏯᏅᎲ ᎠᏟᎶᏍᏗ.

ᎯᎠ ᎾᏍᎩ ᎢᎬᏂᏏᏍᎩ-ᎤᏯᏅᎲ "ᏓᎶᏂᎨᏍᏙᏗ ᎤᏁᎫᏥᏛ", ᏄᏓᏛᏁᎸᎩ ᎾᎥᎢ ᎯᎠ ᎠᎪᎢ ᎩᎶ ᏂᏓᏳᏅᏅ ᎪᏪᎵ Phi (φ) ᎠᎴ ᎾᎥᏂᎨᏍᏙᏗᏇ ᎢᏗᎦᏗ 1.618, ᎤᎭ ᎾᏍᎩ ᎾᏍᏇ ᏭᏪᏙᎢ ᎠᎦᏎᏍᏔᏅ ᎾᎥᎢ ᎤᎪᏗᏗ ᎾᏍᏋ ᎤᏬᏚᎯ. ᎾᏍᎩ ᎨᏒᎢ ᎾᏍᎩ ᎾᏍᏇ ᎤᏯᏅᎲ ᎯᎠ ᏩᎦᎸᎳᏗᏴ ᎠᎾᎵᏐᏈᎸᏍᎬ ᎠᎴ ᎾᏍᎩ ᎨᏒᎢ ᎢᏳᏓᎵᎭ ᎠᏩᏛᏗ ᎭᏫᎾᏗᏢ ᎤᏁᎳᏅ ᎤᏬᏢᏅ. ᎾᏍᎩᎾᎢ ᏱᏓᏟᎶᏍᏔᏅ, ᎭᏫᎾᏗᏢ nautilus ᎤᏯᏍᎦ, ᎯᎠ ᎠᎾᎵᏐᏈᎸᏍᎬ ᎠᏰᎵ ᎠᏂᏏᏴᏫᎭ ᎾᎿ ᎨᏒ ᎨᏒᎢ ᎬᏩᏚᏫᏛ 1.618. ᎭᏫᎾᏗᏢ ᎯᎸᎯᏳᎢ Greece ᎠᎴ Rome ᎤᏬᏚ ᏥᏄᏍᏛᎩ ᎡᎷᏪᎢ ᎠᎴ ᏚᎳᏏᏔᏅᎩ ᎾᎿ ᎤᏠᏱ ᏚᎵᏍᎪᎵᏴ. ᎠᎪᏩᏛᏗ ᏓᎶᏂᎨᏍᏙᏗ ᎠᎾᎵᏐᏈᎸᏍᎬ.

ᏄᎵᏍᏔᏅ ᎤᏬᏚ ᎭᏫᎾᏗᏢ ᏴᏫ ᎤᎾᏙᏢᎯ

ᎠᏟᎶᏍᏗ ᎦᏙᎯ nadvndhvgi ᎾᎥᎢ London ᎤᏂᎾᏗᏅᏗ ᏗᏕᎶᏆᏍᏗ 11,000 ᏴᏫ ᎤᏓᏎᎮᎸᎩ Ꮎ (ᎢᎦᏛ) ᎣᏍᏛ-ᎠᎦᏘᏍᎬ ᏴᏫ ᎠᏓᏠᎯᏍᏗ ᎤᏟ ᎢᎦᎢ. ᎦᏲᎵᎨ ᎤᎵᎶᎯ ᏴᏫ ᎤᏓᏠᏒᎢ, ᎾᎿ ᎢᎦᏘᎭ ᎢᎬᏁᎸ, 13% ᎦᏲᎵᎨ ᎬᎾᏬᏍᎬ ᎤᏟ ᎢᎦᎢ ᎤᎵᎶᎯ ᏴᏫ, ᎾᎯᏳᎢ ᎯᎠ ᎤᏓᏍᏛᏗᏍᏗ ᎾᏍᎩᎾᎢ overweight ᏥᏄᏍᏛᎩ yvwatuwidv 5%.

ᎯᎠ ᎠᎴᏂᏍᎬ "ᎤᏬᏚᎯ ᏴᏫ" ᎨᏒᎢ ᎬᏔᏅᎯ ᏩᏎᏍᏗ ᎾᏍᎩ ᎦᎪ ᎾᎥᏂᎨᎢ ᎠᏍᏓᏩᏛᏍᏗ ᏫᏚᏳᎪᏛ ᎭᏫᎾᏗᏢ ᎤᎵᎶᎯ ᎢᎬᏁᎯ, ᏄᎵᏂᎬᎬ ᎦᎾᏄᎪᏨᎢ, ᎠᎵᏍᏓᏴᏗ, ᎠᎾᎵᏍᏓᏴᎲᏍᎬ, ᎩᎦᎨ ᎠᏘᏣᏍᏗ, ᎣᏓᎼᏈᎵ, ᎠᎴ ᎤᏙᎯᏳ ᎾᏍᎩ ᏧᎬᏩᎶᏗ, ᎢᏳᏓᎵᎭ ᎾᎾᎢ ᎤᎪᏗ ᎠᏕᎸ ᏄᎾᏍᏛ ᏓᎬᏩᎶᏛ. ᏯᏛᎿ ᏴᏫ ᎢᏳᏓᎵᎭ ᏓᏎᏘ ᎭᏫᎾᏗᏢ ᎦᎾᏄᎪᏨᎢ ᎠᎴ consumer ᎠᏑᏰᏛ ᎯᎠ ᎨᎦᏓᏅᏖᏗ ᎠᎴ ᏗᏩᎯᏍᏗ ᎤᏪᎿᎢ ᎠᏛᏁᎵᏍᎩ ᎠᎴ actresses, ᏗᏟᎶᏍᏙᏗ, ᎠᎴ ᏐᎢ celebrities. ᎯᎠ ᎠᎴᏂᏍᎬ "ᎤᏬᏚᎯ ᏴᏫ" ᎠᎴᏅᏔᏅ ᏩᏎᎸᎯ ᎯᎠ ᏗᎧᏃᎩᏛ, ᎠᏛᏁᎵᏍᎩ ᎠᎴ celebrities ᎯᎠ Californian "ᎠᏥᎸᏍᎩ ᎤᎳᏂᎬᎬ" ᎤᎾᏁᎶᏔᏅ ᎯᎠ 1960s. ᎯᎠ Beatles ᏩᏎᎸᎯ ᎯᎠ ᎠᎴᏅᏗᏍᎬ "ᎤᏬᏚᎯ ᏴᏫ" ᎭᏫᎾᏗᏢ ᎤᎾᏤᎵ 1967 ᎧᏃᎩᏍᏗ "ᎤᏍᏗ ᏂᎯ're ᎤᏪᎾᎢ ᎠᏍᎦᏯ" ᎾᎿ ᎯᎠ ᎤᏕᎵᏛ ᎬᏗ ᎠᏛᏁᎸᏗ ᎤᏍᏆᏂᎪᏗ ᎥᎢᏒᎢ ᎪᏪᎵ. ᎬᏙᏗ ᎯᎠ ᎠᏍᏚᏗ ᎯᎠ 1960s, ᎯᎠ ᎠᏓᏅᏖᏗ ᎤᏬᏚᎯ ᏴᏫ ᎦᏂᎸ ᎠᏱᎸᏓ ᎤᎷᏨᎩ ᎦᏃᎴᏍᎬ fashionistaᎠᎴ ᎯᎠ "ᎠᎧᏍᎨᏂ" ᏴᏫ ᎢᏤ York ᎦᏚᎲᎢ, ᎠᏒᎾᏍᏗᏱ Ꮝ ᎪᎯᏊ ᎢᏴ ᏥᎩ ᏩᏎᏍᏗ ᎾᎿ. ᎤᏬᏚᎯ ᏴᏫ ᎤᏠᏱᎭ ᎠᎵᎮᎵᏍᏗ ᎾᏍᎩᏯᎢ-ᏚᎳᏏᏔᏅᎩ ᎠᎴ/ᎠᎴ ᎢᎦᎢ ᎠᏕᎸ ᏄᎾᏍᏛ-ᏚᎳᏏᏔᏅᎩ ᎬᏩᎫᏍᏓᎢ ᎦᏙ ᎤᏍᏗ ᎧᏁᏉᎩ ᎤᎾᏤᎵ ᎦᏃᎸᎥᏍᎬ ᎦᏣᏄᎳ, ᎤᎳᏂᎬᎬ, ᎠᎴ ᎤᏬᏚ.

ᏫᏓᏎᎸᎢ

• Władysław Tatarkiewicz, ᎧᏃᎮᏍᎩ ᏑᏓᎵ ᎠᏓᏅᏖᏍᎬ: ᎧᏃᎮᏍᎩ ᎭᏫᎾᏗᏢ ᎠᏒᎾᏍᏗᏱ, translated ᏂᏛᎴᏅᏓ ᎯᎠ ᎦᎶᏂᏗ ᎾᎥᎢ Christopher Kasparek, ᎯᎠ Hague, Martinus Nijhoff, 1980. (ᏕᎬᏔᏛ ᎯᎠ ᎧᏃᎮᏍᎩ ᏍᏚᎢᏍᏗ ᎠᏒᎾᏍᏗᏱ ᎠᏓᏅᏖᏗ, ᎠᏠᏯᏍᏗᏍᎩ ᏗᏟᎶᏍᏙᏗ, ᎤᏬᏚ, ᎤᏙᏢᏒ, creativity, mimesis, ᎠᎴ ᎯᎠ ᎠᏒᎾᏍᏗᏱ ugatohvsv.)

ᎠᎪᏩᏛᏗ ᎾᏍᎩ ᎾᏍᏇ

• ᎠᏒᎾᏍᏗᏱ
• ᎠᏰᎸ dysmorphic ᏧᏠᎯᏍᏗ
• ᎪᎱᏍᏗ ᎨᏒ
• ᏴᏫ ᏄᎵᏂᎬᎬ ᎦᎾᏄᎪᏨᎢ
• ᏚᏳᎪᏛ ᎤᏬᏚ
• ᏄᎵᏂᎬᎬ ᎠᎦᏎᏍᏙᏗ
• ᏒᏃᏱ ᎡᎯ ᏅᏙ ᎠᏅᏬᏗ
• Sexual ᎠᎦᏎᏍᏙᏗ
• Wabi-sabi

ᎤᏓᏎᎦᏤᏗ ᏗᏕᎬᏔᏛ

• FaceResearch – ᏗᏕᎶᏆᏍᏗ Aberdeen online ᏗᎦᏎᏍᏙᏗ ᎾᎿ facial ᎤᏬᏚ
• Dictionary of the History of Ideas: Theories ᎤᏬᏚ ᎯᎠ ᎠᏰᎵ ᏯᏛᎾ ᎠᎺᏉᎯ-Nineteenth sqohitsuqui tsudetiyvdi

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