Through socialization processes, we learn to identify specific behaviours as 'masculine' or 'feminine', and boys and girls are taught to perform and display these traits, which become a dominant part of their identities....
Attitudes toward women likewise reflect the state of civilization, for it is by way of contrast that males defend their identity in times of transition and insecurity. Not surprisingly, a concerted attempt to define gender norms characterizes both the last turn of the century and the present one. The iconic --typified in the work of Munch, Gustav Klimt, Lovis Corinth and others--was a popular way to simultaneously demonize female sexuality and segregate it from more serene, maternal views of the “good” woman. Even the less highly charged nudes depicted by these late-nineteenth-century artists consciously objectified the female body and placed it squarely at the service of male desire. Schiele, on the other hand, upended conventional poses and attitudes toward the nude, granting far more autonomy to feminine sexuality while nonetheless remaining clearly terrified of it. The lustful aggressiveness manifested by certain Expressionists, such as Beckmann, was countered by others, like Heckel, who equated naked women with the instinctual purity of “primitive” societies. By transplanting nude figures from the tribal wilderness to surroundings more reminiscent of a Caribbean vacation land, Eric Fischl provides an ironic, post-modern take on these age-old iconographic conventions. Cindy Sherman comments more acerbically on the pictorial formulae that have been used to subjugate women, while, like Fischl, remaining essentially outside the traditions that spawned such devices.
The appetitive part (love of money, hunger, thirst, sexual desire, desire for other physical pleasures, aversion to physical pain)"Desire" is not limited to just one part.The rational part naturally desires to understand and to promote the good of thewhole as it perceives this good.
We can call the desire of the rational part "wish" or "intention"
The spirited part desires victory/honor/praise etc.
The appetitive part desires pleasure, possessions, etc.
A nostalgic yearning to regain lost innocence finds expression not just in the rural/urban dichotomy, but in bizarrely polarized views of childhood. In certain paintings by Modersohn-Becker, children are clearly identified with their idyllic Worpswede surroundings, but in others, little boys appear as almost alien beings, unreachable by adult logic and therefore somehow threatening. Schiele, still emotionally an adolescent when he executed his first Expressionist masterpieces, similarly evokes the self-contained world of childhood in numerous poignant watercolors. His open acknowledgment of sexual feelings in his pubescent models invites comparison with Sally Mann’s recent photographs of her daughters and son, though the attitudes of the two artists are in many ways quite different. Mann adopts a far more ambiguous stance, in which it is unclear whether sexuality and a host of other disturbing feelings are intrinsic to her underage subjects or imposed upon them by the viewer’s preconceptions. Photographer Larry Towell, too, has captured two extremes of the childhood paradigm: one in a pre-modern Mennonite enclave, and the other among the gun-toting boys of the Gaza Strip. The criminalization of children--lampooned by Art Spiegelman in a recent cover and explored in depth by Sue Coe in her series on the Liverpool child murderers--is the pathetic recourse of a society that has abdicated all responsibility for its weakest members. It is the child’s “otherness” that places him or her beyond the pale of civilization--as an embodiment alternatively of lawlessness or incorruptibility.
Description :Marking 50 years since the publication of noted sexologist Alfred Kinsey’s Sexual Behavior in the Human Female, Feminine Persuasion: Art and Essays on Sexuality celebrates the diverse and multifacet...