Feminism and the Body in Art

Feminism and the Body in Art Modernism is described usually as a movement and a tendency to provoke reflection and an individual character. During this period, art was seen to be set in its ways and people wanted to expand with new ideas and not stay in the lines of colour and structure. This movement was a representation of alternative modes for literature, art, photography and film. Its intention was to find new hidden meaning in human kind and use them to the best of their ability in experimentation. I feel therefore I exist. (Internet Archive Jean Jacques) The Oxford English Dictionary refers to postmodernism as a style and concept in the arts characterized by distrust of theories and ideologies and by the drawing of attention to conventions. (Internet Oxford Dictionary) Post Modernism didnt seem to have a theory, it was what it was, which meant it had smaller narratives and people gained the knowledge to do something with it. This is also portrayed in what was thought to be the start date of post modernism as no one really knows when modernism ends and postmodernism starts, what it does illustrate is cultural thinking and the way we live, what came with this is the reaction to what people thought modernism was. People rejected the thought of perfection but wanted design and purpose. Known for her conversation on bodies, sexuality and gender Carolee Schneemanns work is fundamentally characterized by research into visual convention. Schneemann focuses on the body as an individual and its relationship in general. Schneemanns family was largely supportive of her enjoyment of freeness with her body. As a child, her friends described her as a mad pantheist, due to her relationship and respect for nature'(Kate Haug p114) Schneemann cites her earliest connections between art and sexuality to her drawings from ages four and five, which she drew on her fathers prescription tablets (Linda Montano p135) Carolee Schneemann started her art career as a painter in the late 1950s. Neo-Dada was something that had because an accruing characteristic in her work, adopting box structures coupled with expressionist brushwork. These were shared with Robert Rauschberg using heavy textural characteristics. Schneemann described the atmosphere in the art community at this time as misogynistic and that female artists of the time were not aware of their bodies. These works integrated influence by artists such as Post-Impressionist painter Paul CÃ ©zanne and the issues in painting brought up by the abstract expressionists. (internet archive Jane Harris) Schneemann chose to focus on expressiveness in her art rather than accessibility or stylishness. Still describing herself as a formalist, unlike other feminist artists she didnt want to distance herself from male-oriented art history. Schneemann acknowledges that she is often labelled as a feminist icon and that she is an influential figure to female artists, but she also notes that she reaches out to male artists as well. Though she is noted for being a feminist figure, her works explore issues in art and rely heavily on her broad knowledge of art history. Though works such as Eye Body were meant to explore the processes of painting and assemblage, rather than to address feminist topics, they still possess a strong female presence. Revolving herself around sexual expression and liberation Schneemann decided not to revolve around victimization and repression of women. According to artist and lecturer Johannes Birringer, Schneemanns work resists the political correctness enforced by some branches of feminism as well as ideologies which feminists claim are misogynist, such as psychoanalysis. He also asserts that Schneemanns work is difficult to classify and analyze as it combines constructivist and painterly concepts with her physical body and energy.'(Kristine Stiles p3) In her 1976 book CÃ ©zanne, She Was a Great Painter, Schneemann wrote that she used nudity in her artwork to break taboos associated with the kinetic human body and to show that the life of the body is more variously expressive than a sex-negative society can admit. She also stated, In some sense I made a gift of my body to other women; giving our bodies back to ourselves. She preferred her term art historical (without the h), so as to reject th e his in history (Bonnie Marranca Review) While Jo Spence being a surliest and a feminist started her art life working on documentaries, which was very motivated by her political views. Spreading her working life across various camera projects, including being the founder of Hackney Flashers in 1974. After being diagnosed with cancer, Spence became particularly fascinated with the doctor patient relationship Passing through the hands of the medical profession can be terrifying when you have breast cancer.'(Jo Stanley article) Spence decided to document everything that was happening to her through photography, a piece taken while she had a mammograph done truly showed the brutality of her illness as she put her whole body under the scrutiny of one machine making her an active subject in her work. After a lumpectomy, Spence decided to undertake the holistic approach to cancer and underwent various Chinese medicine treatments, as she felt no need for chemotherapy or radioactive drugs. She also decided to use photography as a healing drug putting the emotion and passion into her work as she felt like cancer was able to take everything else. Through phototherapy she managed to capture the relationship between the doctor and the patient, her feelings towards cancer and the powerlessness as a patient. All of this was a need for Jo Spence to portray as not only a patient but a feminist. She was particularly interested in the perception of the breast as substance of desire, a medium for nourishing babies, and finally in her case of breast cancer, as a possession to be installed in the hands of the medical institution. This is what has really inspired me with her work, and her experience during her suffering of cancer. This is demonstrated in her photo of her breast, marked with pen t he property of Jo Spence? where she appears to question her rights over her own body, using the breast as a metaphor for womens struggle to become an active subject. (Bonnie Marranca Review) She puts no limits on her work and covers many social issues while her own pain. Jo Spence really makes me think about the body as a subject rather than an object. Thinking about the body and what it is used for, you never expect it to be destroyed by such an evil mass and this is what Jo Spence looks at. I think Spence has a certain power over her work and having such a raw quality which she uses to her best advantage, this is something I can only hope to achieve in my future work. After looking at her work I can only appreciate her time going through her ordeal of cancer, as I have only been a witness to what cancer can do no one can fully understand it until you go through it. Spence using photography captures the story but what cant be told. Internet Archive The Confessions Of Jean Jacques Rousseau Now For The First Time Completely Translated Into English With Out Expurgation Volume II [internet] [accessed 15.11.2009] http://www.archive.org/stream/confessionsofjea012146mbp/confessionsofjea012146mbp_djvu.txt The Oxford Dictionary, Oxford University Press 2009 [internet] [accessed 15.11.2009] http://www.askoxford.com/concise_oed/postmodernism?view=uk Journal Haug, Kate (1998). An Interview with Carolee Schneemann (1) P 114 (accessed 20.11.2009) Montano, Linda (2001). Interview with Linda Montano. Imaging Her Erotics: Essays, Interviews, Projects (accessed 20.11.2009) Morgan, Robert C.1997. Carolee Schneemann: The Politics of Eroticism. Art Journal 56 (4): pp. 97-100 (accessed 20.11.2009) Harris, Jane (1996). Review / Carolee schneemann http://www.plexus.org/review/harris/schneemn.html (internet) (accessed 20.11.2009) The Art of Transgression. Jo Stanley, editor. Routledge.1995 (accessed 20.11.2009) Stiles, Kristine (2003). The Painter as an Instrument of Real Time. Imaging Her Erotics: Essays, Interviews, Project (accessed 22.11.09) Marranca, Bonnie (1999). Book Review: Bodies of Action, Bodies of Thought: Performance and Its Critics p20 (accessed 22.11.09) Bonnie (1999). Book Review: Bodies of Action, Bodies of Thought: Performance and Its Critics p41 (accessed 22.11.09)

Ministers Black Veil Essays: The Minister’s Black Veil and its Author :: Ministers Black Veil Essays

â€Å"The Minister’s Black Veil† and its Author Evaluated By Contemporaries  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚   Initially, of course, Nathaniel Hawthorne’s short stories went unranked among those of other American and British writers. But his reputation, along with the popularity of his works, grew gradually even among contemporary critics, until he was recognized as a â€Å"man of genius.†    Edgar Allen Poe, in a review of Hawthorne’s work, said in Godey's Lady's Book, November, 1847, no. 35, pp. 252-6:    It was never the fashion (until lately) to speak of him in any summary of our best authors. . . . The "peculiarity" or sameness, or monotone of Hawthorne, would, in its mere character of "peculiarity," and without reference to what is the peculiarity, suffice to deprive him of all chance of popular appreciation. But at his failure to be appreciated, we can, of course, no longer wonder, when we find him monotonous at decidedly the worst of all possible points--at that point which, having the least concern with Nature, is the farthest removed from the popular intellect, from the popular sentiment and from the popular taste. I allude to the strain of allegory which completely overwhelms the greater number of his subjects.    So literary critic Edgar Allan Poe thinks that Hawthorne’s heavy reliance on allegory is the cause of his lack of popularity during the 1830’s and 40’s. In 1848 James Russell Lowell wrote a piece of poetry entitled â€Å"Hawthorne† for the periodical A Fable for Critics:      Ã‚  Ã‚  Ã‚   "There is Hawthorne, with genius so shrinking and rare   Ã‚  Ã‚  Ã‚   That you hardly at first see the strength that is there;   Ã‚  Ã‚  Ã‚   A frame so robust, with a nature so sweet,   Ã‚  Ã‚  Ã‚   So earnest, so graceful, so lithe and so fleet,   Ã‚  Ã‚  Ã‚   Is worth a descent from Olympus to meet;   Ã‚  Ã‚  Ã‚   'Tis as if a rough oak that for ages had stood,   Ã‚  Ã‚  Ã‚   With his gnarled bony branches like ribs of the wood,   Ã‚  Ã‚  Ã‚   Should bloom, after cycles of struggle and scathe,   Ã‚  Ã‚  Ã‚   With a single anemone trembly and rathe;   Ã‚  Ã‚  Ã‚   His strength is so tender, his wildness so meek. . . .    The author considers that now, â€Å"after cycles of struggle and scathe,† Hawthorne is finally emerging into recognition for his work. In 1850 Herman Melville wrote â€Å"Hawthorne and His Mosses† for The Literary World, August 17 and 24 editions, in which he humbly acknowledges the genius of Nathaniel Hawthorne:

A Study of the Cambridge Faculty of History Building

A Study of the Cambridge Faculty of History Building The Faculty of History edifice at Cambridge was the 2nd of legion university edifices designed by James Stirling. Working in partnership with James Gowen, Stirling’s foremost University undertaking, the Department of Engineering at the University of Leicester encompassed four interesting design brief judicial admissions, two of which appear to hold exerted some influence on the external visual aspect and design composing of the Faculty of History edifice at Cambridge. For the University of Leicester undertaking, laboratory work infinite was required to be flexible with respect to constellation in order to run into the altering demands of experimentation and research lab work, a construction was required capable of lodging a H2O armored combat vehicle for hydraulic intents at a tallness of 100 pess above land degree, direct sunshine was to be avoided due to instrumentation sensitiveness, and eventually, exposed concrete could be used as a seeable exterior coating. Harmonizing to John Jacobus, the result is a â€Å"form that is rich in coloring material and surface, but its forms are ne'er gratuitous, and, what’s more, none of them looks notional, in malice of their freshness. It is a functional edifice that looks functional, a factory-like research lab and schoolroom edifice which gives every visual aspect of being merely that ; a mill for survey ( but non, decidedly, an instruction mill ) ( footer: 1964 April: Technology Building, Leiceste r university by James Stirling ( Leicester, UK ) by John Jacobus, Architectural Review, 28 March 2011 ) . The design brief judicial admissions with regard to exterior finish and the restriction on direct sunshine resulted in extended usage of north confronting glassy facets surrounded by and juxtaposed against visually dominant ruddy brickwork consisting full lifts, a bold horizontal facade organizing exterior facing for the high degree country suiting the H2O armored combat vehicle, and, multiple narrow perpendicular columns. Although strikingly different in result, one can non assist pulling analogues between the Leicester and Cambridge edifices and reasoning that some inspiration for the Cambridge edifice was drawn from Stirling’s first University design authorization. Both edifices portion huge sweeps of glass interrupted by ruddy brickwork that creates a powerful yet heavy statement. Stirling and Gowen parted company station completion of the Leicester undertaking, go forthing Stirling to finish the design and compete for the Cambridge authorization without any design burden associated with partnership for his concluding competition entry. The design of the Cambridge edifice was completed in 1963 with Stirling emerging as victor of the design competition. Following a re-orientation of the proposed edifice from a Southwest to a Southeast facing way, building commenced in 1964 and was concluded in 1968. The edifice is situated on the Sidgwick site and houses the Seeley Historical library. In supplying a on the job infinite for up to 300 people, every bit good as a little figure of computing machines, it is one of the largest libraries belonging to the University of Cambridge web of libraries. Once in usage, assorted defects both in footings of design and building item came to visible radiation. Practical defects included thermic public presentation associated with individual tegument glazing and roof escape. Argument environing the edifice centred on map versus signifier and for many regular users, the library was regarded as a infinite non suited to work within. In 1984, about 16 old ages after gap, the History Faculty was at hazard of destruction before a determination was made to modify the bing edifice in order to continue the successful elements of the edifice whilst rectifying those facets regarded as flawed. In this survey I will be concentrating on the exterior design of the History module, and how some of Stirling’s design picks impact the experiential quality of the library. The Faculty of History edifice can be regarded as the Centre of the Sidgwick site as it is situated at an intersection point, with multiple tracts meeting on it. Consequently, the edifice has four chief entrywaies, with one at each corner. Since the edifice is approached and discernible from assorted waies as a consequence of being sited at an intersection, the overall ocular facet, presence and exterior quality of the edifice are of great importance. One drawback of being sited at an intersection is the presence of other edifices. With the History edifice surrounded on all sides by other edifices, it is unable to maximize its standalone individuality every bit good as its ability to come to life during two of the most inspiring light facet periods of the twenty-four hours. While environing edifices are all within close propinquity to the History Faculty, none of them are of great tallness, which does travel some manner towards cut downing their intervention with sunshine and their ability to supply distraction versus the centerpiece. Nevertheless, the History building’s inability to bask uninterrupted exposure to direct sunshine at dawn and sundown oes non let the edifice to bring forth the maximal impact of direct utmost ague angle sunshine on the edifice. Full exposure to near horizontal sunshine would bring forth all possible results associating to the contemplation and refraction of sunshine. For the bulk of perceivers, this hindrance will non be given great consideration as the library clears at 9a m, by which clip the Sun is high plenty in the sky for the edifices South of the History Faculty non to move as a barrier. Additionally, the lowest of the surrounding edifices is positioned on the west side of the library therefore understating the sum of clip lost to sunset light effects generated by the edifice. At its most basic degree, the edifice is composed of two primary signifiers ; a huge, individual storey country, triangular in program which is set within an L-shaped multi-storey construction. The Seeley library occupies the individual floor infinite, which is unfastened to all members of the university, while the multi-storey construction provides offices infinite, meeting suites and talk suites for staff and pupils of the History section. The overall signifier is successful as it allows the library to be placed at the bosom of edifice supplying both ocular and physical benefits. The edifice has a strengthened concrete frame with a steel roof supplying structural unity while the outside is clad in stretcher bonded ruddy brick and exhibits non-structural patent glazing. This method of adhering provides a ocular uniformity and repeat that emphasises the separate elements of the edifice together. The huge bulk of the edifice is in fact glazed, which provides superior degrees of natural light interior and creates an interesting visual aspect on the exterior through the contemplations that vary harmonizing to both the clip of twenty-four hours and conditions conditions. Similar to the masonry, the glazing is unvarying in its clear divisions of panels, giving the glass a presence while staying visually lightweight. The primary stuffs seeable on the inside are pigment and tile. Harmonizing to Stirling this combination produced an aesthetic that could be likened to a Television Studio ( commendation needed ) . The most impressive characteristic of the edifice is it’s tiered, pitched, glazed roof that covers the cardinal reading country of the library. The design is symmetrical along its short axis, as can be seen when sing the edifice from the sou'-east. From this peculiar point of view it could be argued that glazing is overused and that the inclusion of more ruddy brick, peculiarly towards the base of the edifice, would hold created a more grounded aesthetic with better balance. While the roof successfully manages natural visible radiation in the library country, there is a ocular struggle between the masonry and the library roof. Puting the visually heavy and baronial ruddy brick cladding against the weightless glazing seems to propose a cardinal desire to make a strong contrast between different parts of the edifice. However, the roof is really heavy in its angular and over defined signifier. It is likely that the edifice would hold benefitted from more nuance in this country. Another of import external characteristic is the buttress-like signifier of the multi-storey, L-shape portion of the edifice. Not merely is it visually attention-getting, it besides creates a sense structural surety and foundation that is absent from other countries of the external design. This signifier determines and articulates the plan for the edifice ; the smallest suites, situated on the top floor can merely be occupied by offices, while the larger suites on the lower floors can be used as meeting suites and for talks as the infinite permits. One facet of the outside that detracts from the ocular impact of the edifice is the big raised platform adjoined to the north frontage. The platform is by no agencies redundant as it provides an entryway to the edifice and entree to the roof leting for care. However, its inordinate size means that most of the infinite is presently disused. One possible betterment, capable to structural capacity, would be to make a insouciant outdoor siting country. This is something that the Sidgwick site presently lacks and by virtuousness of being on a raised platform would help in making a clear differentiation between the formal working infinite and an informal community infinite. In the initial designs the glassy library roof faced southwest. However, due to limitations sing the land ownership, the full edifice had to be rotated 90 grades towards the E. As a consequence, the multi-storey construction covers portion of the library roof in shadow during the afternoon. Clearly this has a negative impact on the lighting of the library in the afternoon and resulted in inordinate thermic addition during the forenoon. Interestingly, no changes were made to the building’s design to counterbalance for the alteration in orientation. Had there been no ownership limitations the library would hold enjoyed natural visible radiation until well later in the twenty-four hours, which would hold been a discriminatory result topic to satisfactory thermic provisioning. Upon come ining the edifice it becomes evident that the library is set below land degree, this design pick has both its advantages and disadvantages. Students working in the library can profit from both high degrees of privateness and an absence of oculus degree distraction ; the below land degree facet eliminates all mode of communicating with those outside the edifice. One possible negative result of the below land agreement is the deficiency of outward ocular facet for those passing drawn-out periods of clip in the library. Without the copiousness of natural light deluging in from the glassy roof, this infinite could hold been at hazard of being a cheerless environment. The working country of the library is arranged as a radial in forepart of a raised response country. This provides those working at response with an unobstructed position of the library, hence leting easy monitoring of library users and discouraging any actions that are non suited within the library. This determination to put the library below land degree, combined with the floor to ceiling glazed facade gives this portion of the edifice an uneasy natation quality, as the burden bearing wall back uping the glass and the construction above is non seeable from the exterior. Possibly Stirling was seeking to make the feeling that the glass provides the structural support, when this is clearly non possible. Additionally, positioning the library below land seems to dispute the extended execution of glazing, the intent of which is to convey natural visible radiation into the library. This is a minor ailment as there is no existent deficiency of visible radiation in the library. An facet of the edifice that I peculiarly appreciate is the contemplation of the exterior signifier on the inside layout. This is most prevailing in the library, where the L-shaped construction forms the boundary of the cardinal reading country and the tabular arraies and bookshelves follow the signifier of the glassy roof construction that sits straight supra. This gives the edifice a great sense of coherency and makes the passage between interior and exterior infinites really natural. The cardinal reading country of the library can trust on natural visible radiation depending on the clip of twelvemonth for the bulk of its 9am-7:30pm gap hours, all because of the roof. At an angle of about 40 grades the roof Lashkar-e-Taibas in far more light than standard perpendicular glazed facades with solid roofs. Such designs cut down the angle of light incursion and hence the distance that light penetrates into the edifice. Internally, the roof has a bed of clouded glass ( ? Clouded glass or blinds? ) . This helps to administer the visible radiation equally, in add-on to forestalling blaze, which can be a major distraction in some on the job environments. By cut downing the strength of the light ‘hot spots’ are less likely to happen within the library. The enormousness of the cardinal infinite in footings of ceiling tallness and floor country along with the controlled natural visible radiation and impersonal internal ornament strategy provides a really comfy working country where there is no sense of enclosure or oppression. The visible radiation from the roof and the environing glass facade besides permeates countries of the library environing the Centre. These countries provide extra infinite to read and analyze, every bit good as lodging the library’s aggregation of books. When compared to the cardinal reading infinite, these countries have low ceilings with no natural visible radiation from straight above. While natural light alone is non sufficient in these countries really small unreal lighting is required to make suited on the job conditions during the lightest hours of the twenty-four hours. However, early in the forenoon and tardily in the afternoon well higher degrees of unreal lighting are required. While this can be considered a defect from an energy ingestion position, it does supply users with a different experience and while some may prefer the copiousness of natural visible radiation in the sweep of the cardinal reading infinite, others may prefer the combination of natural and unr eal visible radiation offered elsewhere within the edifice. The Faculty of History edifice excels on a figure of degrees, yet basically fails from a ocular point of view. Its combination of ruddy brick and huge glassy frontages is unusual and therefore attending grabbing. The design contradicts itself in some instances, the most detrimental of which is the visually heavy and angular roof. Interestingly, the roof is really effectual when it comes to the proviso of natural lighting for the library and helps to make an appealing internal infinite. However, the fact that the cardinal and dominant external characteristic of the edifice fails in its external ocular entreaty dramatis personaes uncertainty over the overall success and design of the edifice.

Tourism in Turkey Ancient Wonders, Modern Beauty

Ancient Wonders, Modern Beauty Stereotypes abound about Turkey. For many people in the United States and Europe and indeed in much of Asia as well the picture that people have of Turkey is one from the nations past, a collage of souks and dusty women heavily veiled, of children running the streets to pickpocket tourists and steal from street vendors. Of a nation caught forever between the past and the modern, Asia and Europe, democracy and caliphate, Islam and Christianity. These images call up a nation roiling in conflict, one that should most likely be avoided and that, if it cannot be, should be visited with head down, keeping oneself to oneself to avoid street crime as well as images of abject poverty. But the above, of course, has nothing to do with modern Turkey, a place that welcomes visitors not with conflict but with a blend of all of the cultures that have left their mark on the land. Except, of course, that there is some reality about that first image. 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