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BSF Study Questions Romans Lesson 5, Day 4: Romans 3:24-26. Hellenistic Greece? Summary of passage: God granted us redemption through Jesus’s death on the cross through his blood in order to demonstrate his justice. Decision Support System? 9) Part personal Question. Greece? My answer: To atone is to reconcile. Atonement is a cleansing of sins.

It is the central doctrine of tesco for sale faith and can properly include all that Jeses accomplished for us on the cross. Jesus stands as our substitute/sacrifice that satisfies the righteous wrath of God. Hellenistic Greece? Without this, we#8217;re all destined for eternal punishment. It doesn’t. I don’t need assurance.

God said so. Done. God loved us so much He sent Himself (Jesus, Holy Trinity) as the only thing to Treaty-Making Essay, justify us. 10) Part personal Question. All of our answers are mere guesses. Love. I would say God loved his creation, mankind, so much He sent His perfect Son to us to help us, guide, us, and cleanse us so we can be with Him for all of eternity. Jesus was the only perfect human and thus the only one worthy to be our final atoning sacrifice..

There are no words of thanks large enough for this. Hellenistic Greece? Conclusions : I don’t like the “assured” questions. For me, I shouldn’t have to be assured of anything. If you have faith, you don’t need assurance because you don’t question or doubt. God in structure His mercy and hellenistic, love gives us proof and assurance because of our humanity. But we shouldn#8217;t need it. End Notes : Christ was our substitute sacrifice/atonement/propitiation so God could demonstrate His righteousness in judgment.

Propitiation is in google organizational structure all cultures. It#8217;s the act of appeasing the gods and the gods#8217;s anger against mankind through a sacrifice of some kind. Aztecs, Mayas, Greeks, Romans, Egyptians, Native Americans, etc. Hellenistic? The ancient Greek word for propitiation ( hilasterion ) is also used in the Septuagint for the mercy seat , the lid covering the Ark of the decision support, Covenant, upon which sacrificial blood was sprinkled as an hellenistic greece atonement for sin. While it might be said that this passage means “Jesus is our mercy seat,” it probably has the more straightforward idea of propitiation – a substitute sacrifice. For Sale? Inside the Ark of the Covenant was the evidence of man’s great sin: the tablets of law; the manna received ungratefully; the budded rod of hellenistic Aaron, showing man’s rejection of google organizational God’s leadership. The Ark was decorated with golden cherubim as symbols of God#8217;s holy presence.

In between the cherubim stood the mercy seat, and as sacrificial blood was sprinkled on the mercy seat on the Day of Atonement (Leviticus 16), God’s wrath was averted because a substitute had been slain on behalf of sinners coming by hellenistic greece faith. Google? Jesus is our “mercy seat,” standing between guilty sinners and the holiness of hellenistic God. Definition? God willingly gives His Son. He wants us with Him! God no longer passed over sin with the temporary OT sacrifice of animal blood.

He freed us forever from sin with Jesus#8217;s sacrifice. Jesus paid the greece, price. At the conflict theorists, cross, God demonstrated His righteousness by offering man justification (a legal verdict of greece “not guilty”), while remaining completely just (because the righteous penalty of sin had been paid at structure the cross). Clarke states: God #8220;Of his justice , in requiring a sacrifice , and absolutely refusing to give salvation to a lost world in any other way; and of his mercy , in providing the sacrifice which his justice required.” BSF Study Questions Romans Lesson 5, Day 3: Romans 3:23-24. Summary of passage: All are sinners and are justified freely through God’s grace through Jesus’s work on the cross. 6) We are all sinners. No one’s perfect. Paul is a great example. I think everyone knows they are sinners.

This is not the greece, hurdle to Christianity. The hurdle is admitting you need someone to save you from the sins we all commit. Overcoming pride and self-reliance. 7a) According to Webster’s Dictionary, justified means, #8220;to prove or show to be just, right or reasonable; to judge, regard, or treat as righteous and worthy of salvation, to show sufficient.#8221; Zondervan#8217;s Illustrated Bible Dictionary has the definition as #8220;judicial act of God by which, on conflict, the basis of the meritorious work of Christ, imputed to the sinner and received through Faith, God declares the sinner absolved from sin, released from its penalty, and greece, restored as righteous. Simply put, being placed by God in good person a right relationship with himself.#8221; Justification is accomplished through faith in Jesus Christ as Savior when he died on the cross for our sins.. The Good News is you get to spend eternity with God! Link with previous post on in my blog. b) Part personal Question. My answer: We were all fallen into hellenistic greece Hell until Jesus came to pull us out characteristics of a with his death and bloodshed. He is full of grace and hellenistic, mercy. 8 ) Personal Question. My answer: We didn’t do anything to earn His gift.

He has to have infinite love to bestow this upon us. Deeper gratitude. Conclusions : Because Romans is conflict such a short book we will probably be studying few verses every day. Greece? Which is good and bad. Treaty-Making In Canada Essay? We will probably be answering several similar personal questions as well such as how these verses impact your thinking, response, etc. End Notes : Paul uses 3 major themes in Romans which we see here in one verse: 1) Justification or the law 2) Redemption from slavery 3) Propitiation or atonement from the religious need for sacrifice.

Justification rids us of guilt. Redemption saves us from slavery. Propitiation ensues we don#8217;t offend our Creator. Justification is free. It is given to us as a gift by the desire of God. Freely is the ancient Greek word dorean. It means with no strings attached. We are only greece righteous through Jesus. Period. Redemption: Jesus bought us with the cost of his life. Thus, we belong to God (1 Corinthians 6:20).

Fun Fact : Paul uses the Greek verb for google structure #8220;justified#8221; 27 times, mostly here in Romans and Galatians. It is translated #8220;justify#8221; in all cases except 2 (2:13; 3:20 where it is greece translated #8220;declared righteous.#8221; This describes what happens when people believe in Christ as their Savior: God declares them to be not guilty and righteous. He debits the guilt of their sin and credits righteousness (for all you accountants/finance/math people out there!). Paul#8217;s points: 1) No one lives a perfectly, good, holy, righteous life. (v 10). All have sinned (v 23).

2) Even though we are sinners, God declares those who trust in Jesus righteous. This is valid because Christ died to pay the structure, penalty for our sin and because he lived a life of perfect righteousness he imputes (ascribes) that to us. Greece? THIS IS THE CENTRAL THEME OF ROMANS AS STATED IN 1:17. Conflict Theorists? Justification : the central thought of hellenistic justification is albeit people clearly and totally deserve to be declared guilt (v 9-19), God declares them righteous because of their faith in conflict theorists Christ. Paul states this idea in several ways: freely by his grace (v 24) and faith (v 25). Redemption : This word is from the slave marketbasically obtaining release by greece payment of a ransom. It refers to release from guilt, judgement, and delivery from slavery to sin, because Christ in his death paid our ransom to google organizational structure, set us free. Etymology: mid-14c., #8220;deliverance from sin,#8221; from greece, Old French redemcion (12c.) and conflict theorists, directly from Latin redemptionem (nominative redemptio ) #8220;a buying back, releasing, ransoming#8221; (also #8220;bribery#8221;), noun of action from past participle stem of greece redimere #8220;to redeem, buy back,#8221; from red- #8220;back#8221; + emere #8220;to take, buy, gain, procure#8221;. The -d- is from the Old Latin habit of support system using red- as the form of re- before vowels.

Fun Fact : Paul is the one who formulates the hellenistic, doctrine of justification mainly in Galatians and Romans. Breakdown of Justification : A declarative act by which the sinner is declared to be free from guilt and conflict theorists, the consequences of sin A judicial act in which the idea of judgement and salvation are combined to represent Christ fulfilling the law on behalf of the sinner A remissive act in which God remits sin in complete forgiveness A restorative at by which the forgiven sinner is restored to favor through the imputation of Christ#8217;s righteousness. Faith is the condition of justification by which the meritorious work of Christ is accepted by the sinner. Christ#8217;s work on the cross is sufficient. Hellenistic Greece? BSF Study Questions Romans Lesson 5, Day 2: Romans 3:21-23.

INTRODUCTORY NOTE : This lesson is PACKED with the crux of Christianity: righteousness, justification, atonement, and redemptionall through Christ. Some have called Romans 3:21-31 #8220;the central theological passage in the Bible#8221; (BSF devotes 2 weeks to this!). I spent over 10 hours on this lesson. In Canada? Take your time and absorb it. BSF gives us a whole week. Use it. Pray over hellenistic greece, it. Ponder. Meditate. Because if you get this lesson, you get Christ! What is in Canada Essay more important to spend your time on than this?!

Summary of passage: Paul now explains how righteousness is attained only by faith in Jesus Christ, which the Law and Prophets testify to. Hellenistic? All are sinners and equal before God. 3) According to Webster’s Dictionary, righteousness means #8220;acting in accord with divine or moral law; free from guilt or sin.#8221; Zondervan#8217;s Illustrated Bible Dictionary states it as #8220;morally right behavior or character. In general, any conformity to Treaty-Making Essay, a standard. God always acts in righteousness or has a right relationship with people and His action is to hellenistic greece, maintain that relationship.#8221; It comes from God and is received by Treaty-Making Essay all believers through faith in hellenistic greece Christ. That’s how I understand it. Zondervan has an amazing explanation of righteousness in the gospel: #8220;Paul tells us in Romans 1:16-17 that #8216;a righteousness from God is revealed, a righteousness that is by faith from first to last.#8217; The gospel is computers for sale effective because a righteousness goes forth which is the provision of a right relationship with himself through the saving work of Jesus. To receive this gift is to hellenistic greece, be justified by faith. Those who receive the gift then are to live as righteous people, devoted to the service of what God declares to be right.#8221; 4) Before Jesus, all those who obeyed the law had righteousness.

Here, Paul says apart from the law, meaning the law cannot save us nor can keeping the law save us, but God reveals a righteousness that will save us, which is God’s plan of salvation in Jesus Christ. It is a salvation that is offered apart from the law, apart from our own earning and deserving, apart from characteristics of a person, our own merits. 5a) God granted righteousness to those He deemed worthy, which is apart from the law. He made a covenant with Israel and put the law in their minds and wrote it on their hearts. He forgave Israel’s wickedness and remembered their sins no more. God granted them cleansing from their impurities and greece, gave them a new heart and spirit and saved them. Israel was chosen to be in God#8217;s covenant, in right relationship with Him through faith and were expected to live in right relationship with others. It matters because it was the theorists, only way to God before Jesus.

It also shows God#8217;s faithfulness to His people and how He keeps His promises to us. Hellenistic Greece? Other OT references: Psalm 32:1-2. Paul actually will quote this in Romans 4:6-8 as he continues to explain how God must credit righteousness based on faith. Habakkuk 2:4 which Paul quotes in in Canada Essay Romans 1:17. This OT verse quoted by Paul is the verse Martin Luther read that changed his life and righteousness by hellenistic greece faith became the google structure, rallying cry of the Protestant Reformation . b) Part personal question. My answer: Anyone who believes in their heart Jesus died for their sins and God raised him from the dead and confesses Jesus as their Lord. Gratitude is my response. Hellenistic? Conclusions : I love how Paul packs a lot of power into few words.

And it’s simple. Righteousness is easy: believe in Jesus. Structure? End Notes : Paul just spent the first part of his letter showing us how all (Jews and Gentiles) are unrighteous (1:18-3:20). Now, he will show how God provides us with a way to be righteous. #8220;But now#8221;: This either means 1) Time. And the now is the period righteousness from God has been made known or 2) Logical.

Between the righteousness gained by observing the law (which is impossible v 20) and the righteousness provided by God. Paul didn#8217;t invent righteousness; it#8217;s been around since the Prophets as always part of greece God#8217;s plan. We can#8217;t earn merit before Him by tesco computers following the law. This is apart from the law. Righteousness is greece something not earned, but received, through faith in Christ. There is no other way to obtain righteousness.

It#8217;s all trust. Everyone must receive this gift because all sin and google, fall short. We fail in hellenistic greece so many ways: fail to give Him glory in cobb our words, thoughts and actions. We reject His glory. Thus, justification through faith and grace is offered#8230;. Greece? BSF Study Questions Romans Lesson 4, Day 5: Romans 3:19-20. Summary of passage: The whole world is accountable to God and His Word. His Word makes all conscious of sin and merely observing the law does not make you righteous.

11) The whole world is accountable to God and His Word. His Word makes all conscious of sin and merely observing the law does not make you righteous. 12a) Just that: To silence every critic, God is Treaty-Making making it clear ALL are guilty before Him. b) So far, it hasn’t really. I’ve learned more about the importance of it, but it hasn’t had an concrete effects on identifying and confessing sins. It#8217;s Week 4. Conclusions : Unsure why we need a whole day on greece, these two verses (besides the obvious that Romans only has 16 chapters for a 30 week study), which in my mind only emphasizes the facts we’re not righteous just because we obey the cobb south africa, law, which is what we’ve been talking about all week. End Notes : The law cannot save you. It gives you knowledge of your sins, not salvation. In fact, it condemns you, not saves you. Yes, God wants you to hellenistic, keep His laws and walk in His ways. But that alone will not give you eternal life.

Only the purifying blood of Jesus can do so under the New Covenant. J.B. Phillip’s paraphrase of Essay #8220;through the law we become conscious of sin#8221; is striking. He writes, “ it is the straight-edge of the Law that shows us how crooked we are. Hellenistic? “ BSF Study Questions Romans Lesson 4, Day 4: Romans 3:9-18. Summary of conflict theorists passage: Paul says we are all sinners and no one is righteous, quoting from the Old Testament. 8a) Part personal Question.

My answer: No one understands God. Hellenistic Greece? No one seeks Him. All turn away and become worthless. No one does good. Their throats are open graves, their tongues full of deceit, and in Canada Essay, they speak poison. Greece? They curse and are bitter.

They are swift to shed blood. They bring ruin and google organizational structure, misery. Hellenistic? They do not know peace. They do not fear God. We all have sin in our lives and are surrounded by sinners. People are mean.

They fall away from God. Wars. Support? Flippant attitude towards God and sinning. Personally, sticking to God#8217;s path is the hardest and dealing with my own sin. b) Part personal Question. My answer: Tongues are full of deceit. The poison of vipers is on their lips. Their mouths are full of cursing and bitterness. The tongue can corrupt the whole person. It is full of evil and poison. Speak more words of encouragement and hellenistic, praise.

There#8217;s enough complaining and tearing down in this world. Conflict Theorists? 9) No one fears God. Well, Paul quotes from the Old Testament here and he is living in New Testament times. Regardless, man#8217;s nature doesn#8217;t change with time. He is a sinner and hellenistic, is prone to turn away from decision support system definition, God and hellenistic, not fear Him. God thus judges and punishes as we see all throughout the Old and New Testament. Treaty-Making In Canada? So will it be until the Second Coming. 10) Think before you act. Repent. Ask for forgiveness. Put others first.

Follow God#8217;s laws. Greece? Worship Him. Treat God and characteristics of a good, Jesus with the respect they deserve. Both lie in your heart and greece, you do everything in your power to keep them there. Conclusions : Paul again is emphasizing how we are all the same no matter what our backgrounds. God treats us equally. He takes it further here by saying we are all sinners and listing ways in which we sin.

He wraps up with how no one fears God when we should. Good lesson on keeping us all humble. Least we get on our high horses, read Romans. End Notes : Again, Paul says all are under sin and deserve condemnation (Jews, pagans, Gentiles, everyone). #8220;Under sin#8221; literally means sold under sin or a slave to sin. We are all born in sin. Paul then quotes the Old Testament (mainly Psalm and Isaiah) as proof of our sinhood.

Paul uses parts of the body to emphasize our complete helplessness to save ourselves. Cobb South? Adam before the greece, Fall wasn#8217;t even righteous. He was merely innocent. The throat, tongue, lips, mouth, feet, and eyes are filled with sin and tesco, rebellion against God. God calls all of us. On our own we would not seek out Him. We sin because we do not have the greece, proper respect (or fear) of God. Side Note : If you were to look up these verses, you would find Paul does not quote them verbatim. There are several reasons for this: New Testament authors sometimes gave the general sense and not a direct quote.

Quotation marks were not used in ancient Greek. Citations were often taken from the pre-Christian Greek translation (the Septuagint) of the Hebrew OT because Greek readers were not familiar with the Hebrew Bible. Sometimes this was done on purpose by the NT writer in order to organizational structure, drive home his point. Under the inspiration of the Holy Spirit, the greece, writer would enlarge, abbreviate or adapt an OT passage or combine them.

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From 1971: Why Have There Been No Great Women Artists? A banner for Women’s Lib could be Artemisia Gentileschi’s Judith Beheading Holofernes , one of this Roman painter’s favorite subject. Hellenistic. This version dates ca. 1614–20, shortly after the scandal of her alleged promiscuous relations with her teacher. A version of this story originally appeared in the January 1971 issue of definition ARTnews. W hile the recent upsurge of hellenistic greece 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 africa basic intellectual issues which the feminist attack on the status quo automatically raises. 1 Like any revolution, however, the greece feminist one ultimately must come to grips with the intellectual and ideological basis of the various intellectual or scholarly disciplines—history, philosophy, sociology, psychology, etc.—in the same way that it questions the tesco computers ideologies of present social institutions.

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. In the former, too, “natural” assumptions must be questioned and the mythic basis of much so-called “fact” brought to light. And it is hellenistic greece here that the very position of woman as an acknowledged outsider, the maverick “she” instead of the presumably neutral “one”—in reality the white-male-position-accepted-as-natural, or the hidden “he” as the subject of all scholarly predicates—is a decided advantage, rather than merely a hindrance of a subjective distortion. In the field of art history, the white Western male viewpoint, unconsciously accepted as the conflict theorists 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. Hellenistic Greece. In revealing the failure of much academic art history, and a great deal of history in conflict theorists, general, to greece take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at theorists, the same time lays bare its conceptual smugness, its meta-historical naivete. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of “what is” as “natural” may be intellectually fatal. 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 hellenistic greece white male subjectivity as one in a series of intellectual distortions which must be corrected in in Canada Essay, order to achieve a more adequate and accurate view of hellenistic historical situations. It is the engaged feminist intellect (like John Stuart Mill’s) that can pierce through the cultural-ideological limitations of the conflict time and its specific “professionalism” to reveal biases and greece, inadequacies not merely in the dealing with the south africa question of women, but in the very way of formulating the greece crucial questions of the discipline as a whole.

Thus, the so-called woman question, far from being a minor, peripheral and laughably provincial sub-issue grafted on cobb south, to a serious, established discipline, can become a catalyst, an hellenistic intellectual instrument, probing basic and “natural” assumptions, providing a paradigm for other kinds of internal questioning, and in turn providing links with paradigms established by radical approaches in other fields. System. Even a simple question like “Why have there been no great women artists?” can, if answered adequately, create a sort of chain reaction, expanding not merely to encompass the accepted assumptions of the hellenistic greece single field, but outward to embrace history and the social sciences, or even psychology and literature, and thereby, from the outset, to challenge the assumption that the conflict traditional divisions of intellectual inquiry are still adequate to deal with the meaningful questions of our time, rather than the merely convenient or self-generated ones. Let us, for hellenistic, example, examine the implications of that perennial question (one can, of course, substitute almost any field of person human endeavor, with appropriate changes in phrasing): “Well, if women really are equal to men, why have there never been any great women artists (or composers, or mathematicians, or philosophers, or so few of the same)?” “Why have there been no great women artists?” The question tolls reproachfully in the background of most discussions of the so-called woman problem. But like so many other so-called questions involved in the feminist “controversy,” it falsifies the nature of the issue at the same time that it insidiously supplies its own answer: “There are no. great women artists because women are incapable of greatness.” The assumptions behind such a question are varied in range and greece, sophistication, running anywhere from “scientifically proven” demonstrations of the in Canada Essay inability of hellenistic human beings with wombs rather than penises to create anything significant, to relatively open-minded wonderment that women, despite so many years of near-equality—and after all, a lot of characteristics of a good person men have had their disadvantages too—have still not achieved anything of exceptional significance in hellenistic, the visual arts. The feminist’s first reaction is to swallow the bait, hook, line and google organizational structure, sinker, and to attempt to answer the question as it is put: i.e., to dig up examples of hellenistic worthy or insufficiently appreciated women artists throughout history; to rehabilitate rather modest, if interesting and productive careers; to cobb africa “re-discover” forgotten flower-painters or David-followers and make out a case for them; to hellenistic demonstrate that Berthe Morisot was really less dependent upon Manet than one had been led to think—in other words, to engage in the normal activity of the decision support definition specialist scholar who makes a case for the importance of his very own neglected or minor master. Such attempts, whether undertaken from hellenistic greece a feminist point of view, like the ambitious article on women artists which appeared in the 1858 Westminster Review , 2 or more recent scholarly studies on such artists as Angelica Kauffmann and Artemisia Gentileschi, 3 are certainly worth the tesco computers effort, both in adding to our knowledge of hellenistic women’s achievement and of art history generally.

But they do nothing to question the assumptions lying behind the question “Why have there been no great women artists?” On the contrary, by attempting to answer it, they tacitly reinforce its negative implications. The Swiss-born Angelica Kauffman, most of whose prolific career was spent in Italy, combines allegory with portraiture in Angelica Hesitating between Music and Painting , 1791. Another attempt to answer the question involves shifting the ground slightly and asserting, as some contemporary feminists do, that there is a different kind of “greatness” for women’s art than for men’s, thereby postulating the of a good existence of a distinctive and recognizable feminine style, different both in its formal and greece, its expressive qualities and based on the special character of women’s situation and experience. This, on decision support system, the surface of it, seems reasonable enough: in general, women’s experience and situation in hellenistic greece, society, and hence as artists, is different from men’s, and certainly the art produced by a group of consciously united and purposefully articulate women intent on bodying forth a group consciousness of google feminine experience might indeed be stylistically identifiable as feminist, if not feminine, art. Unfortunately, though this remains within the realm of possibility it has so far not occurred. While the members of the hellenistic greece Danube School, the followers of Caravaggio, the painters gathered around Gauguin at Pont-Aven, the Blue Rider, or the Cubists may be recognized by certain clearly defined stylistic or expressive qualities, no such common qualities of “femininity” would seem to link the styles of women artists generally, any more than such qualities can be said to link women writers, a case brilliantly argued, against the most devastating, and mutually contradictory, masculine critical cliches, by Mary Ellmann in her Thinking about Women . 4 No subtle essence of femininity would seem to link the characteristics person work of Artemesia Gentileschi, Mme. Vigee-Lebrun, Angelica Kauffmann, Rosa Bonheur, Berthe Morisot, Suzanne Valadon , Kaethe Kollwitz, Barbara Hepworth, Georgia O’Keeffe, Sophie Taeuber-Arp, Helen Frankenthaler, Bridget Riley, Lee Bontecou or Louise Nevelson, any more than that of Sappho, Marie de France, Jane Austen, Emily Bronte, George Sand, George Eliot, Virginia Woolf, Gertrude Stein, Anais Nin, Emily Dickinson, Sylvia Plath and Susan Sontag. In every instance, 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 hellenistic more inward-turning than Redon, more subtle and nuanced in the handling of pigment than Corot? Is Fragonard more or less feminine than Mme.

Vigee-Lebrun? Or is it not more a question of the whole Rococo style of 18th-century France being “feminine,” if judged in terms of google structure a two-valued scale of “masculinity” vs. “femininity”? Certainly though, if daintiness, delicacy and hellenistic greece, preciousness are to be counted as earmarks of a feminine style, there is nothing fragile about Rosa Bonheur’s Horse Fair , nor dainty and introverted about decision definition Helen Frankenthaler’s giant canvases. 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 hellenistic a certain realm of subject matter, or the restriction to conflict certain subjects, is not to greece be equated with a style, much less with some sort of structure quintessentially feminine style. The problem lies not so much with the feminists’ concept of what femininity is, but rather with their misconception—shared with the public at large—of what art is: with the hellenistic naive idea that art is the direct, personal expression of individual emotional experience, a translation of personal life into visual terms. Google Structure. 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 hellenistic, paint and conflict, line on hellenistic greece, 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 many 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 cobb case is regrettable, but no amount of manipulating the historical or critical evidence will alter the hellenistic greece 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 Cezanne, 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 there actually were large numbers of support definition “hidden” great women artists, or if there really should be different standards for women’s art as opposed to hellenistic men’s—and one can’t have it both ways—then what are the feminists fighting for? If women have in theorists, fact achieved the same status as men in the arts, then the status quo is fine as it is.

Judith Leyster’s The Jolly Toper was called a Frans Hal until the discovery of her typical signature, “J,” and the date 1629, in upper right center. But in actuality, as we all know, things as they are and as they have been, in greece, 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 definition, our institutions and hellenistic, our education—education understood to include everything that happens to 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 south africa achieve so much sheer excellence, in those bailiwicks of white masculine prerogative like science, politics or the arts. It is when one really starts thinking about the implications of “Why have there been no great women artists?” that one begins to realize to what extent our consciousness of how things are in the world has been conditioned—and often falsified—by the way the most important questions are posed. Hellenistic Greece. We tend to take it for granted that there really is an East Asian Problem, a Poverty Problem, a Black Problem—and a Woman Problem. But first we must ask ourselves who is formulating these “questions,” and then, what purposes such formulations may serve. Organizational. (We may, of course, refresh our memories with the connotations of the Nazi’s “Jewish Problem.”) Indeed, in our time of hellenistic instant communication, “problems” are rapidly formulated to rationalize the bad conscience of those with power: thus the google structure problem posed by Americans in Vietnam and hellenistic greece, Cambodia is referred to by Americans as “the East Asian Problem,” whereas East Asians may view it, more realistically, as “the American Problem”; the decision definition so-called Poverty Problem might more directly be viewed as the “Wealth Problem” by denizens of urban ghettos or rural wastelands; the same irony twists the White Problem into its opposite: a Black Problem; and the same inverse logic turns up in the formulation of our own present state of affairs as the “Woman Problem.” Now the “Woman Problem,” like all human problems, so-called (and the very idea of calling anything to do with human beings a “problem” is, of course, a fairly recent one) is not amenable to “solution” at all, since what human problems involve is re-interpretation of the nature of the situation, or a radical alteration of stance or program on the part of the “problems” themselves . Thus women and their situation in the arts, as in hellenistic, other realms of endeavor, are not a “problem” to be viewed through the eyes of the dominant male power elite. Instead, women must conceive of of a themselves as potentially, if not actually, equal subjects, and hellenistic, must be willing to look the facts of their situation full in tesco, the face, without self-pity, or cop-outs; at hellenistic, the same time they must view their situation with that high degree of emotional and in Canada, intellectual commitment necessary to create a world in which equal achievement will be not only hellenistic, made possible but actively encouraged by social institutions. It is africa certainly not realistic to hope that a majority of hellenistic greece men, in support definition, the arts, or in hellenistic greece, any other field, will soon see the light and find that it is in their own self-interest to grant complete equality to women, as some feminists optimistically assert, or to maintain that men themselves will soon realize that they are diminished by denying themselves access to traditionally “feminine” realms and emotional reactions. After all, there are few areas that are really “denied” to men, if the level of operations demanded be transcendent, responsible or rewarding enough: men who have a need for characteristics of a, “feminine” involvement with babies or children gain status as pediatricians or child psychologists, with a nurse (female) to do the hellenistic greece more routine work; those who feel the urge for kitchen creativity may gain fame as master chefs; and, of course, men who yearn to fulfill themselves through what are often termed “feminine” artistic interests can find themselves as painters or sculptors, rather than as volunteer museum aides or part time ceramists, as their female counterparts so often end up doing; as far as scholarship is concerned, how many men would be willing to change their jobs as teachers and researchers for those of unpaid, part-time research assistants and typists as well as full-time nannies and Treaty-Making Essay, domestic workers?

Those who have privileges inevitably hold on to them, and hold tight, no matter how marginal the advantage involved, until compelled to bow to hellenistic superior power of one sort or another. Thus the question of organizational structure women’s equality—in art as in any other realm—devolves not upon the relative benevolence or ill-will of individual men, nor the self-confidence or abjectness of individual women, but rather on the very nature of hellenistic greece our institutional structures themselves and the view of reality which they impose on the human beings who are part of them. As John Stuart Mill pointed out more than a century ago: “Everything which is usual appears natural. The subjection of women to men being a universal custom, any departure from it quite naturally appears unnatural.” 5 Most men, despite lip-service to equality, are reluctant to give up this “natural” order of things in which their advantages are so great; for women, the case is further complicated by the fact that, as Mill astutely pointed out, unlike other oppressed groups or castes, men demand of her not only submission but unqualified affection as well; thus women are often weakened by the internalized demands of the in Canada male-dominated society itself, as well as by a plethora of hellenistic material goods and comforts: the middle-class woman has a great deal more to lose than her chains. At Thomas Eakins’ life-class at the Pennsylvania Academy around 1855, a cow, instead of a nude man, served as a model for the women students. COURTESY PENNSYLVANIA ACADEMY OF THE FINE ARTS/CHARLES BREGLER’S THOMAS EAKINS COLLECTION, PURCHASED WITH THE PARTIAL SUPPORT OF THE PEW MEMORIAL TRUST. The question “Why have there been no great women artists?” is simply the top tenth of an iceberg of misinterpretation and misconception; beneath lies a vast dark bulk of shaky idees recues about the nature of art and its situational concomitants, about the nature of human abilities in general and of a, of human excellence in particular, and the role that the social order plays in all of hellenistic greece this. While the “woman problem” as such may be a pseudo-issue, the misconceptions involved in the question “Why have there been no great women artists?” points to major areas of intellectual obfuscation beyond the specific political and ideological issues involved in the subjection of women. Basic to the question are many naive, distorted, uncritical assumptions about the making of art in general, as well as the making of great art.

These assumptions, conscious or unconscious, link together such unlikely superstars as Michelangelo and van Gogh, Raphael and Jackson Pollock under the rubric of “Great”—an honorific attested to by the number of scholarly monographs devoted to the artist in question—and the Great Artist is, of course, conceived of as one who has “Genius”; Genius, in decision, turn, is thought of as an atemporal and mysterious power somehow embedded in hellenistic, the person of the Great Artist. Characteristics Good. 6 Such ideas are related to unquestioned, often unconscious, meta-historical premises that make Hippolyte Taine’s race-milieu-moment formulation of the dimensions of historical thought seem a model of sophistication. But these assumptions are intrinsic to hellenistic greece a great deal of art-historical writing. It is no accident that the conflict 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 hellenistic greece, which the profession of support definition art history is based, and greece, 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 decision system 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. Grass’s chicken soup, called Genius or Talent, which, like murder, must always out, no matter how unlikely or unpromising the circumstances. The magical aura surrounding the hellenistic greece 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 conflict 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 functioned historically to set him off from others as a godlike creator, one who creates Being out of nothing. The fairy tale of the hellenistic Boy Wonder, discovered by an older artist or discerning patron, usually in the guise of a lowly shepherd boy, has been a stock-in-trade of organizational artistic mythology ever since Vasari immortalized the greece young Giotto, discovered by the great Cimabue while the tesco computers 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. Greece. 7 Through some mysterious coincidence, later artists including Beccafumi, Andrea Sansovino, Andrea del Castagno, Mantegna, Zurbaran and Goya were all discovered in similar pastoral circumstances. Even when the young Great Artist was not fortunate enough to google structure come equipped with a flock of hellenistic 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 in Canada Essay have drawn caricatures in the margins of their schoolbooks instead of hellenistic studying the required subjects—we never, of course, hear about the youths who neglected their studies and south, 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. So pronounced was his talent, reports Vasari, that when his master, Ghirlandaio, absented himself momentarily from his work in Santa Maria Novella, and the young art student took the opportunity to draw “the scaffolding, trestles, pots of paint, brushes and hellenistic, the apprentices at their tasks” in this brief absence, he did it so skillfully that upon his return the google organizational master exclaimed: “This boy knows more than I do.” Elisabeth Vigee-Lebrun’s immense following at the French court was largely due to the patronage of Marie-Antoinette, whom she has been credited with making sympathetic to posterity through her portraits of the queen. Marie-Antoinette de Lorraine-Habsbourg, Queen of France, and hellenistic, her children , 1781.

As is support 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 greece these myths about the Treaty-Making 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 hellenistic greece, entrance to conflict theorists the Barcelona, and later to the Madrid, Academy of Art at greece, the age of 15 in conflict theorists, but a single day, a feat of such difficulty that most candidates required a month of preparation. Greece. But one would like to find out more about similar precocious qualifiers for art academies who then went on to achieve nothing but mediocrity or failure—in whom, of course, art historians are uninterested—or to study in greater detail the role played by theorists, Picasso’s art-professor father in the pictorial precocity of his son. What if Picasso had been born a girl? Would Senor Ruiz have paid as much attention or stimulated as much ambition for achievement in greece, a little Pablita? What is stressed in all these stories is the apparently miraculous, non-determined and a-social nature of person artistic achievement; this semi-religious conception of the artist’s role is hellenistic greece elevated to characteristics good person hagiography in the 19th-century, when both art historians, critics and, not least, some of the artists themselves tended to hellenistic greece elevate the making of art into Treaty-Making Essay a substitute religion, the last bulwark of Higher Values in hellenistic, a materialistic world. The artist, in the 19th-century Saints’ Legend, struggles against tesco computers, the most determined parental and social opposition, suffering the slings and arrows of social opprobrium like any Christian martyr, and ultimately succeeds against all odds—generally, alas, after his death—because from deep within himself radiates that mysterious, holy effulgence: Genius. Hellenistic Greece. Here we have the mad van Gogh, spinning out sunflowers despite epileptic seizures and tesco, near-starvation; Cezanne, 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 hellenistic greece, their face value.

Yet it is this sort of mythology about artistic achievement and its concomitants which forms the unconscious or unquestioned assumptions of Treaty-Making scholars, no matter how many crumbs are thrown to hellenistic social influences, ideas of the times, economic crises and so on. Cobb South Africa. Behind the most sophisticated investigations of hellenistic great artists—more specifically, the characteristics art-historical monograph, which accepts the notion of the Great Artist as primary, and the social and institutional structures within which he lived and worked as mere secondary “influences” or “background”—lurks the golden-nugget theory of genius and the free-enterprise conception of individual achievement. On this basis, women’s lack of major achievement in hellenistic greece, art may be formulated as a syllogism: If women had the golden nugget of artistic genius then it would reveal itself. But it has never revealed itself. Q.E.D. 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? Berthe Morisot was a close friend of Manet and Essay, later married his brother.

Eugene Manet on the Isle of Wight , 1875. Yet as soon as one leaves behind the world of hellenistic 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 africa its social and institutional structures throughout history, one finds that the hellenistic very questions which are fruitful or relevant for the historian to ask shape up rather differently. Google Organizational Structure. One would like 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. Greece. What proportion of painters and sculptors, or more specifically, of theorists 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 greece 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 cobb africa Coypels, the Coustous, the Van Loos, etc); indeed, sons of academicians were exempted from the customary fees for lessons.

8 Despite the noteworthy and dramatically satisfying cases of the great father-rejecting revoltes of the 19th century, one might be forced to admit that a large proportion of artists, great and not-so-great, in the days when it was normal for sons to follow in their fathers’ footsteps, had artist fathers. In the rank of major artists, the hellenistic greece names of Holbein and of a person, Durer, 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. As far as the relationship of greece artistic occupation and social class is concerned, an interesting paradigm for conflict theorists, the question “Why have there been no great women artists?” might well be provided by trying to answer the question: “Why have there been no great artists from the aristocracy?” One can scarcely think, before the hellenistic greece anti-traditional 19th century at least, of any artist who sprang from the ranks of any more elevated class than the upper bourgeoisie; even in the 19th century, Degas came from the lower nobility—more like the haute bourgeoisie, in decision system, fact—and only Toulouse-Lautrec, metamorphosed into the ranks of the hellenistic marginal by organizational structure, accidental deformity, could be said to have come from the loftier reaches of the upper classes. While the aristocracy has always provided the lion’s share of the patronage and the audience for art—as, indeed, the aristocracy of hellenistic greece wealth does even in our more democratic days—it has contributed little beyond amateurish efforts to cobb africa the creation of art itself, despite the fact that aristocrats (like many women) have had more than their share of educational advantages, plenty of greece leisure and, indeed, like women, were often encouraged to dabble in google organizational, the arts and even develop into respectable amateurs, like Napoleon III’s cousin, the Princess Mathilde, who exhibited at the official Salons, or Queen Victoria, who, with Prince Albert, studied art with no less a figure than Landseer himself. 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 greece, talent? When the right questions are asked about the conditions for producing art, of which the organizational production of hellenistic great art is conflict theorists a sub-topic, there will no doubt have to greece be some discussion of the situational concomitants of intelligence and talent generally, not merely of artistic genius. Piaget and of a person, 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 further investigations in the field of hellenistic greece child development imply, these abilities, or this intelligence, are built up minutely, step by step, from infancy onward, and the patterns of organizational structure adaptation-accommodation may be established so early within the subject-in-an-environment that they may indeed appear to hellenistic be innate to the unsophisticated observer. 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. 9.

The question “Why have there been no great women artists?” has led us to the conclusion, so far, that art is not a free, autonomous activity of a super-endowed individual, “influenced” by previous artists, and, more vaguely and superficially, by “social forces,” but rather, that the total situation of art making, both in terms of the development of the art maker and in the nature and quality of the work of tesco art itself, occur in a social situation, are integral elements of this social structure, and are mediated and determined by specific and definable social institutions, be they art academies, systems of patronage, mythologies of the divine creator, artist as he-man or social outcast. The Question of the Nude. 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 hellenistic, the nature of individual genius or the lack of it, but in cobb africa, the nature of given social institutions and what they forbid or encourage in hellenistic greece, various classes or groups of individuals. Let us first examine such a simple, but critical, issue as availability of the africa nude model to aspiring women artists, in the period extending from the Renaissance until near the greece end of the 19th century, a period in which careful and prolonged study of the google 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 hellenistic History Painting, generally accepted as the characteristics of a highest category of art: indeed, it was argued by defenders of traditional painting in greece, the 19th century that there could 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 conflict say, central to the training programs of the academies since their inception late in the 16th and early in the 17th centuries, was life drawing from the hellenistic 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. In general, it might be added, while individual artists and private academies employed the support female model extensively, the female nude was forbidden in almost all public art schools as late as 1850 and after—a state of affairs which Pevsner rightly designates as “hardly believable.” 10 Far more believable, unfortunately, was the complete unavailability to the aspiring woman artist of any nude models at all, male or female.

As late as 1893, “lady” students were not admitted to life drawing at the Royal Academy in hellenistic greece, London, and cobb, even when they were, after that date, the model had to be “partially draped.” 11. A brief survey of hellenistic representations of life-drawing sessions reveals: an all male clientele drawing from the female nude in Rembrandt’s studio; men working from male nudes in 18th-century representations of academic instruction in The Hague and Vienna; men working from the seated male nude in Bailly’s charming painting of the interior of Houdon’s studio at the beginning of the structure 19th century; Mathieu Cochereau’s scrupulously veristic Interior of greece David’s Studio , exhibited in cobb africa, the Salon of hellenistic greece 1814, reveals a group of young men diligently drawing or painting from a male nude model, whose discarded shoes may be seen before the models’ stand. The very plethora of surviving “Academies”—detailed, painstaking studies from the for sale nude studio model—in the youthful oeuvre of greece artists down through the tesco computers for sale time of hellenistic Seurat and well into google structure the 20th century, attests to the central importance of this branch of study in the pedagogy and development of the hellenistic talented beginner. Treaty-Making In Canada. The formal academic program itself normally proceeded, as a matter of course, from copying from drawings and engravings, to hellenistic drawing from casts of famous works of sculpture, to drawing from the living model. To be deprived of this ultimate stage of characteristics of a good person training meant, in effect, to be deprived of the possibility of creating major art works, unless one were a very ingenious lady indeed, or simply, as most of the women aspiring to hellenistic be painters ultimately did, to tesco computers restrict oneself to hellenistic greece the “minor” fields of portraiture, genre, landscape or still-life. Google. It is rather as though a medical student were denied the opportunity to greece dissect or even examine the naked human body. In Zoffany’s painting of the conflict life-class at hellenistic greece, the Royal Academy, 1772, all the members are present except for Angelica Kauffmann, who for reasons of propriety has a stand-in—her portrait on the wall.

There exist, to Treaty-Making Essay 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.e., it is all right for greece, a (“low,” of course) woman to reveal herself naked-as-an-object for a group of men, but forbidden to a woman to participate in the active study and recording of naked-man-as-an-object, or even of a fellow woman. An amusing example of this taboo on confronting a dressed lady with a naked man is conflict theorists embodied in a group portrait of the members of the Royal Academy in London in 1772, represented by Zoffany as gathered in the life room before two nude male models: all the greece distinguished members are present with but one noteworthy exception—the single female member, the renowned Angelica Kauffmann, who, for propriety’s sake, is merely present in effigy, in the form of a portrait hanging on the wall. A slightly earlier drawing of Ladies in the Studio by of a person, the Polish artist Daniel Chodowiecki, shows the hellenistic greece ladies portraying a modestly dressed member of their sex. In a lithograph dating from the organizational structure 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 hellenistic 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 conflict theorists affairs seems to have lasted only hellenistic, a short while. In an English stereoscopic color view of the interior of a studio of about 1865, the standing, bearded male model is for sale so heavily draped that not an hellenistic iota of conflict theorists his anatomy escapes from the discreet toga, save for a single bare shoulder and arm: even so, he obviously had the hellenistic greece grace to avert his eyes in the presence of the crinoline-clad young sketchers. The women in the Women’s Modeling Class at the Pennsylvania Academy were evidently not allowed even this modest privilege. A photograph by Thomas Eakins of about 1885 reveals these students modeling from a cow (bull? ox? the nether regions are obscure in of a person, the photograph), a naked cow to greece be sure, perhaps a daring liberty when one considers that even piano legs might be concealed beneath pantalettes during this era (the idea of computers introducing a bovine model into the artist’s studio stems from Courbet, who brought a bull into hellenistic his short-lived studio academy in the 1860s). Only at the very end of the 19th century, in the relatively liberated and south africa, open atmosphere of Repin’s studio and greece, circle in Russia, do we find representations of women art students working uninhibitedly from the nude—the female model, to be sure—in the company of conflict men. Even in this case, it must be noted that certain photographs represent a private sketch group meeting in one of the women artists’ homes; in the other, the model is draped; and hellenistic greece, the large group portrait, a co-operative effort by Treaty-Making, two men and two women students of hellenistic greece Repin’s, is an imaginary gathering together of all of the Russian realist’s pupils, past and google, present, rather than a realistic studio view.

I have gone into hellenistic the question of the availability of the nude model, a single aspect of the automatic, institutionally-maintained discrimination against google structure, women, in hellenistic, 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. Structure. One could equally well examine other dimensions of the situation, such as the apprenticeship system, the academic educational pattern which, in France especially, was almost the only key to success and hellenistic greece, which had a regular progression and set competitions, crowned by the Prix de Rome which enabled the cobb africa young winner to hellenistic 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 seems clear, to take France in theorists, the 19th century as an example, a country which probably had a larger proportion of women artists than any other—that is to say, in terms of hellenistic their percentage in the total number of artists exhibiting in. the Salon—that “women were not accepted as professional painters.” 12 In the middle of the century, there were only a third as many women as men artists, but even this mildly encouraging statistic is deceptive when we discover that out of this relatively meager number, none had attended that major stepping stone to artistic success, the system definition Ecole des Beaux-Arts, only 7 percent had received any official commission or had held any official office—and these might include the greece most menial sort of work—only 7 percent had ever received any Salon medal, and none had ever received the Legion of Honor. 13 Deprived of encouragements, educational facilities and rewards, it is almost incredible that a certain percentage of women did persevere and seek a profession in the arts. 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. Conflict. Anyone, even a women, has to learn the language, can learn to read and write, and can commit personal experiences to paper in the privacy of one’s room. 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 hellenistic the possibility of the existence of google organizational Emily Bronte or an Emily Dickinson, and the lack of their counterparts, at least until quite recently, in the visual arts. Of course we have not gone into hellenistic greece the “fringe” requirements for major artists, which would have been, for the most part, both psychically and computers for sale, socially closed to women, even if hypothetically they could have achieved the requisite grandeur in the performance of their craft: in the Renaissance and after, the great artist, aside from participating in the affairs of an hellenistic greece academy, might well be intimate.

with members of characteristics good humanist circles with whom he could exchange ideas, establish suitable relationships with patrons, travel widely and freely, perhaps politic and intrigue; nor have we mentioned the sheer organizational acumen and greece, ability involved in running a major studio-factory, like that of Rubens. An enormous amount of self-confidence and worldly knowledgeability, as well as a natural sense of characteristics person well-earned dominance and power, was needed by hellenistic, the great chef d’ecole , both in the running of the production end of painting, and in the control and organizational, instruction of the numerous students and assistants. In contrast to the single-mindedness and commitment demanded of a chef d’ecole , we might set the image of the “lady painter” established by greece, 19th-century etiquette books and reinforced by Treaty-Making, the literature of the times. It is precisely the greece insistence upon a modest, proficient, self-demeaning level of amateurism as a “suitable accomplishment” for the well-brought up young woman, who naturally would want to direct her major attention to the welfare of others—family and google, husband—that militated, and still militates, against any real accomplishment on the part of women. 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 greece what art is and what kind of social role it plays. In Mrs. Treaty-Making Essay. Ellis’ widely read The Family Monitor and Domestic Guide , published before the hellenistic greece middle of the 19th century, a book of advice popular both in the United States and in England, women were warned against the snare of trying too hard to excel in definition, any one thing: 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. “I should like to excel in something” is a frequent and, to some extent, laudable expression; but in hellenistic greece, what does it originate, and to what does it tend? To be able to do a great many things tolerably well, is theorists 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 hellenistic greece, ease—by devoting her time to excellence in one, she may remain incapable of every other.

So far as cleverness, learning, and knowledge are conducive to woman’s moral excellence, they are therefore desirable, and no further. All that would occupy her mind to conflict theorists 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. 14. Lest we are tempted to laugh, we may refresh ourselves with more recent samples of exactly the same message cited in Betty Friedan’s Feminine Mystique , or in the pages of recent issues of popular women’s magazines. This advice has a familiar ring, of course: propped up by a bit of Freudianism and some tag-lines from the social sciences about the well-rounded personality, preparation for woman’s chief career, marriage, and the unfemininity of deep involvement with work rather than sex, it is still the mainstay of the Feminine Mystique. Greece. Such an outlook helps guard man from cobb unwanted competition in his “serious” professional activities and assures him of “well-rounded” assistance on the home front, so that he may have sex and hellenistic greece, family in system definition, addition to the fulfillment of his own specialized talent and excellence at the same time.

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 greece 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 characteristics of a, the weaker sex); in addition, says Mrs. Ellis, “it [drawing] is an employment which beguiles the mind of hellenistic many cares…Drawing is, of theorists all other occupations, the one most calculated to hellenistic keep the mind from google brooding upon self, and to maintain. that general cheerfulness which is a part of social and domestic duty…It can also,” she adds, “be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.” 15 Again, lest we feel that we have made a great deal of progress in this area in the past 100 years, I might bring up the remark of a bright young doctor who, when the conversation turned to his wife and her friends “dabbling” in hellenistic, the arts, snorted: “Well, at least it keeps them out of computers for sale trouble!” Now as in the 19th century, amateurism and lack of real commitment as well as snobbery and emphasis on chic on the part of hellenistic women in their artistic “hobbies,” feeds the contempt of the successful, professionally committed man who is engaged in “real” work and can, with a certain justice, point to of a person his wife’s lack of seriousness in her artistic activities. For such men, the “real” work of women is only that which directly or indirectly serves the family; any other commitment falls under the rubric of diversion, selfishness, egomania or, at hellenistic, the unspoken extreme, castration. The circle is google structure a vicious one, in which philistinism and frivolity mutually re-enforce each other. In literature, as in life, even if the woman’s commitment to art was a serious one, she was expected to drop her career and give up this commitment at the behest of love and marriage: this lesson is, today as in the 19th century, still inculcated in young girls, directly or indirectly, from the moment they are born. Even the hellenistic greece determined and successful heroine of Mrs. Craik’s mid-19th-century novel about Treaty-Making Essay feminine artistic success, Olive , a young woman who lives alone, strives for fame and independence and greece, actually supports herself through her art—such unfeminine behavior is at least partly excused by the fact that she is a cripple and automatically considers that marriage is denied to her—even Olive ultimately succumbs to the blandishments of love and marriage. To paraphrase the words of Patricia Thomson in The Victorian Heroine , Mrs.

Craik, having shot her bolt in the course of her novel, is south africa content, finally, to let her heroine, whose ultimate greatness the reader has never been able to doubt, sink gently into matrimony. “Of Olive, Mrs. Craik comments imperturbably that her husband’s influence is to deprive the Scottish Academy of ‘no one knew how many grand pictures.’ ” 16 Then as now, despite men’s greater “tolerance,” the choice for women seems always to be marriage or a career, i.e., solitude as the price of success or sex and hellenistic, companionship at the price of professional renunciation. 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 decision support 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 hellenistic great artists who gave up the distractions and obligations of family life, at least in part, so that they could pursue their artistic careers more singlemindedly. Yet none of them was automatically denied the theorists pleasures of sex or companionship on account of this choice. Nor did they ever conceive that they had sacrificed their manhood or their sexual role on hellenistic greece, account of their singleness and singlemindedness in conflict theorists, order to achieve professional fulfillment. But if the artist in question happens to be a woman, 1,000 years of guilt, self-doubt and objecthood have been added to the undeniable difficulties of being an artist in the modern world. The unconscious aura of titillation that arises from a visual representation of an aspiring woman artist in the mid-19th century, Emily Mary Osborne’s heartfelt painting, Nameless and Friendless , 1857, a canvas representing a poor but lovely and respectable young girl at greece, a London art dealer, nervously awaiting the Treaty-Making Essay verdict of the pompous proprietor about the worth of her canvases while two ogling “art lovers” look on, is really not too different in its underlying assumptions from an overtly salacious work like Bompard’s Debut of the Model . Hellenistic. The theme in for sale, both is hellenistic innocence, delicious feminine innocence, exposed to the world. It is the charming vulnerability of the tesco for sale young woman artist, like that of the hesitating model, which is really the hellenistic greece subject of Miss Osborne’s painting, not the value of the young woman’s work or her pride in it: the issue here is, as usual, sexual rather than serious. 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.

The monumental figures of The Church and The Synagogue from the South Portal of the Cathedral of system definition Strasbourg, ca. 1225, are attributed to Sabina von Steinbach, daughter of the master-sculptor of the cathedral, who died before the completion of the work. 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.

Neither of these characteristics is, of course, unusual for men artists, either, as we have indicated above in hellenistic, the case of artist fathers and sons: it is simply true almost without exception for cobb south, their feminine counterparts, at least until quite recently. From the legendary sculptor, Sabina von Steinbach, in the 13th century, who, according to local tradition, was responsible for South Portal groups on the Cathedral of Strasbourg, down to Rosa Bonheur, the most renowned animal painter of the 19th century, and including such eminent women artists as Marietta Robusti, daughter of Tintoretto, Lavinia Fontana, Artemisia Gentileschi, Elizabeth Cheron, Mme. Vigee-Lebrun and hellenistic, Angelica Kauffmann—all, without exception, were the daughters of artists; in of a person, the 19th century, Berthe Morisot was closely associated with Manet, later marrying his brother, and hellenistic, Mary Cassatt based a good deal of her work on the style of her close friend Degas. Precisely the south same breaking of traditional bonds and discarding of time-honored practices that permitted men artists to strike out in directions quite different from those of greece their fathers in the second half of the 19th century enabled women, with additional difficulties, to be sure, to tesco computers for sale strike out on hellenistic greece, their own as well. Many of our more recent women artists, like Suzanne Valadon, Paula Modersohn-Becker, Kaethe Kollwitz or Louise Nevelson, have come from computers non-artistic backgrounds, although many contemporary and near-contemporary women artists have married fellow artists. It would be interesting to investigate the role of benign, if not outright encouraging, fathers in the formation of women professionals: both Kaethe Kollwitz and hellenistic, Barbara Hepworth, for example, recall. the influence of unusually sympathetic and supportive fathers on their artistic pursuits. In the structure absence of any thoroughgoing investigation, one can only gather impressionistic data about the presence or absence of hellenistic greece rebellion against parental authority in women artists, and whether there may be more or less rebellion on the part of women artists than is true in the case of men or vice versa.

One thing however is clear: for a woman to opt for a career at all, much less for a career in art, has required a certain amount of unconventionality, both in characteristics good, the past and at present; whether or not the woman artist rebels against or finds strength in hellenistic greece, the attitude of her family, she must in any case have a good strong streak of rebellion in her to make her way in the world of art at Treaty-Making in Canada Essay, all, rather than submitting to greece the socially approved role of wife and mother, the only role to which every social institution consigns her automatically. It is decision support definition only by adopting, however covertly, the “masculine” attributes of singlemindedness, concentration, tenaciousness and absorption in ideas and hellenistic greece, craftsmanship for their own sake, that women have succeeded, and continue to succeed, in the world of person art. It is instructive to examine in greater detail one of the most successful and accomplished women painters of all time, Rosa Bonheur (1822-1899), whose work, despite the ravages wrought upon its estimation by changes of taste and a certain admitted lack of variety, still stands as an impressive achievement to anyone interested in the art of the 19th century and in the history of hellenistic taste generally. Rosa Bonheur is a woman artist in whom, partly because of the magnitude of her reputation, all the various conflicts, all the internal and external contradictions and struggles typical of characteristics of a her sex and profession, stand out in sharp relief. Like Constant Troyon, Bonheur aimed at an epical, “heroic” interpretation of animals which became extremely popular. The Horse Fair , ca. Hellenistic. 1852–55. The success of Rosa Bonheur firmly establishes the role of institutions, and tesco for sale, institutional change, as a necessary, if not a sufficient cause of achievement in art.

We might say that Bonheur picked a fortunate time to become an artist if she was, at the same time, to have the disadvantage of being a woman: she came into her own in hellenistic, the middle of the 19th century, a time in which the struggle between traditional History Painting as opposed to the less pretentious and more free-wheeling genre painting, landscape and conflict theorists, still-life was won by hellenistic, the latter group hands down. A major change in the social and institutional support for art itself was well under way: with the rise of the bourgeoisie and google, the fall of the cultivated aristocracy, smaller paintings, generally of every-day subjects, rather than grandiose mythological or religious scenes were much in demand. To cite the Whites: “Three hundred provincial museums there might be, government commissions for public works there might be, but the only possible paid destinations for greece, t he rising flood of canvases were the homes of the bourgeoisie. History painting had not and never would rest comfortably in the middle-class parlor. Google Organizational Structure. ‘Lesser’ forms of image art—genre, landscape, still-life—did.” 17 In mid-century France, as in 17th-century Holland, there was a tendency for greece, artists to attempt to achieve some sort of security in conflict theorists, a shaky market situation by specializing, by making a career out of a specific subject: animal painting was a very popular field, as the Whites point out, and Rosa Bonheur was no doubt its most accomplished and successful practitioner, followed in popularity only by the Barbizon painter Troyon (who at greece, one time was so pressed for his paintings of cows that he hired another artist to cobb south brush in hellenistic greece, the backgrounds). Rosa Bonheur’s rise to fame accompanied that of the Barbizon landscapists, supported by those canny dealers, the Durand-Ruels, who later moved on to the Impressionists. The. Durand-Ruels were among the tesco computers first dealers to greece tap the decision support definition expanding market in movable decoration for the middle classes, to use the Whites’ terminology. Rosa Bonheur’s naturalism and ability to capture the individuality—even the hellenistic “soul”—of each of her animal subjects coincided with bourgeois taste at the time.

The same combination, of qualities, with a much stronger dose of sentimentality and conflict, pathetic fallacy to be sure, likewise assured the hellenistic success of her animalier contemporary, Landseer, in England. Daughter of an impoverished drawing master, Rosa Bonheur quite naturally showed her interest in art early; at the same time, she exhibited an independence of spirit and liberty of manner which immediately earned her the label of tomboy. According to her own later accounts, her “masculine protest” established itself early; to what extent any show of persistence, stubbornness and vigor would be counted as “masculine” in of a good, the first half of the 19th century is conjectural. Hellenistic Greece. Rosa Bonheur’s attitude towards her father is somewhat ambiguous: while realizing that he had been influential in conflict, directing her towards her life’s work, there is no doubt that she resented his thoughtless treatment of her beloved mother, and in her reminiscences, she half affectionately makes fun of his bizarre form of social idealism. Raimond Bonheur had been an active member of the greece short-lived Saint-Simonian community, established in the third decade of the 19th century by “Le Pere” Enfantin at Menilmontant. In Canada Essay. Although in her later years Rosa Bonheur might have made fun of some of the more far-fetched eccentricities of the members of the community, and disapproved of the additional strain which her father’s apostolate placed on her overburdened mother, it is obvious that the Saint-Simonian ideal of equality for women—they disapproved of marriage, their trousered feminine costume was a token of emancipation, and their spiritual leader, Le Pere Enfantin, made extraordinary efforts to find a Woman Messiah to share his reign—made a strong impression on her as a child, and may well have influenced her future course of greece behavior.

“Why shouldn’t I be proud to be a woman?” she exclaimed to an interviewer. Tesco. “My father, that enthusiastic apostle of humanity, many times reiterated to me that woman’s mission was to elevate the human race, that she was the Messiah of future centuries. It is to his doctrines that I owe the great, noble ambition I have conceived for the sex which I proudly affirm to be mine, and hellenistic greece, whose independence I will support to google my dying day…” 18 When she was hardly more than a child, he instilled in her the ambition to greece surpass Mme. Vigee-Lebrun certainly the most eminent model she could be expected to follow, and organizational structure, he gave her early efforts every possible encouragement. At the same time, the spectacle of her uncomplaining mother’s slow decline from sheer overwork and poverty might have been an even more realistic influence on her decision to control her own destiny and hellenistic, never to become the slave of a husband and characteristics good, children. What is hellenistic particularly interesting from the modern feminist viewpoint is Rosa Bonheur’s ability to combine the most vigorous and unapologetic masculine protest with unabashedly self-contradictory assertions of “basic” femininity. In those refreshingly straightforward pre-Freudian days, Rosa Bonheur could explain to her biographer that she had never wanted to marry for fear of losing her independence—too many young girls let themselves be led to the altar like lambs to the sacrifice, she maintained. Computers. 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 sacrament indispensable to the organization of society.” While remaining cool to offers of marriage, she joined in a seemingly cloudless, lifelong and apparently Platonic union with a fellow woman artist, Nathalie Micas, who evidently provided her with the companionship and emotional warmth which she needed. Obviously the presence of this sympathetic friend did not seem to demand the hellenistic greece same sacrifice of genuine commitment to cobb her profession which marriage would have entailed: in any case, the greece advantages of such an arrangement for in Canada, women who wished to avoid the distraction of children in hellenistic greece, the days before reliable contraception are obvious.

Yet at the same time that she frankly rejected the conventional feminine role of her times, Rosa Bonheur still was drawn into what Betty Friedan has called the “frilly blouse syndrome,” that innocuous version of the Treaty-Making Essay feminine protest which even today compels successful women psychiatrists or professors to greece adopt some ultra-feminine item of clothing or insist on proving their prowess as pie-bakers. 19 Despite the fact that she had early cropped her hair and adopted men’s clothes as her habitual attire, following the example of good person George Sand, whose rural Romanticism exerted a powerful influence over her imagination, to her biographer she insisted, and hellenistic greece, no doubt sincerely believed, that she did so only because of the specific demands of her profession. Indignantly denying rumors to the effect that she had run about the streets of Paris dressed as a boy in her youth, she proudly provided her biographer with a daguerreotype of herself at 16 years, dressed in perfectly conventional feminine fashion, except for her shorn head, which she excused as a practical measure taken after the death of her mother; “who would have taken care of my curls?” she demanded. 20. As far as the question of google structure masculine dress was concerned, she was quick to reject her interlocutor’s suggestion that her trousers were a symbol of emancipation. “I strongly blame women who renounce their customary attire in the desire to make themselves pass for men,” she affirmed. “If I had found that trousers suited my sex, I would have completely gotten rid of my skirts, but this is not the. case, nor have I ever advised my sisters of the palette to wear men’s clothes in the ordinary course of life.

If, then, you see me dressed as I am, it is not at all with the aim of making myself interesting, as all too many women have tried, but simply in order to facilitate my work. Remember that at greece, a certain period I spent whole days in the slaughterhouses. Indeed, you have to love your art in order to live in pools of blood…I was also fascinated with horses, and google, where better can one study these animals than at the fairs…? I had no alternative but to realize that the garments of my own sex were a total nuisance. That is why I decided to ask the hellenistic greece Prefect of Police for the authorization to wear masculine clothing. 21 But the costume I am wearing is my working outfit, nothing else.

The remarks of fools have never bothered me. Computers For Sale. Nathalie [her companion] makes fun of them as I do. Greece. It doesn’t bother her at all to computers see me dressed as a man, but if you are even the slightest bit put off, I am completely prepared to put on a skirt, especially since all I have to do is to open a closet to find a whole assortment of feminine outfits.” 22. Yet at the same time Rosa Bonheur is forced to greece admit: “My trousers have been my great protectors…Many times I have congratulated myself for having dared to break with traditions which would have forced me to abstain from certain kinds of work, due to the obligation to characteristics of a good person drag my skirts everywhere…” Yet the greece famous artist again feels obliged to qualify her honest admission with an ill-assumed “femininity”: “Despite my metamorphoses of costume, there is south africa not a daughter of Eve who appreciates the niceties more than I do; my brusque and even slightly unsociable nature has never prevented my heart from remaining completely feminine.” 23. It is hellenistic somewhat pathetic that this highly successful artist, unsparing of herself in the painstaking study of google organizational structure animal anatomy, diligently pursuing her bovine or equine subjects in greece, the most unpleasant surroundings, industriously producing popular canvases throughout the in Canada course of greece a lengthy career, firm, assured and incontrovertably masculine in her style, winner of a first medal in the Paris Salon, Officer of the Legion of Honor, Commander of the Treaty-Making Order of Isabella the greece Catholic and the Order of decision support Leopold of Belgium, friend of Queen Victoria—that this world-renowned artist should feel compelled late in life to justify and greece, qualify her perfectly reasonable assumption of masculine ways, for any reason whatsoever, and to feel compelled to attack her less modest trouser-wearing sisters at the same time, in cobb, order to hellenistic satisfy the demands of for sale her own conscience.

For her conscience, despite her supportive father, her unconventional behavior and the accolade of worldly success, still condemned her for not being a “feminine” woman. The difficulties imposed by such demands on the woman artist continue to add to greece her already difficult enterprise even today. Compare, for example, the noted contemporary, Louise Nevelson, with her combination of utter, “unfeminine” dedication to her work and her conspicuously “feminine” false eyelashes; her admission that she got married at 17 despite her certainty that she couldn’t live without creating because “the world said you should get married.” 24 Even in the case of these two outstanding artists—and whether we like The Horsefair or not, we still must admire Rosa Bonheur’s achievement—the voice of the feminine mystique with its potpourri of ambivalent narcissism and guilt, internalized, subtly dilutes and subverts that total inner confidence, that absolute certitude and self-determination, moral and esthetic, demanded by computers for sale, the highest and most innovative work in art. We have tried to deal with one of the perennial questions used to hellenistic challenge women’s demand for true, rather than token, equality, by examining the whole erroneous intellectual substructure upon which. the question “Why have there been no great women artists?” is south africa based; by questioning the validity of the formulation of so-called “problems” in general and the “problem” of women specifically; and then, by probing some of the hellenistic limitations of the discipline of art history itself.

Hopefully, by stressing the institutional —i.e. the public—rather than the individual , or private, pre-conditions for achievement or the lack of it in the arts, we have provided a paradigm for the investigation of other areas in the field. By examining in some detail a single instance of deprivation or disadvantage—the unavailability of nude models to women art students—we have suggested that it was indeed institutionally made impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so-called talent, or genius. The existence of a tiny band of successful, if not great, women artists throughout history does nothing to gainsay this fact, any more than does the existence of a few superstars or token achievers among the members of any minority groups. And while great achievement is rare and difficult at best, it is still rarer and more difficult if, while you work, you must at the same time wrestle with inner demons of self-doubt and guilt and outer monsters of ridicule or patronizing encouragement, neither of which have any specific connection with the quality of the art work as such. What is important is that women face up to the reality of their history and of their present situation, without making excuses or puffing mediocrity. Disadvantage may indeed be an excuse; it is not, however, an intellectual position. Rather, using as a vantage point their situation as underdogs in the realm of grandeur, and outsiders in that of ideology, women can reveal institutional and intellectual weaknesses in general, and, at the same time that they destroy false consciousness, take part in in Canada Essay, the creation of institutions in hellenistic greece, which clear thought—and true greatness—are challenges open to characteristics good person anyone, man or woman, courageous enough to take the necessary risk, the leap into greece the unknown. 1. Kate Millett’s Sexual Politics , New York, 1970, and Mary Ellman’s Thinking About Women , New York, 1968 provide notable exceptions. 2. “Women Artists.” Review of Die Frauen in die Kunstgeschichte by Ernst Guhl in The Westminster Review (American Edition), LXX, July, 1958, 91–104. I am grateful to Elaine Showalter for having brought this review to my attention. 3. See, for example, Peter S. Walch’s excellent studies of Angelica Kauffmann or his unpublished doctoral dissertation, Angelica Kauffmann , Princeton, 1968, on the subject; for decision system definition, Artemisia Gentileschi, see R. Ward Bissell, “Artemisia Gentileschi—A New Documented Chronology,” Art Bulletin , L (June), 1968, 153–168.

4. Hellenistic. New York, 1968. 5. John Stuart Mill, The Subjection of Women (1869) in Three Essays by John Stuart Miff, World’s Classics Series, London, 1966, p. Theorists. 441. 6. For the relatively recent genesis of the emphasis on the artist as the nexus of esthetic experience, see M. H. Greece. Abrams, The Mirror and computers for sale, the Lamp: Romantic Theory and the Critical Tradition , New York, 1953, and Maurice Z. Shrader, Icarus: The Image of the Artist in hellenistic greece, French. Romanticism , Cambridge, Massachusetts, 1961. 7. A comparison with the parallel myth for women, the Cinderella Story, is revealing: Cinderella gains higher status on conflict theorists, the basis of a passive, “sex-object” attribute—small feet—whereas the Boy Wonder always proves himself through active accomplishment. For a thorough study of myths about artists, see Ernst Kris and Otto Kurz, Die Legende vom Kunstler: Ein Geschichtlicher Versuch , Vienna, 1934. 8. Nikolaus Pevsner, Academies of Art, Past and Present , Cambridge, 1940, p. 96f. 9. Contemporary directions—earthworks, conceptual art, art as information, etc.—certainly point away from emphasis on the individual genius and hellenistic, his salable products; in art history, Harrison C. and Cynthia A. White’s Canvases and decision, Careers: Institutional Change in the French Painting World , New York, 1965, opens up a fruitful new direction of investigation, as did Nikolaus Pevsner’s pioneering Academies of Art . Greece. Ernst Gombrich and Pierre Francastel, in their very different ways, always have tended to view art and the artist as part of a total situation rather than in lofty isolation. 10.

Female models were introduced in the life-class in Berlin in 1875, in Stockholm in 1839, in Naples in 1870, at the Royal College of Art in London, after 1875. Support System. Pevsner, op. cit. , p. 231. Female models at the Pennsylvania Academy of the Fine Arts wore masks to hide their identity. as late as about 1866—as attested to in a charcoal drawing by Thomas Eakins—if not later. 12. H. C. and hellenistic greece, C. A. White, op. cit. , p. 51. 14. Good. Mrs. Hellenistic. Ellis, The Daughters of google structure England: Their Position in Society, Character, and Responsibilities (1844) in The Family Monitor , New York, 1844, p. 35.

16. Patricia Thomson, The Victorian Heroine: A Changing Ideal , London, 1956, p. 77. 17. H. C. an d C . A. White, op. cit. , p. 91 . 18. Anna Klumpke, Rosa Bonheur: Sa Vie, son oeuvre, Paris, 1908, p. 311.

19. Betty Friedan, The Feminine Mystique , New York, 1963, p. 158. 20. A. Klumpke, op. cit. , p. 166. 21. Paris, like many cities even today, had laws against impersonation on its books. 22. A. Klumpke, op. cit. , pp. 308–309. 24. Cited in Elizabeth Fisher, “The Woman as Artist, Louise Nevelson,” Aphra , I (Spring), 1970, p. Hellenistic Greece. 32.

Author: Linda Nochlin is professor of conflict art history at Vassar. Hellenistic. Her book on Realism (Penguin) will come out this winter. Tesco. This article is based on a section of the anthology Woman in Sexist Society: Studies in Power and greece, Powerlessness , to be published by Basic Books in April. A version of this story originally appeared in the January 1971 issue of ARTnews on page 22 under the title “Why Have There Been No Great Women Artists?” Linda Nochlin on Feminism Then and Now. Retrospective: Eight Artists Reply. Copyright 2017, Art Media ARTNEWS, llc. 110 Greene Street, 2nd Fl., New York, N.Y. 10012. All rights reserved.

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Writing the Scholarship Essay : by Kay Peterson, Ph.D. It’s the hardest part of your scholarship application. Hellenistic Greece. But it’s also the part of the application where the ‘real you’ can shine through. Structure. Make a hit with these tips from scholarship providers: Think before you write. Hellenistic Greece. Brainstorm to generate some good ideas and then create an characteristics good person, outline to help you get going. Be original.

The judges may be asked to greece, review hundreds of essays. It’s your job to theorists, make your essay stand out hellenistic greece, from the rest. Cobb. So be creative in your answers. Show, don’t tell. Use stories, examples and anecdotes to individualize your essay and demonstrate the point you want to make. By using specifics, you’ll avoid vagueness and generalities and make a stronger impression. Greece. Develop a theme.

Don’t simply list all your achievements. Decide on a theme you want to convey that sums up the impression you want to make. Africa. Write about experiences that develop that theme. Know your audience. Personal essays are not ‘one size fits all.’ Write a new essay for hellenistic greece, each application-one that fits the interests and requirements of that scholarship organization.

You’re asking to person, be selected as the representative for that group. Hellenistic. The essay is computers your chance to show how you are the ideal representative. Submit an greece, essay that is neat and readable. Make sure your essay is neatly typed, and system that there is a lot of ‘white space’ on greece the page. Double-space the essay, and Treaty-Making in Canada Essay provide adequate margins (1?-1 1/2?) on all sides. Make sure your essay is well written. Proofread carefully, check spelling and grammar and share your essay with friends or teachers. Another pair of greece, eyes can catch errors you might miss.

Special thanks to organizational structure, the scholarship specialists who contributed these tips: TROA Scholarship Fund. Kathy Borunda, Corporate Development. Society of Hispanic Professional Engineers Foundation. The American Legion. Patti Cohen, Program Manager. Coca-Cola Scholars Foundation. AFSA Scholarship Programs.

Thomas Murphy, Executive Director. Konieg Education Foundation. Lisa Portenga, Scholarship Coordinator. The Fremont Area Foundation. Practice Session: Common Essay Questions — by Roxana Hadad. The essay — It’s the hellenistic greece, most important part of good person, your scholarship application, and it can be the hardest.

But the hellenistic, essay shouldn’t keep you from applying. Google Structure. Take a look at hellenistic some of the decision support system definition, most commonly asked essay questions and use them to prepare for your scholarship applications. Brainstorm ideas, do some research or create your own ‘stock’ of scholarship essays. When the time comes, you’ll be ready to write your way to scholarship success! Your Field of Specialization and Academic Plans.

Some scholarship applications will ask you to write about your major or field of study. These questions are used to hellenistic greece, determine how well you know your area of specialization and why you’re interested in it. How will your study of _______ contribute to your immediate or long range career plans? Why do you want to be a _______? Explain the google organizational, importance of (your major) in today’s society. What do you think the industry of _______ will be like in the next 10 years? What are the most important issues your field is facing today? To test your skills at problem-solving and check how up-to-date you are on current issues, many scholarship applications include questions about problems and issues facing society. What do you consider to greece, be the system definition, single most important societal problem?

Why? If you had the authority to change your school in greece a positive way, what specific changes would you make? Pick a controversial problem on college campuses and suggest a solution. Conflict Theorists. What do you see as the greatest threat to the environment today? Scholarships exist to reward and encourage achievement. You shouldn’t be surprised to find essay topics that ask you to brag a little. Describe how you have demonstrated leadership ability both in and out of school. Discuss a special attribute or accomplishment that sets you apart.

Describe your most meaningful achievements and hellenistic greece how they relate to your field of cobb south africa, study and your future goals. Greece. Why are you a good candidate to receive this award. Who you are is closely tied to where you’ve been and support who you’ve known. To learn more about you, some scholarship committees will ask you to write about your background and hellenistic greece major influences. Pick an experience from your own life and explain how it has influenced your development. Who in your life has been your biggest influence and why? How has your family background affected the way you see the world? How has your education contributed to who you are today? Scholarship sponsors look for applicants with vision and cobb africa motivation, so they might ask about your goals and aspirations. Briefly describe your long- and short-term goals.

Where do you see yourself 10 years from now? Why do you want to get a college education? Many scholarship providers have a charitable goal: They want to provide money for students who are going to hellenistic, have trouble paying for google organizational, college. In addition to asking for hellenistic greece, information about your financial situation, these committees may want a more detailed and personal account of your financial need. From a financial standpoint, what impact would this scholarship have on your education?

State any special personal or family circumstances affecting your need for financial assistance. How have you been financing your college education? Some essay questions don’t seem directly related to your education, but committees use them to theorists, test your creativity and get a more well-rounded sense of your personality. Choose a person or persons you admire and hellenistic greece explain why. Choose a book or books and organizational structure that have affected you deeply and explain why. While you can’t predict every essay question, knowing some of the most common ones can give you a leg up on applications. Start brainstorming now, and you may find yourself a winner!

Essay Feedback: Creating Your Structure — by Kay Peterson, Ph.D. You might think that the secret of a winning scholarship essay is to write about a great idea. But that’s only half the job. The best essays take a great idea and present it effectively through the structure of the essay. To see how important structure is, let’s look at an essay by Emily H. In her application for the UCLA Alumni Scholarship, Emily responds to the following essay topic: “Please provide a summary of your personal and family background, including information about hellenistic greece, your family, where you grew up, and perhaps a highlight or special memory of your youth.” Here’s how Emily responded: To me, home has never been associated with the decision, word “permanent.” I seem to use it more often with the greece, word “different” because I’ve lived in a variety of places ranging from characteristics good person, Knoxville, Tennessee, to Los Angeles, California. While everyone knows where Los Angeles is on a map, very few even know which state Knoxville is in.

Fortunately, I’ve had the chance to hellenistic, live in the east and tesco computers west and to view life from two disparate points. I always get the same reaction from people when I tell them that I’m originally from a small town in Tennessee called Knoxville. Greece. Along with surprised, incredulous looks on their faces, I’m bombarded with comments like “Really? You don’t sound or look as if you’re from Tennessee.” These reactions are nearly all the same because everyone sees me as a typical Californian who loves the sunny weather, the beach and conflict the city. Hellenistic. They don’t know that I lived in conflict Reading, Pennsylvania, before I moved to Chattanooga, Tennessee, and then moved again to Knoxville, Tennessee. The idea of my living anywhere in the vicinity of the South or any place besides California is inconceivable to many because I’ve adapted so well to the surroundings in which I currently find myself. This particular quality, in a sense, also makes me a more cosmopolitan and open-minded person. Having already seen this much of the world has encouraged me to hellenistic, visit other places like Paris or London and the rest of the world. My open-mindedness applies not only to decision definition, new places, but also to intriguing ideas and opportunities. Hellenistic. This attitude towards life prepares me for the vast array of opportunities that still lie ahead in the future. Africa. From my experiences of moving place to place, I have also come to acknowledge the hellenistic, deep bond I share with my family.

It has helped me realize the importance of supporting each other through tough times. Moving from Tennessee to California meant saying good-bye to the house we had lived in for six years, longtime friends and the calm, idyllic lifestyle of the country that we had grown to love and savor. But knowing that we had each other to depend on organizational made the greece, transition easier. It also strengthened the bond we all shared and placed more value on the time we spent with each other, whether it was at home eating dinner or going on a family trip. Now when I think of the word “home,” I see the bluish-gray house I live in characteristics good person now. In the past, however, “home” has been associated with houses of varying sizes, colors and forms. The only thing that has remained unchanging and permanent is my family.

I have acknowledged this constancy, knowing well enough that it is, and always will be, a part of me and a unique part of hellenistic greece, my life. Los Angeles is one of many places in which I’ve lived. This fact by itself has had a tremendous impact on me. This kind of essay topic can be difficult because it is structure very general. Greece. Emily deftly avoids this pitfall by focusing her essay on one topic: the fact that she’s moved many times. As a result, this essay contains a lot of system definition, winning elements: Her opening sentence is greece great.

It really grabs the reader’s attention because it’s unexpected and paradoxical. We want to conflict theorists, learn more about her. Her story is hellenistic unique; she doesn’t rely on cliches. She provides a lot of detail; we feel the differences among the various cities. She’s focused the account so we learn just enough, not too much. She tells us why these events are important.

Rather than just listing the cities, she tells us how her experiences have affected her. But there are also a number of structure, things she could do to hellenistic greece, improve her essay: Opening paragraph gets off to a strong start, but quickly loses steam. The last sentence is too vague. The second paragraph is far too long, and covers too many ideas. Conflict. The transitions among the various ideas are underdeveloped. There’s a thought progression behind her essay that isn’t supported by the transitions. Conclusion is weak and doesn’t capture the hellenistic, much richer ideas that resonate throughout her essay. The first thing Emily should do is step back from her essay and think about how she has organized her ideas-that is, what structure has she provided? She can do this by creating an outline of the ideas that appear in decision definition her essay. Hellenistic Greece. It should look something like this:

a. Emily has lived in a lot of places. b. Emily has viewed life from two disparate points. 2. Body (one paragraph) a. Computers. People don’t guess that Emily is not originally from California. b. That’s because she has adapted so well to her current environment. c. This adaptability has made her open-minded about the world around her, and ready to take new opportunities. d. She’s also learned to recognize and value the bond with her family, which gives her a sense of permanence throughout all the hellenistic, changes.

3. Conclusion: Los Angeles is one of the places she has lived. As we can see, Emily’s essay is jam-packed with good ideas. Organizational Structure. With the exception of the hellenistic, conclusion (which she should cut), everything in here is meaningful and necessary. What she needs to do now is identify the most important idea for the whole essay and then rearrange the points so that they support that idea. What is the overriding idea?

I identified a number of fruitful ideas that involve these various points: Constant change has been challenging, but learning how to deal with change has made Emily ready for characteristics good person, more challenges in the future. Hellenistic. Constant change has had a paradoxical effect on in Canada Emily: It’s taught her both how to be adaptable and how determine what is truly permanent (i.e. her family). Greece. Constant change has taught her all about different parts of the country, but has also taught her that while she grows and changes, she’ll still remain the same person she always was. Once Emily has decided what main idea she wants to communicate, she can then restructure the points to characteristics of a, support that idea. She may find that she needs to cut some points or develop others more fully. The key is to make it clear how those points relate to the central idea and to use meaningful transitions that point the hellenistic greece, way to the next idea. With a new structure in place, Emily should have a unique and winning essay! Once you have determined which scholarships you will apply for, write to them and Treaty-Making in Canada Essay ask for their scholarship application and requirements. The letter can be a general request for information “form” letter that can be photocopied, but you should be specific about the name of the hellenistic, scholarship you are inquiring about on the envelope. Write to computers for sale, each source as far in advance of their scholarship deadline as possible and don’t forget to send a self-addressed, stamped envelope(SASE) — it not only expedites their reply, but some organizations won’t respond without one.

Remember, on the outside of the envelope, list the name of the specific scholarship you are inquiring about. Hellenistic. That way, the person opening the mail will know where to direct your inquiry. Here is an example of what your letter might look like: XYZ Corporation (Ian Scott Smith Scholarship) 1234 56th Street, Suite 890.

Metropolis, FL 00000-0000. Dear Scholarship Coordinator: I am a (college) student (give academic year) and will be applying for admission to (a graduate) program for theorists, academic year 20__ – __. I would appreciate any information you have available on educational financing, including application forms. I am enclosing a self-addressed, stamped business size envelope for your convenience in replying. Daniel J. Cassidy. 2280 Airport Boulevard. Santa Rosa, CA 95403. Make sure your letter is neatly typed, well written and does not contain grammatical errors or misspelled words. When filling out scholarship application forms, be complete, concise and creative.

People who read these applications want to know the real you, not just your name. The application should clearly emphasize your ambitions, motivations and what makes you different. Hellenistic Greece. Be original! You will find that once you have seen one or two applications, you have pretty much seen them all. Usually they are one or two pages asking where you are going to support, school, what you are going to major in hellenistic greece and why you think you deserve the person, scholarship.

Some scholarship sources require that you join their organization. If the hellenistic, organization relates to your field of study, you should strongly consider joining because it will keep you informed (via newsletter, etc.) about developments in that field. Other scholarship organizations may want you to promise that you will work for them for a year or two after you graduate. The Dow Jones Newspaper Fund offers a scholarship for characteristics of a, up to $20,000 for journalism, broadcasting, and communications students with the understanding that the student will intern for them for two years. This could even yield a permanent job for hellenistic, the student. Your application should be typewritten and neat. I had a complaint from one foundation about computers, a student who had an excellent background and qualifications but used a crayon to fill out the application. Once your essay is finished, make a master file for it and other supporting items.

Photocopy your essay and hellenistic greece attach it to the application. If requested include: a resume or curriculum vitae (CV), extracurricular activities sheet (usually one page), transcripts, SAT, GRE, or MCAT scores, letters of recommendation (usually one from a professor, employer and friend) outlining your moral character and, if there are any newspaper articles, etc. about you, it is a good idea to include them as well. You might also include your photograph, whether it’s a graduation picture or a snapshot of your working at your favorite hobby. This helps the selection committee feel a little closer to you. Instead of just seeing a name, they will have a face to match it.

Mail your applications in early , at least a month before the deadline. **Dr. Essay. Peterson has won numerous college and graduate scholarships, including the Jacob Javits Fellowship, the hellenistic greece, University of California Regents Scholarship and the National Merit Scholarship. Together we care for our patients and our communities.

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5 Must-Dos For Outstanding Essay Writing. By Clare #038; Chris on February 21, 2011 45 Comments. Hellenistic Greece! Essay writing is so important, so here#039;s what you can do to Treaty-Making in Canada Essay help your child write great ones! Your teen needs to step up to hellenistic greece the mark because school is getting harder. High school education continues to in Canada move away from tests with one word answers and towards students having to come up with paragraph or even full essay answers. And there’s a good reason for this. The internet has become so widespread and so accessible, that having a library of singular facts stored in your head is no longer helpful. The average cell phone can now access Google or Wikipedia anywhere. Type in your question and boom, there#8217;s your answer.

Essays require more than just a memorization of greece, facts. They require students to have an understanding of what they’re talking about. They also require students to know how to express themselves clearly and google structure concisely in writing. Greece! Being able to communicate well is an decision support system absolute must in the real world. It#8217;s also necessary in all subject courses at greece university, and definitely in any professional capacity. Essay writing is definitely a learnable skill, but not necessarily a straight forward one for a lot of students. Because we want your teen to computers master essay writing as much as they can during their time at high school, here are 5 tips that will significantly increase your teen’s essay marks. 1. Every essay must have a proper structure.

An essay must be broken into paragraphs to make it readable. It’s horrible reading a full page of greece, solid text. Breaking down an essay into decision, different sections is what allows it to flow in a logical manner. At high school all essays should follow a simple formula. Your teen needs to hellenistic learn this formula off by heart! Introduction: Tell #8217;em what you’re gonna tell ‘em.

Introduce the topic and Essay briefly outline the points you’re going to make in greece your essay in in Canada Essay the order you#8217;re going to write about them. If the essay is meant to argue a point, your teen should make it clear in the introduction what their argument/point of view is. Body Paragraphs: Tell ‘em. At high school an hellenistic essay will usually have 3-5 paragraphs. Each paragraph contains its own main point that contributes to the overall theme or argument of the essay. (These paragraphs follow their own structure – see tip # 2) Conclusion: Tell ‘em what you told ‘em. Sum up what the essay was about. 2. Each body paragraph must have a proper structure. Not only conflict does the hellenistic greece essay as a whole need structure, each paragraph needs to meet certain requirements.

S = Statement: This is the main point of the paragraph. What part of the film is africa being discussed and what did it mean to the film? What was important about an historical event and how did it affect later events? Basically, what’s the point you’re about to discuss in greece this paragraph. E = Explanation: Explain what you said in your statement. Tell the south reader why your statement is true.

Why did the greece setting reflect how the of a good main character was feeling? In what way did the weather affect the hellenistic greece outcome of the battle? This part should make up the bulk of the paragraph. X = eXample Give an example! A quote, an example, a fact. Something concrete that gives evidence to tesco computers your statement. I = Importance Why is the point you’ve made in this paragraph important? What does it mean to the story, or the film, or the event? Tell the reader why it matters. This one might not always be applicable, but if you can then go for it.

3. Greece! Every essay needs an tesco computers for sale essay plan. You wouldn’t go on hellenistic greece, a road trip without a map and essays are just the Treaty-Making Essay same. Hellenistic Greece! Before your teen starts writing an essay they should make a quick plan of what they’re going to write about. An essay plan does not have to be a big thing. Not at all. Google Organizational Structure! It only takes a few minutes but will save your teen SO much time overall. Essay plans instantly give an essay structure, they prevent you from forgetting to include any important points, and they prevent you from losing your way as you write. An essay plan can be quickly scribbled in a margin, or the first page of an exam book that isn’t marked. Greece! Here is an example of the way I would do an essay plan before I started writing. Google! (It#8217;s for the film The Matrix #8230;) Essay Plan Example. Each of the three #8216;fingers#8217; coming off each paragraph make up #8216;SEXI#8217;.

I haven#8217;t done the #8216;I#8217; part, but within each paragraph I would try and emphasize why this point was important to the setting of the film. Every time your teen writes an essay, whether it#8217;s just for practise or in an exam, they need to hellenistic jot down the points that are going to fill their ‘SEXI’ for each paragraph. The detail that they list here means they don’t have to worry about forgetting anything important while they’re writing. This depends on what situation the essay is computers for sale being written in. Greece! If it’s being written for homework and tesco your teen doesn’t have the time pressure of an greece exam, it can be a good idea to cobb go and do something else for a while once they’ve finished writing. You know when you come back to greece look at something you’ve written and you see all the little mistakes you didn’t notice before? This is tesco for sale why. Your teen should check that the paragraphs are written in a logical order. Simply put – does the greece essay make sense?

Does each paragraph follows SEXI? Get them to read their essay aloud (or in their head) so they can see how it flows (or doesn’t as it may be). If the essay is being written in an exam your teen won#8217;t have the decision support luxury of time. So the greece number one rule here is: stay until the end! While it may seem like eternity to conflict theorists a high school student, exams aren’t actually that long. Hellenistic! And a few minutes of cobb south africa, proof reading can often make the difference between one grade and another.

It’s worth staying right to the end. Writing essays can be practised! Many students go through a whole year at hellenistic school and only do one or two practice essays (that they were forced to do). They may know the subject backwards, but if they don’t know how to organizational structure write a good essay then they’re screwed. Make sure your teen includes practice essays as part of their exam preparation.

Getting a hold of past exams and using them to practise is a great idea. If you can then have a read of their work yourself that’s fantastic. They might need an adult eye to pick up something that’s not quite right. Even better, get your teen to ask their teacher to hellenistic greece mark it. Most teachers would love an Treaty-Making in Canada interested student to ask them to mark a practice essay! If you think your teen would benefit from exam tips, including how to write fantastic exam essays, it might be worth checking out greece our Exam Survival Package. You can read what other parents have said about it here. Was this helpful? Similar articles: This is a great article! I love it for its succinctness and think it would make a great poster in a high school classroom! I forwarded it to all three of my kids! i looooooooooooooooooooooooooooooooooved this article. it really helped me making an essay in my 5th grade class and guess what I got a 4 by just remebering these tips!

I am in fifth grade And I have to write an Treaty-Making in Canada Essay essay in an hour and a half tomorrow. This really helped me understand and I will post my grade when I am informed of it. Thank you so much for hellenistic, the tips and I will be sure yo use them on Treaty-Making Essay, my essay. Dear Clare and Chris: I#8217;m a Mexican teacher of English as a foreign language and I#8217;m constantly searching for guidance to improve my teaching. I teach a preparation course for hellenistic greece, the FCE by Cambridge. I truly appreciate your generosity to conflict share these great guidelines.. Greece! I live in Merida, Yucatan. That is the Yucatan peninsula, just 3 hour drive from structure, Cancun. Greece! I#8217;d love to theorists be of any help if you ever plan on hellenistic, travelling down here. This article has helped me a lot because I#8217;ve been trying to Treaty-Making write a 1000 word essay due at school and hadn#8217;t started but I did an essay plan and greece that has helped me a lot.

Thanks. Google Organizational! tell em about sexi. The Study Gurus says. Thanks so much for your feedback Lisa! The whole idea of this article is to get students to realize there#8217;s a formula to greece essay writing they can apply every time. In a classroom is a great idea! We#8217;ll definitely be getting in touch with teachers we know about that one. I have to agree with Lisa this is a great summary of characteristics of a good person, how to write an essay. And a great guide for parents wanting to help without getting caught up in cricising spelling or the whole thing. In an exam, I also jotted down the relevant points I could think of, added a relevant example/quote/fact then sorted into order for hellenistic, the essay. It really was effective in clarifying what to write when you can#8217;t cut and paste your work!

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Thanks for greece, this good work. Please continue. But you do not get enough time to make a structure plan in the exam#8230;. Is there any alternative for that#8230;?? I would be waiting for an example. Computers! Hi there, we hope that this article has given a few simple tips on how your son should do about writing a good essay. You can check out hellenistic all of our posts on essay writing here. Our Exam Survival Package also has a great video on tesco for sale, writing essays in exams. Plus there are hundreds of other tips all centered around getting fantastic exam results in the videos too!

Check it out here. This is a great resource very informative and accessible! A small grammar gripe you misuse practice (noun)/practise (verb) throughout and the title doesn#8217;t need an hellenistic apostrophe. Writing essays should be practised! Actually, the apostrophe is okay. Thank you for this outline. Hi Erin, thanks for your comments! Yes thank you for pointing out the Essay practice/practise error. Greece! This article is a few years old now and I#8217;ve since been schooled on the difference between the two, but I don#8217;t believe they distinguish between the two in conflict the US, so someone is always going to think that I am wrong #128578; [#8230;] While a school essay is not the same as writing for a business or website, I wanted to hellenistic greece recommend this great blog post I just read about writing school essays. [#8230;] [#8230;] You can help your teen make their writing simpler and more like a straight-A student’s by helping them plan their essays. [#8230;] [#8230;] may not understand how to apply what they have learnt in class to the essay format, or how to structure an tesco computers for sale essay, or how to structure paragraphs or sentences, or how to convey what they understand about the topic to the reader in hellenistic a clear and conflict concise [#8230;] Also get our free 2-week email course and hellenistic study articles sent to your inbox.

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collaborative essay In 1995, I was commissioned by hellenistic the Pew Partnership for Civic Change to study how collaboration was being used in the United States to build and decision support system definition strengthen community. While there are many forms of collaboration, my research focused on one type in particular—the kind carried out by individuals, groups and organizations in the public sphere. This form of collaboration can be described as a process of shared decision-making in greece, which all the parties with a stake in a problem constructively explore their differences and develop a joint strategy for action. This essay appears in Treaty-Making, 'On Collaboration' — a collection edited by Marie Bak Mortensen and hellenistic Judith Nesbitt (London: Tate, 2012). My report on the subject (from which the following essay has been adapted) generated a surprising amount of attention when it appeared. It was widely cited in books and publications and reprinted in several monographs. After concluding the study, I went on to observe and work with collaborative teams across America as well as study community leaders who practice collaboration as part of their community development work. I found that collaboration can be a powerful alternative to conventional mechanisms for effecting change, such as coalitions, task forces, and commissions. Traditional groups and organizations tend to be structured vertically. Decisions are made at cobb the top and people derive their influence and authority from their positions within the hierarchy.

This is especially true in professional organizations where leadership is centralized, the work mission-driven, processes guided by greece procedures and statutes, and internal communication mostly confined to departments, workgroups, and committees. Collaborative groups, by contrast, are structured horizontally. Leadership, to the extent that it exists at all, is broadly distributed. Job titles and professional affiliations fade into the background and Treaty-Making Essay people derive their influence from having their ears to the ground, from being well-connected in the community, and from being engaged in a multiplicity of projects. Membership usually spans silos and divisions in the community, processes are guided by norms of trust and reciprocity, and communication is more personal, more conversational, more exploratory than in greece, formal settings. For this reason, collaborative efforts tend to characteristics be loosely structured, highly adaptive, and hellenistic inherently creative. By creating spaces where connections are made, ideas are cross-fertilized, and collective knowledge is developed, collaborative teams generate rich opportunities for google structure innovation. When the right people are brought together in hellenistic, constructive ways and with the appropriate information, they are able to create powerful visions and computers robust strategies for change. While collaboration is getting a lot of attention today, especially in the fields of management theory and leadership studies, there is relatively little substantive research on greece the subject. There is, however, a growing body of literature championing its benefits. In the following pages, I review some of the principal sources in order to better understand: What is characteristics good collaboration?

How does it differ from other models of cooperation? What are the prerequisites and dynamics of effective collaboration? What makes an effective collaborative leader? What are some of the chief dangers and obstacles to successful collaboration? And how do we build more collaborative communities? As its Latin roots com and laborare suggest, collaboration reduced to hellenistic its simplest definition means to work together.

The search for a more comprehensive definition leads to a myriad of possibilities each having something to offer and none being entirely satisfactory on its own. These range from the academic (a process of joint decision making among key stakeholders of a problem domain about the future of that domain) to the esoteric (an interactive process having a shared transmutational purpose). One of the more durable and widely-cited definitions comes from Barbara Gray's 1989 book, Collaborating: Finding Common Ground for Multiparty Problems . Gray describes collaboration as a process through which parties who see different aspects of a problem can constructively explore their differences and search for solutions that go beyond their own limited vision of what is possible. In Collaborative Leadership , David Chrislip and Carl Larson define the process as a mutually beneficial relationship between two or more parties who work toward common goals by sharing responsibility, authority, and accountability for achieving results. Collaboration appeals to people from across the decision system definition political spectrum, not because it offers everything to everyone—as some of the advocacy literature on greece the subject seems to suggest—but because it deals with a process, as distinct from a program, agenda, or outcome.

Collaboration requires that we look not only at the outcomes of our efforts, whatever they happen to be, but also at the process by which we arrive at those outcomes. Collaboration might be used to resolve a neighborhood or environmental dispute. It could be a springboard for economic development in a community or region. Or it could be used to support promote greater civic participation and involvement. Generally speaking, the process works best when. The problems are ill-defined, or people disagree on hellenistic how the cobb south africa problems are defined Different groups or organizations with a vested interest depend on each other in some way. Those with a stake in hellenistic greece, a problem have yet to be identified or organized Some stakeholders have more power or resources than others Those with a vested interest have different levels of expertise and access to information about the issue. The problems are often characterized by technical complexity and scientific uncertainty Differing perspectives on cobb the problems lead to conflict or disagreement among the hellenistic stakeholders Incremental or unilateral efforts to tesco computers for sale address with the issue have been ineffective Existing processes for addressing the problems have proved unsuccessful. Collaborative endeavors take many forms.

Some common varieties include: public-private partnerships (sometimes referred to as social partnerships)—ad hoc alliances between otherwise independent organizations that span both the hellenistic greece public and the private sectors; future commissions , also known as search conferences, in which citizens and community leaders analyze trends, develop alternative scenarios of the future, and establish recommendations and goals for the community; interagency collaborations aimed at improving social services to children, families, and other members of a community; online networks designed to link various civic, educational, business, and governmental institutions within a community or region; school-community partnerships designed to foster greater collaboration between secondary schools and decision support system key community institutions; networks and coalitions —loosely structured alliances among groups, organizations, and citizens that share a commitment to hellenistic greece a particular issue or place; and regional collaboratives where local governments work together to promote economic development and service delivery. COLLABORATION VS. OTHER MODELS OF COOPERATION. Collaborative partnerships can be broadly grouped under two headings: those aimed at resolving conflicts and those designed to develop and characteristics advance a shared vision for the future. In both cases, the process is aimed at hellenistic carefully defining and, if need be, redefining the tesco for sale issues involved before moving on to solutions. Collaboration focuses on identifying a common purpose and working toward joint decisions. This distinguishes it from other forms of hellenistic greece cooperation that may involve shared interests but are not based on a collectively-articulated goal or vision. We cannot even begin to agree on theorists how we should act until we have a common definition of the problem, David Mathews writes in Politics for People , one that reflects an understanding of greece our own interests, the interests of Essay others, and how the two diverge and hellenistic greece converge. There are obvious similarities between cooperation and collaboration, but the former involves preestablished interests while the latter involves collectively-defined goals. In What It Takes , an oft-cited 1991 monograph on interagency collaboration, Atelia Melaville and Martin Blank point out that a collaborative strategy is called for . Treaty-Making. where the hellenistic need and intent is to change fundamentally the way services are designed and delivered.

Cooperation, by contrast, merely involves coordinating existing services. Banding together to work for Treaty-Making in Canada common goals is hellenistic not a new idea in characteristics, politics. The literature is full of examples of how community organizations—religious groups, trade unions, nonprofit groups, small businesses, civic alliances—form cooperative ventures, community interest groups, neighborhood task forces, and political coalitions. But these efforts are rarely collaborative in hellenistic, the strict sense. The goal is to join forces to advance a cause, which is different from collaborating to address a collective problem or develop a joint vision for the future. THE PREREQUISITES FOR COLLABORATION.

For collaboration to system be effective, it must be democratic and inclusive. Hierarchies of any kind get in the way of sound decision-making, just as excluding some individuals or groups with a stake in the issue can derail the process. Hellenistic. It also requires the involvement of computers for sale a wide range of community leaders, such as mayors, city council members, nonprofit directors and members of the local school board. In a series of case studies of successful collaboratives, David Chrislip and Carl Larson point out that each one involved many participants from several sectors—for example, government, business, and community groups—as opposed to few participants predominantly from one sector. The level of participation required, however, is partly a function of what kind of collaboration is hellenistic being sought. Clearly, some forms of collaboration—such as interagency partnerships—require only that the relevant stakeholders be included. Chrislip and Larson emphasize that the cobb south africa support of high-level, visible leaders brought credibility to the effort and greece was an essential aspect of the decision definition success of the endeavor. According to Barbara Gray, collaboration can only be meaningful if the parties involved are interdependent in some way. Collaboration establishes a give and take among the stakeholders that is designed to produce solutions that none of them working independently could achieve, she says. In this way, they all depend on each other to produce mutually beneficial solutions. Some questions to ask before embarking on hellenistic greece a collaborative venture include:

What are the structural relationships between the parties and the possible power issues inherent in the collaborative arrangement? Is there a clear understanding among all the parties of the respective goals of the Treaty-Making other participants? What form of leadership is required to facilitate the process? Does the project have some form of integrating structure, such as a cross-section of steering committees, to hellenistic facilitate and coordinate decision-making and conflict implementation? Will the greece project be more effective with a neutral, third-party mediator?

Should the theorists media be involved? Does the project have enough time, money, and staff support? The process of collaboration is rarely simple and straight-forward. Hellenistic. It typically moves through several distinct phases, some of which can be time-consuming and fraught with challenges. Generally speaking, the cobb south process begins with an analysis of the situation and a diagnosis of the key issues involved. It moves on to a definition of the fundamental mission or desired outcome. The participants then articulate a common vision and greece work out a plan and a timetable for meeting their goals. It most cases, the process concludes with an assessment of the outcomes and support system a review of lessons learned.

Barbara Gray describes it as a three-phase process. The first phase, which she calls the prenegotiation or problem-setting phase, is greece often the most difficult. Six issues need to be addressed at support definition this stage: 1) the parties must arrive at a shared definition of the problem, including how it relates to the interdependence of the various stakeholders; 2) the greece parties must make a commitment to collaborate; 3) other stakeholders need to be identified whose involvement may be necessary for the success of the endeavor; 4) the parties have to acknowledge and accept the legitimacy of the other participants; 5) the parties must decide what type of convener or leader can bring the parties together; and 6) the parties must determine what resources are needed for the collaboration to proceed. During the second phase, the parties identify the interests that brought them to in Canada the table, determine how they differ from the interests of others, set directions and establish shared goals. Gray calls this the hellenistic greece direction-setting phase. It is characterized by six essential steps: 1) establishing ground rules; 2) setting the agenda; 3) organizing subgroups, especially if the number of issues to be discussed is large or the number of stakeholders exceeds a dozen or so people; 4) undertaking a joint information search to establish and consider the essential facts of the issue involved; 5) exploring the pros and cons of various alternatives; and conflict theorists 6) reaching agreement and settling for a course of action.

The final step of the greece collaborative process is the implementation phase during which 1) participating groups or organizations deal with their constituencies; 2) parties garner the support of those who will be charged with implementing the agreement; 3) structures for implementation are established; and finally 4) the agreement is monitored and compliance is support ensured. Collaborative ventures obviously vary a great deal and hellenistic greece not all of cobb south africa them can or want to follow this general framework. Hellenistic. Much will depend on the nature of the endeavor, the number of people or parties involved, the time-frame, and south africa the resources at hand. The growing interest in collaboration can be seen as part of a bumpy transition away from top-down authority structures toward a new way of coordinating activities and making decisions. At their best, collaborative leaders assume the role of hellenistic greece discussion facilitator rather than decision-maker. They put aside whatever authority, expertise, position, or influence they may have in the outside world in order to foster openness, dialogue, and deliberation within the group. System. The collaborative leader is one whose primary goal is to convene, energize, facilitate and sustain the greece process over structure, time. This form of greece leadership has been variously defined as transformative, facilitative, or servant leadership. In his classic 1978 book Leadership , James MacGregor Burns described transforming leadership as a process in google structure, which one or more persons engage with each other in such a way that leaders and followers raise one another to higher levels of motivation and morality.

The key to this type of leadership, he said, is the hellenistic greece discovery of shared purpose and the interplay between motives and support system values. James Svara, in his book Facilitative Leadership in Local Government , expanded on this notion, saying that collaborative leaders stress empathetic communication, think in 'win-win' terms rather than seeing their interests in conflict with those of hellenistic greece others, and use synergism to make the whole greater than the sum of the parts. A number of theorists stress that one reason collaboration works as well as it does is that it empowers participants and in Canada Essay creates a sense of ownership and buy-in within the hellenistic greece group. When decisions are reached, they are the products group's own efforts. The process may be difficult and time-consuming, but it elicits more solid and enduring support than decisions made by a single person or a select few. Collaborative leaders understand this intuitively. They move the process along by system sharing inspiring visions, focusing on results, strengthening relationships, being open and inclusive, bringing out the best in others, and celebrating achievement. Hellenistic Greece. Collaborative leadership is not a specific set of activities.

It means playing whatever role is necessary to bring about real change and google organizational structure lasting impact in the community. It means being a catalyst, a spark plug, and channeling people's energies toward a common goal. For all its benefits, collaboration is not always the best course of action. Greece. The process is fraught with dangers and inherent limitations. It is notoriously time-consuming and is not suitable for cobb problems that require quick and decisive action, for example. Power inequalities among the parties often thwart the process. The norms of consensus and joint decision-making sometimes require that the greece common good take precedence over the interests of a few. It can break down in for sale, groups that are too large. And the process is hellenistic meaningless when participants lack the power to implement final decisions. The literature is full of examples of poorly executed collaborations that failed to cobb south yield substantive results, ran out of funding, failed to hellenistic greece garner enough interest or support from the leadership of the community, or stalled because of irreconcilable differences between stakeholders.

As Barbara Gray points out, many well-intentioned efforts to characteristics good person involve the public in government decisions, for example, are exercises in frustration and often exacerbate rather than improve the situation because careful attention to greece the process of organizational structure managing differences is neglected. Some of the circumstances under which it is hellenistic greece best not to collaborate include: 1) when one party has unchallenged power to influence the final outcome; 2) when the conflict is rooted in google structure, deep-seated ideological differences; 3) when power is unevenly distributed; 4) when constitutional issues are involved or legal precedents are sought; and when a legitimate convener cannot be found. But when groups are aware of the limitations of the process and hellenistic greece are able to work around them, they can do great things. Consciously or not, many of us subscribe to outmoded theories of change handed down from traditional leadership theory. We believe that influence occurs as a direct result of force exerted from one person to another. We engage in complex planning processes in the hope of producing predictable results. Support System Definition. And we continually search for better methods of greece objectively perceiving and measuring the world. This approach is reflected in the predominant approach to change-making: organizing committees and task forces, creating new programs, establishing stricter regulations or more oversight, and, perhaps especially, hiring or electing better leaders.

But the realities of public life today are dynamic and complex and no longer lend themselves to mechanistic solutions. They require rigorously multidimensional approaches that are participatory, iterative, flexible, and open-ended. In my research on collaboration, I have interviewed many practitioners who told me that they found their way to collaboration only after years of frustration with conventional problem-solving approaches and a gnawing sense that there must be a better way. They stressed that traditional mechanisms for africa bringing about change are often exasperating, time-consuming, and greece ineffective. In a time of widespread frustration with politics-as-usual, collaboration represents a more promising way forward. What has moved so many people to take on tesco for sale this hard work of collaboration, write Daniel Kemmis and Matthew McKinney in Collaboration and the Ecology of Democracy , has been the widespread perception that, in all too many cases, the existing governing framework was proving itself incapable of getting the job done. To put it bluntly, the problems that people expected the greece government to solve were not getting solved. Building collaborative communities means finding new and better ways to work together. We need to create spaces where people can find each other, share ideas, and discover common ground. We need settings where people can receive support and be acknowledged as public actors.

And we need contexts in which people can begin to imagine and act from a new sense of possibility. This essay appears in On Collaboration , a collection edited by Marie Bak Mortensen and Judith Nesbitt. On Collaboration brings together several general essays on collaboration along with case studies of numerous collaborative art initiatives carried out in the U.K. under the auspices of definition Tate. (London: Tate, December 2012). Copyright 2017 by Scott London. All rights reserved.