Why Women Should Not Be Allowed in Combat Occupations Essay

Since 1901, women have served in some form of the military, however, dating back to the American Revolution women have had an unofficial role. Women have had and will continue to have an important role in the military, the question is whether women should be allowed to occupy specific combat positions. Traditionally women have not been allowed in combat occupations, but recently these restrictions have been somewhat lifted, making certain occupations available to women. Despite the lift complications arise from women being in combat vocations and it’s not just because of the physical differences, there is also the increased risk of sexual assault. Due to the detrimental impact on the military, soldiers, and society, women should not†¦show more content†¦In January 1994, the â€Å"Secretary of Defense Les Aspin overturned the risk rule excluding women from any positions that could expose them to direct combat, hostile fire, or capture; the rule was replaced by th e direct ground combat assignment rule, which more narrowly tailored the restriction to front line combat positions.† (Mackenzie) According to the 1994 Department of Defense policy, women were limited from some occupational specialties if those specialties were physically located with direct ground combat units. According to a press release the Army will begin implementing the DoD policy. â€Å"Removing the restrictions opened 13,139 Army positions to women, occupations like; Multiple Launch Rocket System crewmember, MLRS operations fire detection specialist, Field artillery fire finder radar operator specialist, M1 Abrams tank system maintainer, Bradley Fighting Vehicle system maintainer, and Artillery mechanic.† (Wong) Regardless of the recent policy changes, the distinction between combat and support roles are still unclear. â€Å"Since women are permitted to serve in such support units, a major barrier designed to keep them away from combat has vanished.† (Mackenzie) In today’s war there is no clear front line or a safe area in the rear, making combat support operationsShow MoreRelatedPros And Cons Of Women In The Military885 Words   |  4 PagesWomen in the Military Women being in the military has become more prevalent in the last few decades, but are they helping or hurting the military by doing so? 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Women haveRead MoreThe Debate Of Women s Military Combat1914 Words   |  8 PagesOctober 2014 Women in Combat The debate of whether women should participate in military combat is a controversial issue worldwide. While the majority of the western countries, such as America, believe in the conservative values associated with women in combat forces, eastern countries, like Israel, do not fully support these ideals. Some believe it is a woman’s equal right, some believe it will cause negative affects on the family’s life, and others believe women in combat should receive the rightsRead More Women in the Military Essay4227 Words   |  17 Pages In Women in the Military, Janette Mance explores the debates and problems faced by the increasing number of women involved in the military. After examining issues such as pregnancy, sexual harassment, and rape, Mance concludes that as a society we must continue to strive for gender equality. From the storm lashed decks of the Mayflower to the present hour, women have stood like a rock for the welfare and glory of the history of our country . . . and one might well add: unwritten, unrewardedRead MoreWomen During The Military War1610 Words   |  7 PagesWomen over the course of hundreds of years have always struggled to be equivalent to men. Weather that be the right to vote, the right to speak up, or the right to lead. Leadership for example, is founded upon many different grounds. One being the military. Having a role in the military meant something greater than having a â€Å"regular† occupation to women. It meant that one has the opportunity to lead his/her country. To be the difference in the world. Females also wanted a taste of what it’s like

Weaving Architecture Nature Free Essays

string(78) " the concept of one with nature is Frank Lloyd Wright’s 4 Billingsgate\." Landscape from its beginnings has a man-made connotation with associated cultural process values. The idea of having a landscape does not suggest anything natural at all. Yet there are instances of projects where the landscape itself suggests natural connotations as though there is no interface between nature (site) and culture (architecture). We will write a custom essay sample on Weaving Architecture Nature or any similar topic only for you Order Now In Chichi Art Museum, Today And made a radical decision to create an underground space to create minimal changes to the current natural environment, exposing only very basic geometries as the openings for the underground gallery. He transformed the site into a natural work of art, interfacing with the internal works of art. On the other hand, Frank Lloyd Wright’s Billingsgate transforms the original site into a beautiful monumental landscape and brings nature into the house by using materials found on site, creating natural experiences through his architecture. Yet the ideas of the interface between Nature and architecture are translated very differently for the 2 projects. Nod’s idea of the interface was a stark exposed one while Wright’s was more clear and rational. This paper seeks to find out whether one of their interpretations questionable, or it is Just harder to comprehend one than the other. Keywords: Nature; Integration; Art; Landscape; Culture 1. INTRODUCTION Figure 1 . Illustration of the Phases of Museum Development The concept of museums since the late 18th century evolved through 3 different phases (Figure 1). The first generation are mostly built by royalties as part of their collections, the second generation museums are more particular in presenting artworks and collections in their raw form, where exhibition spaces are designed to segregate the works from any context using spaces that is ere and abstract. As art works progressed further, artists evolved to creating works that are more specific, works that interact with surroundings and also visitors. This concept itself brings out the definition of cultural landscape by Saucer (Saucer 1925, 46), where the art works themselves represents the cultural interference to the surrounding natural landscape. Here, the architect undertakes a special role as the direct influencer to the landscape. The Chichi Art Museum by Today And is one of the first of the 3rd development of museums, specially designed to house the works f Claude Monet, Walter De Maria and James Turrets, or on a higher level, to integrate their works with the natural environment. The way Today And created his cultural landscape, interfacing with nature with his strong use of man made materials concrete and glass, gives us a new perspective on how one interfaces with their surroundings. 2 THE ORIGIN The concept emerged due to a similarity between the artists in the history of art – they question modern art and architecture and the â€Å"quality of aesthetic experience† in a three-dimensional space. By congregating them into one space could form â€Å"a lace for aesthetic experience† (Watchmaker and Mammoth 2005, 83). Figure 2. Mashing, Japan (Source: http://architects. Files. Wordless. Com/2011 /06/chichi_panorama Jpg) The chosen site (Figure 2) was based on the likes of the initial client, Choirs Effectuate whom had a special liking towards the views of Sets Inland Sea and other islands from a place in Mashing (Watchmaker and Mammoth 2005, 83). The site was a good match with a three dimensional space envisioned by Monet – a space that by itself is a piece of art giving birth to the idea of a space that blends art and architecture together seamlessly. Hence instead of a monumental building sitting on the site, the building took the form of 2 an underground building with no apparent form. The visitor world experience each artist’s space, one by one independently, and was prevented from looking at the building as a whole. Upon gathering all the experiences, they would then discover the structure in its entirety, and the relationships and arrangements between spaces (Figure 3). Figure 3. Illustration of Separate volumes coming together in the site (Source: Today And at Mashing: art, architecture, nature. ) The final museum itself, shown in Figure 3 embodies a mastery of light and materials that seek to reconnect with the elements of â€Å"art and nature†. To maintain the existing environment and aesthetics of the site, And chose to ‘bury’ the museum underground. Only a series of concrete openings and geometrical skylights float among the greenery shown in Figure 4. He dedicated a separate space for each of the artists’ gallery, bounding them together with a triangular courtyard that connects all the exhibition spaces via a mixed sequence of spaces – light and dark, open and closed. Figure 4. Concrete opening and Skylight 3 THE INTERFACE . 1 Today Nod’s Chichi Art Museum Mashing 3 From Section 2, we understood that And made the decision to integrate art and nature as one by placing the building underground thus giving Chichi its name. Yet in his design, we see stark signs of man – made influences to the site, the most obvious being the introduction of concrete volumes that encompasses the entire site. As visitors enters the 27,700 square foot reinforced-concrete Chichi Museum, they will discover the diminishing sunlight taken over by the disorientating semidarkness. The tunnel-like passageway provides a full separation from the external environment ND leads them into a square-sis forecourt carpeted with green stalks of bamboo-like grass (Pollock 2005, 116). This initial experience that And created as his entrance sounds rather intimidating. The uniqueness and unfamiliarity created a rather daunting feeling, and nature is nowhere mentioned or considered when one enters the space. Is the integration with nature only a surface treatment to the architecture by infusing the building underground? Perhaps And was looking more into interfacing art and architecture together rather than interfacing the culture with nature. For our interpretation of a seamless interface with nature seem to be different from Nod’s radical representation of nature in his work. Yet where did our interpretation come from? 3. 2 Frank Lloyd Wright’s Billingsgate Figure 5. Billingsgate and the terraces (Source: HTTPS://blobs. Alt. VT. Dude/Kristin/files/2012/12/few Jpg) One of the historical buildings that perfectly epitomize the concept of one with nature is Frank Lloyd Wright’s 4 Billingsgate. You read "Weaving Architecture Nature" in category "Papers" Wild animals live near it; Trees surround it; Water swirls underneath; huge beclouded rest at its feet; the house’s terraces echo the pattern of the rock ledges below (Figure 5). Billingsgate seeks to find harmony with nature. Instead of scoping a natural landscape for its inhabitants, the Kauffmann, Frank integrated the waterfalls with the architecture and hence integrated the falls into their lives. Figure 6. Elevation and Section of Billingsgate with materials (Source: Billingsgate: Frank Lloyd Wright’s romance with nature. ) Wright furthered the integration with nature via his selection of materials. He kept his selection to merely 4 materials – sandstone, reinforced concrete, steel and glass and integrated them as part of the natural environment (Figure 6). All the stone at Billingsgate was quarried from the bottom of the waterfalls. Beams are designed in an arc shaped Just so to allow tree to grow through the trellis. The chosen concrete was of a pale ochre color to match the back of a fallen rhododendron leaf (Hangman 2011, 40). Exposed steel was painted red to give a raw feeling; reminding people of the red color of iron ore and also of the fiery method used to create steel. Clear glass was used to extend the nature into the interior of the house, sometimes becoming reflective like mirror-like surfaces of a calm pool, and at night, disappears to eliminate any distinction between the interior and exterior. Understanding Wright’s design and linking it to integration with nature seemed almost redundant as the building encapsulates the whole concept. It is simple to relate the architecture as part of the landscape, and the concept of integration was strongly showed in every angle, which was not seen for the case of Chichi Art 5 Museum. 3. New Interpretation As a 3rd generation museum, perhaps we should not Judge the interface at its mere surface. Was there more to its looks for the Chichi art museum? From the Periphery of Architecture, And wrote â€Å"Nature in the form of water, light ND sky restores architecture from a metaphysical to an earthly plane and gives life to architecture. A concern for the relationship between architecture and nature ine vitably leads to a concern for the temporal context of architecture. I want to emphasize the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience. (And 2005, 465) Nod’s interpretation of the interface between architecture and nature showed that it should not be merely a visual effect, but a more in-depth understanding and experience towards nature. It is thus reasonable to feel that what And is doing with his architecture was in particular, to isolate natural elements in blending them with the architecture. Yes one would not feel the natural environment, for we have never experienced nature in its rawness. Our idea of sunlight goes together with landscape, with clouds, with mountains and seas. We do not see light as a unit on its own. Figure 7. A Collage of the Monet Gallery at Chichi Art Museum This ideology was translated rather well in the Chichi Art Museum project. For Motet’s Gallery where the 6 tater lilies situate, the experience starts with changing your shoes to soft indoor slippers at the shoebox followed by a vacant room before the exhibition gallery. The dim experience diminishes through the rectangular open entrance, where silky light trickles in. Once we enter the Motet’s room, the transparent veil of light surrounds us. The completely white atmosphere, the white frames, white walls, white ceiling, and white floors seem to be representative of the raw sunlight, as it fills the environment. This enabled the paintings to have an illusion that it is relieved of its endings to the frame and Joins the space as floating scenery (Figure 7). The gentle ramp that circulates around the central triangular courtyard features a slit in the walls, exposing elements of light into the dim passageway creates a transition of space yet connecting the spatial qualities of the Monet gallery to the other galleries (Figure 8). This triangular courtyard exposes only rough stones at its surface, propelling vision from the visitors towards the sky (Figure 8). In James Turret’s Installation of the Open Sky, visitors are given the opportunity to enjoy the natural sky IA a framed skylight and observe the changes where visitors may see sunlight shining through the window, clouds drifting by or a lingering evening glow. Figure 8. The triangular courtyard (Source: Chichi Art Museum: Today And builds for Walter De Maria, James Turrets, and Claude Monet. The entire approach of Chichi Art Museum in integrating with nature forms a critical questioning of the natural environment. It forcefully brings out nature via the use of concrete envelope. The physical interface here is the concrete building, although man-made, it seems to be the perfect medium to bring the isolated 7 tater into the art and architecture. The Chichi Museum is thus a successful effort between the architect and the artists, people and nature, a cting as a specific artwork in itself. Even the form as seen from the exterior, is like an art piece, infused within the mountains (Figure 9). This made the argument in 3. Invalid as the approach took by And in creating a dramatic entrance was Justifiable if his intention of integrating with nature is as discussed. Figure 8. Series of mediums illustrating the building infused into the site. (Source: Chichi Art Museum: Today And builds for Walter De Maria, James Turrets, and Claude Monet. ) The isolation of nature to provide the integrated experience is not a new concept. Even in Wright’s Billingsgate, we can see hints of this method used. In integrating the waterfall into the architecture, instead of scoping a view, Wright chose to situate the house right on top of it. How to cite Weaving Architecture Nature, Papers

Legacy From The Middle Ages Essays - Education, Crafts, Guild

Legacy from the Middle ages Many cultural advancements were made during the Dark Ages which lasted between 500AD and 1000AD. Culture can be divided into five distinct categories such as religion/philosophy, government, science, art/architecture and language/literature. During the Middle ages, there was a great advancement in theology and many of todays finest universities were built such as the Oxford University and some others in Paris and Rome. In the early 20th century, many other universities were built using the First universities as a base. Oxford University still exists, as one of the most respected school in the world. There were also a lot of religious conflicts mainly between Muslims and Christians over the possession of Constantinople. Although the crusades were overall a failure, historians believe that is was the most important failure in history as it broke off Feudalism and changed peoples thinking. In government, there was a significant change when in 1215, Magna Carta was signed, stating that not even the King is above the law. This period of time can also be seen as the beginning of true representative government which almost every system of government is based upon today. Guilds were also established in this period. They were groups of people with the same skills. They met to control the economy by changing the price, quantity and quality. There are more of these guilds today, as different associations which control the price of raw materials. The guilds in the Dark ages gave more power to ordinary workers and helped the representative government. Although not many scientific discoveries were made during the Middle ages, the study of alchemy helped later scientist to find scientific facts about each element and its usage. In architecture the Romanesque style was perfected through churches, which was later dominated by the Gothic style, which became the international mode of building in the future. In paintings, more detail was given to the emotional side and to nature. Reading and writing became a very common skill as for the first time in the vernacular languages, written work was made public for leisure. Many writings dealt with the complexity of life and with romance. A lot of the cultural advancements established during the Middle ages can be seen today, often as the base of our culture. Many things changed during the Dark ages and that is why it is considered one of the most important period of time in History

E Business essays

E Business essays A typical infrastructure of any technological system' would serve to connect all the various components that make up the entire structure and provide information on links between each of the elements. In the infrastructure of systems', the computer network as well as the information network would make up the structure of the business. The various elements are generally entire networking software, and a hardware system made up of computers, servers, modems, hubs, and any form of wireless technology. The building in which the business is to be housed will consist of the building infrastructure' that will be made up of the system that will support the information technology network system. This will be made up of electrical cables and wires, conduits, and electricity that will help in the functioning of all the above listed components, as well as for the safety measures of fire alarms, etc. The most important component of any business is the human element, and this third component makes up the personnel infrastructure'. These skilled people serve to provide the basic infrastructure of the business. This group is comprised of personnel involved in training, network management, technical help and assistance wherever necessary, the development and creation of the content of the course, the support given to learners or beginners, and help in administration. (Part 3- Technology Infrastructure Issues) It is important to know what the advantages of an e-business are and how income is generated when a person want to start an e-business of his own. The best part of an e-business is that the principles of this business can be applied to a business that is already in existence, and also for a newly starting up business. This is a business whereby access to customers becomes easi...

USS Ranger CV-4 World War II Aircraft Carrier

USS Ranger CV-4 World War II Aircraft Carrier USS Ranger (CV-4) Overview Nation: United StatesType: Aircraft CarrierShipyard: Newport News Shipbuilding Drydock CompanyLaid Down: September 26, 1931Launched: February 25, 1933Commissioned: June 4, 1934Fate: Scrapped Specifications Displacement: 14,576 tonsLength: 730 ft.Beam: 109 ft., 5 in.Draft: 22 ft., 4.875 in.Propulsion: 6 Ãâ€" boilers, 2 Ãâ€" Westinghouse geared steam turbines, 2 Ãâ€" shaftsSpeed: 29.3 knotsRange: 12,000 nautical miles at 15 knotsComplement: 2,461 men Armament 8 Ãâ€" 5 in./25 cal anti-aircraft guns40 Ãâ€" .50 in. machine guns Aircraft 76-86 aircraft Design Development In the 1920s, the US Navy commenced the construction of its first three aircraft carriers. These efforts, which produced USS Langley (CV-1), USS Lexington (CV-2), and USS Saratoga (CV-3), all involved the conversion of existing hulls into carriers. As work on these ships progressed, the US Navy began designing its first purpose-built carrier. These efforts were constrained by the limits imposed by the Washington Naval Treaty which capped both the size of individual ships and the total tonnage. With the completion of Lexington and Saratoga, the US Navy had 69,000 tons remaining which could be assigned to aircraft carriers.   As such, the US Navy intended for the new design to displace 13,800 tons per ship so that five carriers could be constructed. Despite these intentions, only one ship of the new class would actually be built.    Dubbed USS Ranger (CV-4), the new carriers name hearkened back to the sloop of war commanded by Commodore John Paul Jones during the American Revolution. Laid down at the Newport News Shipbuilding and Drydock Company on September 26, 1931, the carriers initial design called for an unobstructed flight deck with no island and six funnels, three to side, that were hinged to fold horizontally during air operations. Aircraft were housed below on a semi-open hangar deck and brought to the flight deck via three elevators. Though smaller than Lexington and Saratoga, Rangers purpose-built design led to an aircraft capacity that was only marginally less than its predecessors. The carriers reduced size did present certain challenges as its narrow hull required the use of geared turbines for propulsion.   As work on Ranger progressed, alterations to the design occurred including the addition of an island superstructure on the starboard side of the flight deck. The ships defensive armament consisted of eight 5-inch guns and forty .50-inch machine guns. Sliding down the ways on February 25, 1933, Ranger was sponsored by First Lady Lou H. Hoover. Over the next year, work continued and the carrier was completed. Commissioned on June 4, 1934 at the Norfolk Navy Yard with Captain Arthur L. Bristol in command, Ranger commenced shakedown exercises off the Virginia Capes before beginning air operations on June 21. The first landing on the new carrier was conducted by Lieutenant Commander A.C. Davis flying a Vought SBU-1. Further training for Rangers air group was conducted in August. Interwar Years Later in August, Ranger departed on an extended shakedown cruise to South America which included port calls at Rio de Janeiro, Buenos Aires, and Montevideo. Returning to Norfolk, VA, the carrier conducted operations locally before receiving orders for the Pacific in April 1935. Passing through the Panama Canal, Ranger arrived at San Diego, CA on the 15th. Remaining in the Pacific for the next four years, the carrier took part in fleet maneuvers and war games as far west as Hawaii and as far south as Callao, Peru while also experimenting with cold weather operations off Alaska. In January 1939, Ranger departed California and sailed for Guantanamo Bay, Cuba to participate in winter fleet maneuvers. With the completion of these exercises, it steamed to Norfolk where it arrived in late April. Operating along the East Coast through the summer of 1939, Ranger was assigned to the Neutrality Patrol that fall following the outbreak of World War II in Europe. The initial responsibility of this force was to track warlike operations of combatant forces in the Western Hemisphere. Patrolling between Bermuda and Argentia, Newfoundland, Rangers seakeeping ability was found lacking as it proved difficult to conduct operations in heavy weather. This issue had been identified earlier and helped contribute to the design of the later Yorktown-class carriers. Continuing with the Neutrality Patrol through 1940, the carriers air group was one of the first to receive the new Grumman F4F Wildcat fighter that December. In In late 1941, Ranger was returning to Norfolk from a patrol to Port-of-Spain, Trinidad when the Japanese attacked Pearl Harbor on December 7. World War II Begins Departing Norfolk two weeks later, Ranger conducted a patrol of the South Atlantic before entering drydock in March 1942. Undergoing repairs, the carrier also received the new RCA CXAM-1 radar. Deemed too slow to keep up with newer carriers, such as USS Yorktown (CV-5) and USS Enterprise (CV-6), in Pacific, Ranger remained in the Atlantic to support operations against Germany. With the completion of repairs, Ranger sailed on April 22 to deliver a force of sixty-eight P-40 Warhawks to Accra, Gold Coast. Returning to Quonset Point, RI in late May, the carrier conducted a patrol to Argentia before delivering a second cargo of P-40s to Accra in July. Both shipments of P-40s were destined for China where they were to serve with the American Volunteer Group (Flying Tigers). With the completion of this mission, Ranger operated off Norfolk before joining four new Sangamon-class escort carriers (Sangamon, Suwannee, Chenango, and Santee) at Bermuda. Operation Torch Leading this carrier force, Ranger provided air superiority for the Operation Torch landings in Vichy-ruled French Morocco in November 1942. Early on November 8, Ranger began launching aircraft from a position approximately 30 miles northwest of Casablanca. While F4F Wildcats strafed Vichy airfields, SBD Dauntless dive bombers struck at Vichy naval vessels. In three days of operations, Ranger launched 496 sorties which resulted in the destruction of around 85 enemy aircraft (15 in the air, approx. 70 on the ground), the sinking of the battleship Jean Bart, severe damage to the destroyer leader Albatros, and attacks on the cruiser Primaugut. With the fall of Casablanca to American forces on November 11, the carrier departed for Norfolk the next day. Arriving, Ranger underwent an overhaul from December 16, 1942 to February 7, 1943. With the Home Fleet Departing the yard, Ranger carried a load of P-40s to Africa for use by the 58th Fighter Group before spending much of the summer of 1943 conducting pilot training off the New England coast. Crossing the Atlantic in late August, the carrier joined the British Home Fleet at Scapa Flow in the Orkney Islands. Putting out on October 2 as part of Operation Leader, Ranger and a combined Anglo-American force moved towards Norway with the goal of attacking German shipping around Vestfjorden. Avoiding detection, Ranger began launching aircraft on October 4. Striking a short time later, the aircraft sank two merchant vessels in Bodo roadstead and damaged several more. Though located by three German aircraft, the carriers combat air patrol downed two and chased off the third. A second strike succeeded in sinking a freighter and a smaller coastal vessel. Returning to Scapa Flow, Ranger commenced patrols to Iceland with the British Second Battle Squadron. These continued until late November when the carrier detached and sailed for Boston, MA. Later Career Too slow to operate with the fast carrier forces in the Pacific, Ranger was designated as a training carrier and ordered to operate out of Quonset Point on January 3, 1944. These duties were interrupted in April when it transported a cargo of P-38 Lightning to Casablanca. While in Morocco, it embarked several damaged aircraft as well as numerous passengers for transport to New York. After arriving in New York, Ranger steamed to Norfolk for an overhaul. Though Chief of Naval Operations Admiral Ernest King favored a massive overhaul to bring the carrier on par with its contemporaries, he was discouraged in following through by his staff who pointed out that the project would draw resources away from new construction. As a result, the project was limited to strengthening the flight deck, installation of new catapults, and improving the ships radar systems. With the completion of the overhaul, Ranger sailed for San Diego where it embarked Night Fighting Squadron 102 before pressing on to Pearl Harbor. From August to October, it conducted night carrier flight training operations in Hawaiian waters before returning to California to serve as a training carrier. Operating from San Diego, Ranger spent the remainder of the war training naval aviators off the California coast. With the end of the war in September, it transited the Panama Canal and made stops at New Orleans, LA, Pensacola, FL, and Norfolk before reaching the Philadelphia Naval Shipyard on November 19. After a brief overhaul, Ranger resumed operations on the East Coast until being decommissioned on October 18, 1946. The carrier was sold for scrap the following January. Selected Sources DANFS: USS Ranger (CV-4)Air Group 4: USS RangerMilitary Factory: USS Ranger (CV-4)

American Imperialism and American Democracy Article

American Imperialism and American Democracy - Article Example The case of American regional imperialism is perhaps most evident when it comes to Latin America. Of course it remains quite obvious that American governments have always had a role to play in international politics even though they had been warned by their greatest leader not to interfere in the matters of other nations. Buschini (2000) notes the American influence over the Middle East as well as Latin America and notes that in historical terms, â€Å"Between the end of the Spanish-American War and the dawn of the Great Depression, the United States sent troops to Latin American countries thirty-two times (Buschini, 2000, Pg. 1)†. The consequences for such actions both home and abroad only became clear when the changes to the Latin American politics became evident. For the American people, intervention and the idea of sending soldiers to fight and die in a foreign land had to be given some explanation. This explanation came from the Monroe Doctrine as it was fed to the public by Roosevelt and other presidents who did not see imperialism as imperialism. In fact, American intervention was seen as necessary, a positive force for change and the American people were taught to see themselves as liberators as well as the protectors of democracy (Kinzer, 2006). As a consequence of having imperialist policies, America was made out in the media to be the defender of civilization in a world which was full of chronic wrongdoing and mischief done by others. The nobility of the American government was essentially a myth fed to the people and many of them gladly accepted it as fact. In this manner, even in a democratic society, a government which was hesitant to intervene in the matters of other nations would be seen as lacking the courage to make strong decisions (Kinzer, 2006). For governments willing to intervene, the idea of bringing democratic values to other

Feminist Art Review of Cindy Sherman Self-Portrait Essay

Feminist Art Review of Cindy Sherman Self-Portrait - Essay Example Perhaps the most seminal artist operating in this cultural milieu is Cindy Sherman. Sherman’s art presents a multitude of perspectives on the self, interrogating identity, experience, and femininity in the postmodern world. This essay examines Sherman’s self-portrait Untitled Film Still 53 arguing that it presents a comprehensive response to mainstream perspectives on identity and actively resists the male gaze. Analysis While Cindy Sherman’s work almost exclusively explores conceptual portraits, her most notable collection is the Untitled Film Stills, 1977–1980. Within the context of this collection critics have divided the portraits into a variety of themes, still it’s clear that are a number of concerns that underline all these modes of representation. One of the most emblematic portraits of this collection is Sherman’s Untitled Film Still #53. From a strictly literal perspective, this work is a photographic portrait of Sherman wearing a b londe wig. Her eyes are slanted indifferently to the left. She is standing in front of a concrete wall that is blurred from view by the brightness of a light and photographic development techniques. While this portraiture presentation is ostensibly simplistic in meaning, further analysis reveals a number of deeper meanings. In deconstructing traditional representations of identity Sherman’s Untitled Film Still #53 resorts to one of the most pervasive constructors of identity – the cinema. Indeed, it’s been noted that in the, â€Å"early work by Cindy Sherman†¦she reconstructs the codes of the representation of femininity in cinema† (Jones, pg. 90). Within the context of this portrait one witnesses the co-optation of many elements of film noir cinema. In these regards, the low-key lighting and blurred focus are much in-line with this genre. While the photograph represents a recreation of this 1940s and 1950s aesthetic, the nature of it being a second- order representation is such that it leads individuals to question the nature of these early and mid-20th century forms of gender and identity construction. It’s noted that, â€Å"The intellectual woman looks and analyzes, and in usurping the gaze she poses a threat to an entire system of representation† (Jones, pg. 67). Such an understanding reveals perhaps the central meaning behind this specific portrait and Sherman’s larger body of work, namely that the artist has implemented conceptual portraits in a post-modern paradigm to interrogate previously held notions of truth and reality. Another prominent investigation of identity in this portrait is through interrogation of the male gaze. Feminist theory contains a strong emphasis on the representation of women in television and film, with Laura Mulvey’s the gaze a prominent area of consideration. Within Sherman’s portrait it’s clear she is exploring this feminist concern in a variety of ways . One prominent understanding, as is characteristic of Sherman’s Untitled Film Stills, is that, â€Å"Sherman has posed herself as embodied object, photographically frozen within gendered positions of vulnerability† (Jones, pg. 323). When one examines this within the outward representation of the photographic image, one of the major considerations is the mid-20th century costume and body language. Sherman’