Discuss the quest for gender equality as reflected in feminist literature and art
What will be an ideal response?
As with the struggle for racial equality, women over the world have struggled for gender equality. While women make up the majority of the population in many cultures, they have exercised little significant political or economic power. In the twentieth century, the quest for female liberation took the form of an international movement.
Although the history of feminismreaches back at least to the fourteenth century, it was not until the nineteenth century that issues of female equality took a forward place in the arts. In the writings of Mary Wollstonecraft, George Sand, Angelina Grimké, and Virginia Woolf, misogyny and gender inequalities were highlighted, arguing for equal opportunity for education and economic advantage. Woolf, in her novels and essays, proposed that women could become powerful only by achieving financial and psychological independence from men. Freedom, she argued, is the prerequisite for creativity: for a woman to secure her own creative freedom, she must have money and the privacy provided by "a room of her own." Building on Woolf's ideas of psychological independence, Simone de Beauvoir wrote that it is women themselves who complacently accept their subordinate position. De Beauvoir called on women everywhere "to renounce all advantages conferred upon them by their alliance" with men.
American feminist writers and artists took inspiration from the civil rights movement, and fought gender discrimination. Betty Friedan published The Feminine Mystique, which claimed that American society—and commercial advertising in particular—had brainwashed women to prefer the roles of wives and mothers to other positions in life. Further, women began to decry the fact that women were woefully underrepresented in the history of culture and the arts. Change is happening, however, and since the middle of the twentieth century, the number of women in the visual arts—sculptor Niki de Saint Phalle, photographers Ana Mendieta and Cindy Sherman, Kara Walker, are a few examples—has been greater than ever before in history.
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Scene designer and Yale School of Drama professor Ming Cho Lee prefers to work in regional or repertory
companies because he feels:
a. there are larger budgets and more variable spaces in those settings. b. that collaboration is most respected in those settings. c. that those settings offer the perfect environment for bringing community into a space. d. he receives more recognition for his work in those settings.
The artist Delaunay shared with Futurism a fascination with ____
a. technological innovation b. architectural design c. universal potential of art d. collage elements
In The Marriage of Figaro, what is the nature of the Count?
a) womanizing b) virtuous c) witty d) scholarly
In cinematography, "mask" refers to
A. shades used to keep sunlight from creating lens flares. B. a filter placed over the lens to change the color of the scene. C. a technique used to change the shape of the frame. D. the case placed around the camera to muffle its noise for sound filming.