...use the female body as their primary subject matter and whose work explores the social constraints that surround it. Before the 1970s, the art scene had for the most part enacted very narrowly defined gender roles: male artists ran the art world, making them the dominant voice for both genders and how they were portrayed. Women tended to be objectified, while men had the freedom of expressing their identities in more complex representations. In the 1970s, artists (mainly in New York to start with) began to interrogate traditional roles assigned to women, problematising dominant depictions of women in the domestic and public spheres as well as beauty standards. Though gender became a dominant subject matter and discourse in the 1970s, the artists of this period were not the first artists to deal with topic. In the early twentieth-century, artists like Claude Cahun, Hannah Hoch and Frida Kahlo produced self-portraits, which explored the fluid nature of gender, refusing to comply with the static categories of masculine and feminine, and producing a more complex image of what being a woman could look like....
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...politicized on a scale not seen since World War II. The Third World was at the forefront of revolutionary cinema as filmmakers in those countries treated cinema as a tool of social change and a weapon of political liberation. This use of film as a social and political force emerged first in Latin America and spread to Africa and China, while also emerging in the First World countries including the U.S.S.R. and United States. The counterculture and the New Left were examples of an international politics of youth that focused on opposition to American involvement in Vietnam, critique of post-World War II capitalist society, and social-protest movements focused on equality of diverse groups. Eventually, radical leftism declined in the mid-1970s, but engaged filmmaking remained central to the micropolitics of the era. A June 1979 alternative-cinema conference in New York assembled over 400 political activists working in film and video in the United States. In some countries, government liberalization led to funding for militant film. The new Labour government in Britain assisted Liberation Film and Cinema Action, while the regional Maisons de la Culture allotted money for local media groups in France. Some parallel distribution and exhibition circuits proved successful in promoting films about nuclear power, day care, ethnic rights, and similar issues. In the United States and Great Britain, feminist filmmaking pioneered the turn to issue-centered, grassroots problems. By 1977...
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...Anthropology is the study of different ways of life, both past and present. It is comparative and cross-cultural, combining elements form biology, sociology, psychology, and history into a grand synthesizing endeavor (Heider, 2007). The focus of this essay is to take a holistic approach to the culture of Bali. Bali is an island located in Indonesia. Bali is full of traditional culture, belief, arts and performance. There are five main topics I would like to cover in this essay. The first is Social organization, what kinds of structure to the Balinese have? The second two topics are family and religion, we will find out that the two go hand in hand. The fourth topic is food, or rice cultivation, which is an important staple in the country. Finally we will cover the topic of Art. Art is important not only to the culture, but also to its economy. Social organization: The way in which Balinese culture is subdivided into smaller groups whose membership is determined by kinship, age, location. Most of Balinese social organization starts with its religious community. Hinduism is the most common religion in Bali. Villages in Bali have many different kinds of temples, but they all have a pemangku (priest): the more important ones also have a klian (secretary) and a beddesa (calendrical expert). The klian and bedesa are elected; the pemangku may be designated by patrilineal succession, elected by the congregation or chosen by God through a possessed temple medium (Barth, 1993). There...
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...changed since the 1970s. Basically strategic management studies started in the 1950s and 1960s and then evolved along the way to today. Strategic management just refers to the fact that an organization is working with clearly stated strategies to meet its vision. The strategies have changed from the 1970s to now. In 1970s strategic management was mostly centred on the ideas of size, growth and portfolio. This means managers saw the need to seek growth through size and increased portfolio. By portfolio we mean different investment opportunities or diversification. In the 1970s there was emphasis on market growth strategies. The main emphasis was on extending the markets as a means of harnessing more profits. By this time firms were market oriented. Their strategies were to control as much market as possible. Impact of market shares has led to the concept of increased profit based on reaching as many people as possible. There was the need to craft strategies that affected the entire organization not sub units. The need for overall company orientation was important. Strategic planning has changed a bit from that time. The focus has changed. The earlier focus was on growth and market share. Now the focus is on an efficient organization that has greater coordination and viability. The strategies have changed. Companies are no longer market oriented as before. Their focus is now on the overall organization. Departments can have their own strategies. In the 1970s only a centralized...
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...Art and Culture The role women and their influence in the twentieth century started when they were challenged, by men, not allowing women to be included in the art exhibits and therefore the feminist movement had begun. The feminist movement was started with four women artists: Yoko Ono, Adrian Piper, Carolee Schneemann, and Eva Hesse who participated in and prompted the artistic directions. The purpose of the feminist movement was to protest for equal rights, sexism, gender roles, and reproductive rights so women could be allowed in the American art world. In 1971, art historian Linda Nochlin published an essay “Why Have There Been No Great Women Artists?” In this article she argued with art critics and historians. Nochlin explained how women were being excluded from all art exhibits and collections. Women started protesting by picketing museums and staging demonstrations. In 1972, women started shaping American society by opening their own art galleries all over the world to show their work. They opened feminist art programs at Fresno State College and California Institute of the Arts (Cal Arts) in early 1970. By 1974 over 1,000 United States colleges and universities offered women’s studies courses. In 1975, women started creating images of their bodies to proclaim women’s right to control and enjoy their bodies, which was the start of women’s liberation, while other women decided to dress up their painting with embroidery, knitting, quilting, and china paintings...
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...Write a short essay on Druids and similar priests in Europe B.C. In this essay I will compare the druids, so the Celtic religion to the Greek ancient religion. There are similarities but most of the items are differences. Druids were the priests of the Celtic tribe. They had great power because of their spread of belief and for the role they had in the society. First of all, they could go over a ruler. So the druids were acting like judges, advisers, doctors but also as magicians or poets. Druids had ceremonies of mistletoe that involved animal sacrifice it was also a tradition for the Greek tribes. They both thought that their gods need them to pay in some form of a sacrilege. But the druids were also known for the human sacrifice. They strongly believe in the soul that is not dying but it takes another body. This sacrifice it was an act of bravery, of approaching god. Also the druids had this Underworld, were to be found fairies as the guardians. Greek priests were not forming a college of priests like the druids, they were separated. Each priest had his deity to worship and they remain devoted to that only god. “The priest’s role was not that of a rabbi or pastor – he tended not the worshipers but the deity. He would serve only the cult of one deity, and his authority as priest was limited to the cult of that deity. “ As for the rituals, priests would deliver prayers; they had libations all in a religious ceremony. The animal sacrifice was often closed with the analysis...
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...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
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...The museum offers a space to the public for education, meditation, reflection of the self and others. The issue of gender challenges, if not simply questions, an institution with a profound sense of power in deciding what makes history, what is representative of culture, and how individuals can be identified among a greater scheme of social construction. Feminist critique reveals museums to be generally colonising spaces of the female body. In a profession now largely occupied by women, there appears to still be a gender disproportion in directorial and curatorial positions. ‘The women’s movement has largely bypassed museums’ (Glaser & Zeneton 1994). Even with noticeable changes to gender perspectives in Western society, women have much to remodel in a museological world that is still dipped in a long-established and well-governed androcentrism. Museums are extraordinarily powerful institutions across the globe today. They present the past and present in ways that rule entire schools of thought, dictate truth and notions of common sense, and shape the ways in which people perceive and interpret meaning through culture and history. In assessing the status of modern museum culture, it is important to understand the politics by which an institution runs and governs itself. This issue is often overlooked in museum studies; historically museums have acted at their own discretion without much, if any, cultural, political, or social supervision; thus, despite a reputation for being...
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...movement that began around 1920s. Before it was called the Harlem renaissance it was known as the "New Negro Movement", that was named after the anthology edited by Alain Locke in 1925. The Harlem Renaissance grew out of the changes that had taken place in the black community since the abolition of slavery, and which had been accelerated as a consequence of the First World War. It can also be seen as specifically African-American response to an expression of the great social and cultural change taking place in America in the early 20th century under the influence of industrialization and the emergence of a new mass culture. This movement impacted urban centers throughout the United States. Across the cultural spectrum (literature, drama, music, art, dance) and also in social thought (sociology, philosophy), artists and intellectuals found new ways to explore the historical experiences of black America and the contemporary experiences of black life in the urban North. Challenging white superiority and racism, African-American artists and intellectuals rejected merely imitating the styles of Europeans and white Americans and instead celebrated black dignity and creativity. Asserting their freedom to express themselves on their own terms as artists, they explored their identities as black Americans, celebrating the black culture that had emerged out of slavery and their cultural ties to Africa. According to Marshall Bialosk, Although both Alain Locke and W.E.B Dubois wrote about African...
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...What Is Servant Leadership? Servant leadership is a philosophy and set of practices that enriches the lives of individuals, builds better organizations and ultimately creates a more just and caring world. While servant leadership is a timeless concept, the phrase “servant leadership” was coined by Robert K. Greenleaf in The Servant as Leader, an essay that he first published in 1970. In that essay, Greenleaf said: “The servant-leader is servant first… It begins with the natural feeling that one wants to serve, to serve first. Then conscious choice brings one to aspire to lead. That person is sharply different from one who is leader first, perhaps because of the need to assuage an unusual power drive or to acquire material possessions…The leader-first and the servant-first are two extreme types. Between them there are shadings and blends that are part of the infinite variety of human nature.” “The difference manifests itself in the care taken by the servant-first to make sure that other people’s highest priority needs are being served. The best test, and difficult to administer, is: Do those served grow as persons? Do they, while being served, become healthier, wiser, freer, more autonomous, more likely themselves to become servants? And, what is the effect on the least privileged in society? Will they benefit or at least not be further deprived?“ A servant-leader focuses primarily on the growth and well-being of people and the communities to which they belong. While traditional...
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...Bibliography over Erik Erikson Erik Erikson was born on June 15, 1902 in Frankfurt, Germany and later died on May 12, 1994. He in his early age studied arts and many other languages; he never liked formal school. After graduating high school, he was focusing on becoming an artist. He decided to travel around Europe for a whole year than Erik decided to enroll in an arts school back in Germany which he stayed there for several years. Erik Later in 1933 he moved to Boston, Massachusetts where he filled the position at Harvard Medical School. Once he was at Harvard, he met psychologists such as “Henry Murray” and “Kurt Lewin” and anthropologists like “Ruth Benedict”, “Margaret Mead”, and “Gregory Bateson” which for that reason it impacted him....
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...Enlightenment in Fifth Business: The Beauty of Change Fiona Doomasia West Carleton Secondary School Ms. Bell (e-Learning with O.C.D.S.B.) ENG4UT Monday, July 13, 2015 Enlightenment in Fifth Business: The Beauty of Change Millions of people devote their entire lives to achieving enlightenment; however, very few people truly understand how to do this, and what it feels like. Enlightenment is an abstract concept of attaining knowledge and reaching self awareness. Despite the ambiguity in the meaning of enlightenment, today’s society believes that it will guarantee self satisfaction. In Fifth Business, Robertson Davies portrays a man’s quest for enlightenment through his unpredictable life journey. Every change in Dunstan Ramsay’s life journey teaches him a valuable life lesson, and changes him for the better, resulting in his discovery of enlightenment. The road to enlightenment is paved by the insight on life that Dunstan gains as he changes his physical locations over the course of the novel. It is also clear that change can be enlightening when looking at the important characteristics that Dunstan develops from the variety of people that he surrounds himself with throughout life. Lastly, the knowledge that Dunstan learns through his many ambition changes proves to help him find personal enlightenment. Through the principles that Dunstan learns from his perpetual changes in setting, friends and ambitions, Davies uses Dunstan’s life journey to show that in order to...
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...is an active member of Women in Literary Arts (WILA), and writes poetry both in English and cebuano. She teaches on the anthropology of linguistics. Works: * Cebu Provincial History Project. Cluster 1 editor * Sinug-ang: A Cebuano trio, by Erlinda K. Alburo, Cora Almerio, and Ester Tapia. Women in Literary Arts-Cebu, Inc., 1999. Poems in English by three Cebuanas. * Dulaang Cebuano, edited by Erlinda K. Alburo, Resil Mojares, and Don Pagusara. Ateneo de Manila University Press, 1993. Collection of Cebuano plays. * Panulaang Cebuano, collected by Erlinda K. Alburo and with introduction by Resil B. Mojares. Ateneo de Manila University Press, 1993. Collection of Cebuano poems. * Bibliography of Cebuano folklore, University of San Carlos, 1977. * Cebuano poetry = Sugboanong balak. Edited and translated by Erlinda K. Alburo et al. Cebuano Studies Center, University of San Carlos, 1988. Cebuano poetry with translations into English. * Centering voices: an anthology. Edited by Erlinda K. Alburo, Erma M. Cuizon and Ma. Paloma A. Sandiego. Women in Literary Arts, 1995. Poems and short stories in English and Tagalog. * Cebuano folksongs. Editor/translator, Erlinda K. Alburo. University of San Carlos, 1978. * Gawad Bonifacio sa panitikan. Editor for Cebuano. National Commission for Culture and the Arts, 1998. Collection of Philippines literature about Bonifacio. * Cebu: more than an island. Essays on cultural topics by Resil B. Mojares,...
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...ESSAY #1 From a historical standpoint, just about every culture on the planet has venerated males as dominate figures, while scorning females as the lesser sex. Japan is surely no exception to this method of opinion. Although, ironically male writers paved many of the pioneering days of shojo manga, many female writers emerged and revolutionized the shojo manga market and further gave women within Japanese society who read Shojo manga a sense of exemplification and ‘an air or authenticity’. This was an important mark within Japanese society, because it very closely related to the rise of femininity within Japan, as there were not many female artists before or after the World War. In came the era of the 1970s, and many female artists appeared to express their opinions by manga; their work met the demands of Japanese girls to read manga written from the female point of view. The development of manga had portrayed reality quite well, and sales within these girls’ magazines skyrocketed. As female artists maintained and developed more individuality within their art, Shojo manga in turn depicted the social roles and reduced responsibility that Japanese women had in society. Many of these magazines ‘pushed the envelope’ within society, as many of the relationships created within the stories were doseiai, or same sex romances. The writing and imagery reinforced a “visual of monotony, as many of the characters had similar facial features, and wore identical school uniforms as they...
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...film genre”. Unlike other genres that are based on subject matter, the youth genre is based on the ages of the films characters, and thus the thematic concerns of its sub-genres can be seen as more directly connected to specific notions of different youth behaviours and styles. Eggert, B. (2013). The Definitives: an ongoing series of indepth essays and appreications of the very best cinema. Available: http://www.deepfocusreview.com/reviews/rebelwithoutacause.asp. Last accessed 10th September 2015 Through the film, a division of young adults received a personality and individualism never before represented onscreen, establishing their place within their own unique cultural identity, language, and social rituals, as represented by Ray’s picture and in those which followed to use his film as a benchmark. Ray’s picture was the first to “get” 1950s adolescents with all their conflicts, oblivious parents, sexual confusion, social anxiety, and alienation Keith Grant, B. (2003). Youth In Film History. In: Film Genre Reader, Volume 3. Texas: Texas: University Of Texas Press. 499. However. Hollywood did not suddenly bank on hedonistic teen roles in the early 1950’s: their process of introducing the post-war teenager was careful if not apprehensive, as they gradually exaggerated the ephebiphobia -fear of teenagers- that was seeping into popular culture and politics. After a few notable “clean teen” performances in the 1940’s by Jeanne Crain in Margie (1946) and Elizabeth Taylor in Little...
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