Updated: Vaccine Ingredients and Manufacturer Information 11/17/ - Find vaccine ingredients (substances that appear in the final vaccine product), process ingredients (substances used to create the vaccine that may or may not appear in the final vaccine product), and growth mediums (the substances vaccines are grown in) for vaccines licensed for use by the Food & Drug Administration (FDA) Nov 13, · Gen Xers and Baby Boomers may also be having less sex today than previous generations did at the same age. From the late s to , Twenge found, drawing on data from the General Social Survey Jun 10, · The real question is not why she should reject them: the problem is rather to understand why she accepts them.’ As I didn’t have a realistic possibility of becoming a man back in the s, it had to be books and music that got me through both my mental health issues and the sexualised scrutiny and judgement that sets so many girls to war
Young People Are Having Less Sex - The Atlantic
By Linda Nochlin. VIA WIKIMEDIA COMMONS A version of this story originally appeared in the January issue why same sex marriage should be legal essay ARTnews. W hile the recent upsurge of feminist activity in this country has indeed been a liberating one, its force has been chiefly emotional—personal, psychological and subjective—centered, like the other radical movements to which it is related, on the present and its immediate needs, rather than on historical analysis of the basic intellectual issues which the feminist attack on the status quo automatically raises.
If, as John Stuart Mill suggested, we tend to accept whatever is as natural, this is just as true in the realm of academic investigation as it is in our social arrangements, why same sex marriage should be legal essay. In the field of art history, the white Why same sex marriage should be legal essay male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones.
In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at why same sex marriage should be legal essay same time lays bare its conceptual smugness, its meta-historical naïveté.
Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations.
Unfortunately, though this remains within the realm of possibility it has so far not occurred. In every instance, why same sex marriage should be legal essay, women artists and writers would seem to be closer to other artists and writers of their own period and outlook than they are to each other. W omen artists are more inward-looking, more delicate and nuanced in their treatment of their medium, it may be asserted.
But which of the women artists cited above is more inward-turning than Redon, more subtle and nuanced in the handling of pigment than Corot? Is Fragonard more or less feminine than Mme. If women have turned to scenes of domestiC life, or of children, so did Jan Steen, Chardin and the Impressionists—Renoir and Monet as well as Morisot and Cassatt.
In any case, the mere choice of a certain realm of subject matter, or the restriction to certain subjects, is not to be equated with a style, much less with some sort of quintessentially feminine style. Art is almost never that, great art never is. The making of art involves a self-consistent language of form, more or less dependent upon, or free from, given temporally-defined conventions, schemata or systems of notation, which have to be learned or worked out, either through teaching, apprenticeship or a long period of individual experimentation.
The language of art is, more materially, embodied in paint and line on canvas or paper, in stone or clay or plastic or metal—it is neither a sob-story nor a confidential whisper. The fact of the matter is that there have been no supremely great women artists, as far as we know, although there have been why same sex marriage should be legal essay interesting and very good ones who remain insufficiently investigated or appreciated; nor have there been any great Lithuanian jazz pianists, nor Eskimo tennis players, no matter how much we might wish there had been.
That this should be the case is regrettable, but no amount of manipulating the historical or critical evidence will alter the situation; nor will accusations of male-chauvinist distortion of history. The fact, dear sisters, is that there are no women equivalents for Michelangelo or Rembrandt, Delacroix or Cézanne, Picasso or Matisse, or even, in very recent times, for de Kooning or Warhol, any more than there are Black American equivalents for the same.
If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is. Why same sex marriage should be legal essay WIKIMEDIA COMMONS But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and, above all, male.
The fault, dear brothers, lies not in our stars, our hormones, our menstrual cycles or our empty internal spaces, but in our institutions and our education—education understood to include everything that happens why same sex marriage should be legal essay us from the moment we enter this world of meaningful symbols, signs and signals.
The miracle is, in fact, that given the overwhelming odds against women, or blacks, that so many of both have managed to achieve so much sheer excellence, in those bailiwicks of white masculine prerogative like science, politics or the arts. We tend to take it for granted that there really is an East Asian Problem, a Poverty Problem, why same sex marriage should be legal essay, a Black Problem—and a Woman Problem.
Instead, women must conceive of themselves as potentially, if not actually, equal subjects, and must be willing to look the facts of their situation full in the face, without self-pity, or cop-outs; at the same time they must view their situation with that high degree of emotional and intellectual commitment necessary to create a world in which equal achievement will be not only made possible but actively encouraged by social institutions.
Those who have privileges inevitably hold on to them, and hold tight, no matter how marginal the advantage involved, until why same sex marriage should be legal essay to bow to superior power of one sort or another. The subjection of women to men being a universal custom, any departure from it quite naturally appears unnatural.
Basic to the question are many naïve, distorted, uncritical assumptions about the making of art in general, as well as the making of great art. But these assumptions are intrinsic to a great deal of art-historical writing.
It is no accident that the crucial question of the conditions generally productive of great art has so rarely been investigated, or that attempts to investigate such general problems have, until fairly recently, been dismissed as unscholarly, too broad, or the province of some other discipline, like sociology. To encourage a dispassionate, impersonal, sociological and institutionally-oriented approach would reveal the entire romantic, elitist, individual-glorifying and monograph-producing substructure upon which the profession of art history is based, and which has only recently been called in to question by a group of younger dissidents.
Underlying the question about woman as artist, then, we find the myth of the Great Artist—subject of a hundred monographs, unique, godlike—bearing within his person since birth a mysterious essence, rather like the golden nugget in Mrs.
The magical aura surrounding the representational arts and their creators has, of course, given birth to myths since the earliest times. Interestingly enough, the same magical abilities attributed by Pliny to the Greek sculptor Lysippos in antiquity—the mysterious inner call in early youth, the lack of any teacher but Nature herself—is repeated as late as the 19th century by Max Buchon in his biography of Courbet. The supernatural powers of the artist as imitator, his control of strong, possibly dangerous powers, have why same sex marriage should be legal essay historically to set him off from others as a godlike creator, one who creates Being out of nothing.
The fairy tale of the Boy Wonder, discovered by an older artist or discerning patron, why same sex marriage should be legal essay, usually in the guise of a lowly shepherd boy, has been a stock-in-trade of artistic mythology ever since Vasari immortalized the young Giotto, discovered by the great Cimabue while the lad was guarding his flocks, drawing sheep on a stone; Cimabue, overcome with admiration by the realism of the drawing, immediately invited the humble youth to be his pupil.
Even when the young Great Artist was not fortunate enough to come equipped with a flock of sheep, his talent always seems to have manifested itself very early, and independent of any external encouragement: Filippo Lippi and Poussin, Courbet and Monet are all reported to have drawn caricatures in the margins of their schoolbooks instead of studying the required subjects—we never, of course, hear about the youths who neglected their studies and scribbled in the margins of their notebooks without ever becoming anything more elevated than department-store clerks or shoe salesmen.
The great Michelangelo himself, according to his biographer and pupil, Vasari, did more drawing than studying as a child. VIA WIKIMEDIA COMMONS As is so often the case, such stories, which probably have some truth in them, tend both to reflect and perpetuate the attitudes they subsume. Despite any basis in fact of these myths about the early manifestations of Genius, the tenor of the tales is misleading.
It is no doubt true, for example, that the young Picasso passed all the examinations for entrance to the Barcelona, and later to the Madrid, Academy of Art at the age of 15 in but a single day, a feat of such difficulty that most candidates required a month of preparation. What if Picasso had been born a girl? Would Señor Ruiz have paid as much attention or stimulated as much ambition for achievement in a little Pablita?
Here we have the mad van Gogh, spinning out sunflowers despite epileptic seizures and near-starvation; Cézanne, braving paternal rejection and public scorn in order to revolutionize painting; Gauguin throwing away respectability and financial security with a single existential gesture to pursue his Calling in the tropics, or Toulouse-Lautrec, dwarfed, crippled and alchoholic [ sic ], sacrificing his aristocratic birthright in favor of the squalid surroundings that provided him with inspiration, etc.
Now no serious contemporary art historian takes such obvious fairy tales at their face value. Yet it is this sort of mythology about artistic achievement and its concomitants which forms the unconscious or unquestioned assumptions of scholars, no matter how many crumbs are thrown to social influences, ideas of the times, economic crises and so on.
But it has never revealed itself, why same sex marriage should be legal essay. Women do not have the golden nugget of artistic genius. If Giotto, the obscure shepherd boy, and van Gogh with his fits could make it, why not women? VIA WIKIMEDIA COMMONS Yet as soon as one leaves behind the world of fairy-tale and self-fulfilling prophecy and, instead, casts a dispassionate eye on the actual situations in which important art production has existed, in the total range of its social and institutional structures throughout history, one finds that the very questions which are fruitful or relevant for the historian to ask shape up rather differently.
One would why same sex marriage should be legal essay to ask, for instance, from what social classes artists were most likely to come at different periods of art history, from what castes and sub-group.
What proportion of painters and sculptors, or more specifically, of major painters and sculptors, came from families in which their fathers or other close relatives were painters and sculptors or engaged in related professions? As Nikolaus Pevsner points out in his discussion of the French Academy in the 17th and 18th centuries, the transmission of the artistic profession from father to son was considered a matter of course as it was with the Coypels, the Coustous, the Van Loos, etc ; indeed, sons of academicians were exempted from the customary fees for lessons.
In the rank of major artists, the names of Holbein and Dürer, Raphael and Bernini, immediately spring to mind; even in our own times, one can cite the names of Picasso, Calder, Giacometti and Wyeth as members of artist-families.
Could, it be that the little golden nugget—Genius—is missing from the aristocratic make-up in the same way that it is from the feminine psyche? Or rather, is it not, that the kinds of demands and expectations placed before both aristocrats and women—the amount of time necessarily devoted to social functions, the very kinds of activities demanded—simply made total devotion to professional art production out of the question, indeed unthinkable, both for upper-class males and for women generally, rather than its being a question of genius and talent?
When the right questions are asked about the conditions for producing art, of which the production of great art is a sub-topic, there will no doubt have to be some discussion of the situational concomitants of intelligence and talent generally, not merely of artistic genius.
Piaget and others have stressed in their genetic epistemology that in the development of reason and in the unfolding of imagination in young children, intelligence—or, by implication, what we choose to call genius—is a dynamic activity rather than a static essence, and an activity of a subject in a situation. As why same sex marriage should be legal essay investigations in the field of child development imply, these abilities, or this intelligence, are built up minutely, step by step, why same sex marriage should be legal essay, from infancy onward, and the patterns of adaptation-accommodation may be established so early within the subject-in-an-environment that they may indeed appear to be innate to the unsophisticated why same sex marriage should be legal essay. Such investigations imply that, even aside from meta-historical reasons, scholars will have to abandon the notion, consciously articulated or not, of individual genius as innate, and as primary to the creation of art, why same sex marriage should be legal essay.
We can now approach our question from a more reasonable standpoint, since it seems probable that the answer to why there have been no great women artists lies not in the nature of individual genius or the lack of it, but in the nature of given social institutions and what they forbid or encourage in various classes or groups of individuals.
Let us first examine such a simple, but critical, issue as availability of the nude model to aspiring women artists, in the period extending from the Renaissance until near the end of the 19th century, a period in which careful and prolonged study of the nude model was essential to the training of every young artist, to the production of any work with pretentions to grandeur, and to the very essence of History Painting, generally accepted as the highest category of art: indeed, it was argued by defenders of traditional painting in the 19th century that there why same sex marriage should be legal essay be no great painting with clothed figures, since costume inevitably destroyed both the temporal universality and the classical idealization required by great art.
Needless to say, central to the training programs why same sex marriage should be legal essay the academies since their inception late in the 16th and early in the 17th centuries, was life drawing from the nude, generally male, model. In addition, groups of artists and their pupils often met privately for life drawing sessions from the nude model in their studios.
The formal academic program itself normally proceeded, as a matter of course, from copying from drawings and engravings, to drawing from casts of famous works of sculpture, to drawing from the living model. It is rather as though a medical student were denied the opportunity to dissect or even examine the naked human body. VIA WIKIMEDIA COMMONS There exist, to my knowledge, no representations of artists drawing from the nude model which include women in any role but that of the nude model itself, an interesting commentary on rules of propriety: i.
A slightly earlier drawing of Ladies in the Studio by the Polish artist Daniel Chodowiecki, shows the ladies portraying a modestly dressed member of their sex. In a lithograph dating from the relatively liberated epoch following the French Revolution, the lithographer Marlet has represented some women sketchers in a group of students working from the male model, but the model himself has been chastely provided with what appears to be a pair of bathing trunks, a garment hardly conducive to a sense of classical elevation: no doubt such license was considered daring in its day, and the young ladies in question suspected of doubtful morals, but even this liberated state of affairs seems to have lasted only a short while.
In an English stereoscopic color view of the interior of a studio of aboutthe standing, bearded male model is so heavily draped that not an iota why same sex marriage should be legal essay his anatomy escapes from the discreet toga, save for a single bare shoulder and arm: even so, he obviously had the grace to avert his eyes in the presence of the crinoline-clad young sketchers.
A photograph by Thomas Eakins of about reveals these students modeling from a cow bull? I have gone into the question of the availability of the nude model, a single aspect of the automatic, institutionally-maintained discrimination against women, in such detail simply to demonstrate both the universality of the discrimination against women and its consequences, as well as the institutional rather than individual nature of but one facet of the necessary preparation for achieving mere proficiency, much less greatness, in the realm of art during a long stretch of time.
One could equally well examine other dimensions of the situation, such as the apprenticeship system, why same sex marriage should be legal essay, the academic educational pattern which, in France especially, was almost the only key to success and which had a regular progression and set competitions, crowned by the Prix de Rome which enabled the young winner to work in the French Academy in that city—unthinkable for women, of course—and for which women were unable to compete until the end of the 19th century, by which time, in fact, the whole academic system had lost its importance anyway.
It also becomes apparent why women were able to compete on far more equal terms with men—and even become innovators—in literature. While art-making traditionally has demanded the learning of specific techniques and skills, in a certain sequence, in an institutional setting outside the home, as well as becoming familiar with a specific vocabulary of iconography and motifs, the same is by no means true for the poet or novelist.
Naturally this oversimplifies the real difficulties and complexities involved in creating good or great literature, whether by man or woman, but it still gives a clue as to the possibility of the existence of Emily Brönte or an Emily Dickinson, why same sex marriage should be legal essay, and why same sex marriage should be legal essay lack of their counterparts, at least until quite recently, in the visual arts.
It is this emphasis which transforms serious commitment to frivolous self-indulgence, busy work or occupational therapy, and today, more than ever, in suburban bastions of the feminine mystique, tends to distort the whole notion of what art is and what kind of social role it plays.
In Mrs. It must not be supposed that the writer is one who would advocate, as essential to woman, any very extraordinary degree of intellectual attainment, especially if confined to one particular branch of study. To be able to do a great many things tolerably well, is of infinitely more value to a woman, than to be able to excel in any one.
By the former, she may render herself generally useful: by the latter, she may dazzle for an hour. By being apt, and tolerably well skilled in everything, she may fall into any situation in life with dignity and ease—by devoting her time to excellence in one, she may remain incapable of every other. All that would occupy her mind to the exclusion of better things, all that would involve her in the mazes of flattery and admiration, all that would tend to draw away her thoughts from others and fix them on herself, ought to be avoided as an evil to her, however brilliant or attractive it may be in itself.
As far as painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music—it is quiet and disturbs no one this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex ; in addition, says Mrs.
The circle is a vicious one, in which philistinism and frivolity mutually re-enforce each other. Even the determined and successful heroine of Mrs.
To paraphrase the words of Patricia Thomson in The Victorian HeroineMrs. Craik, having shot her bolt in the course of her novel, is content, finally, to let her heroine, whose ultimate greatness the reader has never been able to doubt, sink gently into matrimony. That achievement in the arts, as in any field of endeavor, demands struggle and sacrifice, no one would deny; that this has certainly been true after the middle of the 19th century, when the traditional institutions of artistic support and patronage no longer fulfilled their customary obligations, is undeniable: one has only to think of Delacroix, Courbet, Degas, van Gogh and Toulouse-Lautrec as examples of great artists who gave up the distractions and obligations of family life, at least in part, why same sex marriage should be legal essay, so that they could pursue their artistic careers more singlemindedly.
Yet none of them was automatically denied the pleasures of sex or companionship on account of this choice, why same sex marriage should be legal essay. Nor did they ever conceive that they had sacrificed their manhood or their sexual role on account of their singleness and singlemindedness in order to achieve professional fulfillment. But if the artist in question happens to be a woman, 1, years of guilt, self-doubt and objecthood have been added to the undeniable difficulties of being an artist in the modern world.
The theme in both is innocence, delicious feminine innocence, exposed to the world. Always a model but never an artist might well have served as the motto of the seriously aspiring young woman in the arts of the 19th century. VIA WIKIMEDIA COMMONS But what of the small band of heroic women, who, throughout the ages, despite obstacles, have achieved pre-eminence, if not the pinnacles of grandeur of a Michelangelo, a Rembrandt or a Picasso?
Are there any qualities that may be said to have characterized them as a group and as individuals? While we cannot go into such an investigation in depth in this article, we can point to a few striking characteristics of women artists generally: they all, almost without exception, were either the daughters of artist fathers, or, generally later, in the 19th and 20th centuries, had a close personal connection with a stronger or more dominant male artistic personality.
Same-sex marriage - the facts
, time: 3:44The Divine Institution of Marriage
Loving v. Virginia, U.S. 1 (), was a landmark civil rights decision of the U.S. Supreme Court in which the Court ruled that laws banning interracial marriage violate the Equal Protection and Due Process Clauses of the Fourteenth Amendment to the U.S. Constitution. Beginning in , it was cited as precedent in U.S. federal court decisions holding restrictions on same-sex marriage in Feb 12, · While parents should start educating their children as early as possible, there are debates regarding the age at which sex education should be introduced at school. Some parent groups consider that sex education should not start until grade 5 or 6. At the same time, others believe that this should start earlier May 30, · Yet at the same time that she rejected marriage for herself and implied an inevitable loss of selfhood for any woman who engaged in it, she, unlike the Saint-Simonians, considered marriage “a
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