Cindy Sherman’s photograph reflects the rights women began to gain. This is conveyed through signs and symbols such as the cocktail glass sitting in the background through the reflection of the mirror of the photo. Cindy Sherman’s two photos differ from each other. Her first Untitled Film Still, #3 in 1977 represents
Betye Saar was born, Betye Irene Brown, on July 30, 1926 in Los Angeles, California. Betye Saar is an American artist and educator. She is well-known for her gatherings that ridiculed racist attitudes about African Americans and for fittings that featuring mystical themes. Saar attended the University of California at Los Angeles from 1945 to 1949 and received a Bachelor’s degree in design. After receiving her BA degree, she worked as a social worker while she studied education and printmaking at California State University at Long Beach.
Primary Document 08: Phyllis Schlafly - The Fraud of the Equal Rights Amendment (1972) 1) Why does Phyllis Schlafly oppose the Equal Rights Amendment? Is she justified (please make sure you understand what “justified” means)? Why or why not?
In the play "Antigone" by Sophocles, Antigone rightfully decides to bury her brother, Polynices, but when the king, Creon, finds out, she does not repent for her actions. She is a woman that stands for what she thinks is right, which in this case is that Creon is wrong for condemning the burial of her brother. She shows braveness with her actions because not all people have the courage to risk their own lives so that their brother can rest in peace. For instance, Ismene states "What? You 'd bury him – when a law forbids the city?"
Nobody knows her name she is always referred to as “Curley’s wife”. One could argue that Curley's reaction displays a twisted loyalty to his deceased wife; he feels he needs to gain retribution by avenging his dead wife. Georges loyalty to Lennie is sometimes questioned in the novella he says, “ I could live so easy” George feels that Lennie is at times a burden but George exhibits a strong sense of loyalty to Lennie in the final section of the novella “his had shook violently but his face set and his hand studied. He pulled the trigger.”
Just like any two books, there are similarities and differences between Antigone and Siddhartha. One difference, for example, is that Antigone is willing to take her own life just to put her dead brother’s body to rest, while Siddhartha knows when to stop and can determine whether or not it is worth doing certain things to achieve enlightenment. Another difference is that Siddhartha has assistance from people like Kamala and the ferryman, while Antigone is largely on her own. Siddhartha has people to talk to when in need, but Antigone does not. On the other hand, one similarity between the two books is that both Antigone and Siddhartha are able to overcome obstacles.
She tells Dorian: “You are more to me than all art can ever be” (63; ch. 7). Unlike Dorian, Sibyl chose reality over art, denying the credos of the new hedonism, “which dictates an aesthetic detachment from the sordid realities of daily existence” (“Overview: The Picture of Dorian Gray”). Without Sibyl’s art, her acting, she is nothing to Dorian, and thus no longer fulfills a purpose in Dorian’s aesthetic life, so he breaks off their engagement (Duggan). Dorian’s careless cruelty not only causes Sibyl to commit suicide, but it was also the first amoral act that caused his portrait to transfigure. With Lord Henry’s encouragement, Dorian “reacts to the death of Sibyl Vane with cool detachment after the initial shock” (Fox 1145).
For example Oedipus has to deal with the fate that polybus of corinth is not his father. Also oedipus wife/mother has to deal with the fact that she kept this away from oedipus and now has to deal with the fact she can’t keep this from oedipus anymore. One last reason is that oedipus can’t face the fact that he killed
The setting of the story both involves a town with a judgmental perspective that is involved with outer appearances. In “Lusus Naturae,” the protagonist of the story faked her death so that she could finally be accepted in a way that she would not become a hindrance to her family from the society. The people in town and even her family did not want to acknowledge the fact that the protagonist was still a human being; therefore, she was conflicted with the society in which to keep on living or to die. When the family of the protagonist suggested that it was best for her to fake her death she agreed to it and stated, “Now that I was dead, I was freer…” (Atwood 227).
However, one must consider the egg shell skull rule which states the defendant must “take his plaintiff as he finds him.” What if attributable to her disease process she fell to her death while on
Healy places Piper on the council without her consent, despite Piper showing her frustration with WAC. Piper has no interest in being part of the Women 's Advisory Council, even if it may affect her chances of being released early. Jacques and Wright assert, “The death penalty is an example of a political punishment, whereas retaliatory murder is an example of a popular punishment. Punishments are a way to reduce the costs to or increase the benefits for the controller/punisher by increasing costs for the person controlled/punished” (Jacques and Wright 737). The punishments that people receive from particular law-breaking acts can potentially put more pressure on them.
In this treatise brilliant on the hidden aspects of the second wave of feminism in the 1960s and 1970s, Sue Ellen Browder unmask the basics of theological, philosophical and cultural causes an entire generation or two of femininity authentic and to the false sense of security personality. Sue Ellen Browder was ousted
In the halls of the State Capitol building, the portrait hangs near the House Of Representatives on the second level of the building. The piece is located in the center of the wall, with the portrait of Oswald West (Plate 1) to its left and Barbara Roberts (Plate 2) to its right. When comparing all three pictures it seems clear why Paul Missal's piece is in the middle. Out of the three, Straub's portrait is the only informal representation of a governor, especially since the painting is mostly a landscape. The portrait of Oswald West comprises a black and white palette with the traditional forty-five degree pose, only showing him from the waist up.