Sex Education, Why Should We Care - 1310 Words

Sex Education, Why Should We Care? It is incredible how the mere knowledge of something that is considered taboo by many can change someone ´s life. In his Health Education Research, Professor Lawrence St. Leger states that there seems to be a growing consensus claiming that schools can play an important role teaching the youth make informed decisions and help them shape a healthy lifestyle. That is why high schools are considered as the best environment to implement sex education programs within their syllabus to instruct teenagers not only about abstinence but also about a safer sex practice. Indeed, these types of programs have been included because of the increasing number of sexually-active teenagers, which are a matter of serious concern. Sex education helps teenagers to make better decisions – to either be abstinent or to practice a safer sex – allowing the prevention of unwanted pregnancies or sexually transmitted infections and having a great impact on the he alth of society. Debates about including sexual health education have taken place among society. Many people mistakenly relate sex instructions with motivating teenagers to have sexual intercourse. On the contrary, sexuality is not only based on the sexual behavior, but on a complete array of other topics, such as abstinence, human reproduction, pregnancies, sexually transmitted infections, and sexual health. In fact, sex education is necessary because sexuality is an essential part of each person ´s identity.Show MoreRelatedThroughout Centuries Gender Has Been A Social Construct1363 Words   |  6 Pagesbe observed throughout most cultures, education, labor force, and in our own personal lives. At a very young age we are introduced to a gender identity based upon the sex we were born with. Girls are associated with the color pink, dolls, nurturing tendencies, and inclined to be more emotional. While boys are associated with the color blue, the nature of masculinity, sports, and said to be more outspoken. However, gender and sex are two different things. Sex is the biological differences betweenRead MoreWhy Sex Education Should Be Taught Essay1247 Words   |  5 Pagesvaginal intercourse, 29 percent during anal intercourse and only 4 percent during oral sex.† Why is it that students aren’t protecting themselves against these issues? B. I am a credible source about this information because I am a college student who knows other students sex lives, not just in college but in high school too. II. Body A. Why sex education should be taught in school 1. Sex education should be taught in school for students to learn how to protect themselves against STDs andRead MorePersuasive Essay On Sex Education1532 Words   |  7 Pagesthe body, including the genitals, to a toddler or preschooler, sex education has begun (New York Times).† Although some argue they are too young; sex and drug education should be taught to every student in elementary schools across the nation. Prevention is key; education can teach these children valuable lessons that may save their life. Drug abuse in this country has reached an all new high with some of the most dangerous drugs we have ever encountered, and the ages of these drug addicts are gettingRead MoreSex Education versus Abstinence1103 Words   |  5 PagesStudents in the United States should be required to take sex education classes that promote abstinence instead of safe sex. Why is sex education prominent than abstinence? Focusing on abstinence will lead to a better outcome in life, while sex education has major disadvantages. Abstinence is the way to go, because the best safe sex is no sex. According to the Macmillan Dictionary, sex education is a system of medical and pedagogical measures for inculcating in parents, children, adolescents andRead MoreSex Education Is A Process Of Building A Strong Foundation For Sexual Health1166 Words   |  5 PagesSex Education According to Rhiannon Lucy, â€Å"Sex education is a process that begins at birth and continues until the day you die. It is a process of building a strong foundation for sexual health†. There are many misconceptions and non-factual opinions that accompany along the topic of sexual education, even though it may constantly discussed. Sex may includes sexual development, reproduction, intimacy, gender roles and relationships. At home parents may be nervous when discussing this particular topicRead MoreSex Education Are Essential For Teens1479 Words   |  6 PagesSex Education is a controversial but extremely important topic. Yet, we are doing very little to address it. Teaching sex education in schools are essential for teens to help build a strong foundation of sexual health. Although sex education must begin at home, some parents feel uncomfortable talking about the topic with their children and they believe teaching their children about sex can end up encouraging them to en gage in sexual intercourse. Due to that, parents and schools try to emphasize theRead MoreSex Education And Birth Control1384 Words   |  6 PagesXueBing Xie Mr. Hines ELA 11 College English 1/29/15 Rough Draft (4pgs) Title: Sex Education and Birth Control should be enforced to prevent Teenage Pregnancies â€Å"Approximately one million teens get pregnant and give birth every year in the United States. Eighty percent of those births are to unmarried teens (ProQuest Staff)†. Teenage Pregnancy is when a mentally immature female adolescent under the age of nineteen is pregnant. Pregnant Teenagers would have to face many consequences and problemsRead MoreWhy High Schools Need To Provide Sex/Contraceptive Classes Essay864 Words   |  4 PagesThere has always been a lot of controversy over the education of contraceptives and sex being included in the high school curriculum. However, as parents, mentors, and leaders that these children look up to we have an obligation to these children. Providing a contraceptive/sex education class to high schoo students would be so beneficial. It would ensure that they are being educated correctly and not by other kids their same age. The United States has one of the highest rates when it comesRead MoreWhy Birth Control Should Be Taught in Schools697 Words   |  3 Pagesfind abstinence only education appropriate but, birth control must be taught in schools. Schools should teach about birth control because students will have a better understanding how birth control works and it would decrease unwanted pregnancy in the future. â€Å"I know abstinence is the only 100 percent way of preventing pregnancy and sexually transmitted diseases† said Debbie Sandland. ( Day, Brenda 1) This is an example that the majority of adults prefer abstinence only education and find it appropriateRead MoreSex Ed By Anna Quindelen Essay840 Words   |  4 PagesIn her essay â€Å"Sex Ed†, Anna Quindelen, a New York Times Columnist, journalist, and novelist, describes why teens should be taught sexual education by family members and loved ones rather than by teachers (Quindelen 183). In the essay, the author states that girls know the anatomy of a female’s reproductive system, and can tell the beginning and end of the ovarian cycles but can still end up pregnant. Knowledge isn’t always the right way to getting a point across. Desensitizing teens to important

Analysis of Hawk Roosting Free Essays

Analysis of â€Å"Hawk Roosting† Hawk Roosting is a poem written by Ted Hughes (1930-1998). Hughes was a British poet who often described the destructive aspects of animal life, survival instincts and the brutality of nature. His poem Hawk Roosting deals with the themes evil, power and human nature told from the point of view of a hawk. We will write a custom essay sample on Analysis of Hawk Roosting or any similar topic only for you Order Now This poem therefore coheres with Hughes’ other work. In my analysis I will be focusing on a characterization of the first person and what this hawk symbolizes. I will also be mentioning the message of the poem and end the analysis with a contextualization, where I also will be answering and commenting on the two following questions; â€Å"Is man fundamentally evil or good or do we all posses both elements? † and â€Å"What triggers evil? What prevents it from surfacing? † I would like to start my analysis with a characterization of the main character and the symbol of that character. This poem is told in first person through the eyes of a hawk. We are not told directly in the text that it is a hawk but we know this partially because of the title of the poem â€Å"Hawk Roosting† and somewhat because of the description we are given of the main character (the I). We are informed in stanza 1 that the main character is sitting on the top of the wood[1], which could indicate a bird or a rodent (i. e. squirrel or chipmunk) of some sort. The main character also has a hooked head and feet, which still could insinuate both bird and rodent. The reader is however convinced that it is a bird by use of the sentence;†The air’s buoyancy†¦Ã¢â‚¬  which tells us that it can fly thus it is a bird. If not for the title one could still assume it was a bird of prey as we are told that it kills[2]. Hughes uses the simple present tense to describe what the hawk is doing; â€Å"I sit, I kill†[3] with the effect that we understand that this is what the hawk does every day and that it is not an unordinary circumstance but a regular situation. A hawk is a bird of prey, a predator, a majestic bird and it is at the top of its food chain. It has the power â€Å"I kill where I please because it is all mine†[4], and it sees itself as perfect because it is the final product of evolution â€Å"It took the whole of creation to produce my foot, my each feather†[5]. The hawk is nature at its purest intent because there are no lies or arguments in this poem there is simply the truth about the nature of the hawk. Hughes points this out firstly by using the sentence â€Å"No falsifying dream†[6] and secondly by the sentence â€Å"There is no sophistry in my body†[7]. When people dream it is often of a consorted reality where anything can happen, because it is your imagination. A dream is often something you desire or can’t face in the real life, so one lives it through in a dream. A dream therefore consorts your reality or falsifies it. This Hawk does not dream of things that are not real. It only dreams about specific things that are a part of its reality. Sophistry is false reasoning intending to deceive. The hawk therefore only tells the truth and explains reality and how things are, no arguments just facts. The hawk knows what it is and is content with that. I believe that the hawk represents the truth behind human nature. How humans deep down are instinctive creatures and that there is a primitive evil in all of us. I believe this because the hawk is like us at the top of the food chain, the ultimate creation and it is driven by power. The only difference really is that the hawk is excused of committing evil deeds because it is its nature and it is therefore acceptable. Humans on the other hand have morals, ethics and a society which holds these norms in place and an act of evil is therefore unforgivable and non relatable. In stanza 6, line 2 the hawk also states that nothing has changed. I think this is referring to the true nature of humanity, which is to a certain extent evil, and how it has always been a part of the human kind and it will always be a part of us. Even though humanity has become better over time (e. the Middle Ages) it is only due to societies with norms, rules and values which without, one would quicker descend into evil. I believe the message of this poem is that the nature of humankind never changes and evil is a part of us, just waiting below the surface, where if pressured, we will show our true nature. I would like to end off my analysis with a contextualization and a comment to the mention ed questions. I thing this poem has a lot in common with the article â€Å"Bad or Mad†. In â€Å"Bad or Mad† it is discussed what defines evil where they distinguish between natural and moral evil. Moral evil is defined as the evil humans do, by hoice, knowing that they are doing wrong; and natural evil is the bad things that just happen such as natural catastrophes. I would like to widen the term natural evil to comprehend the evil acts of animals as well. The hawk is an animal and kills because it must to survive and it would therefore belong to the natural evil. However, the hawk is a symbol of the natural/instinctive evil that is in all mankind, which is harder to define. If man commits evil acts we see it as moral evil, because they have chosen to do so out of lust, fascination or even for fun in some cases. On some level the humans are exactly like the hawk. If you took away society and said every man/woman for themselves, you would have chaos and people would do whatever it took to survive. I have thereby already answered the question; â€Å"What triggers evil? What prevents it from surfacing? † I agree with Hughes’ opinion that we all have evil inside of us but it would be defined as natural evil or the will to survive which one would not necessarily depict as evil but simply the human nature. To point it out I believe that this so called evil is triggered if you are threatened or as a result of the fear of losing your life or a loved one etc. This answer is one side of it. Another thing that has been seen to trigger a certain level of evil is power. The hawk as mentioned also symbolizes exactly that. The Zimbardo experiment is an example of power taking over and of course the lack of a society with norms which I believe is one of the main reasons that why evil does not normally surface. In murder cases where the plaintive committed the act out of grief or rage (emotions) they are penalized less because most people can relate to it and you are not fundamentally evil as for a planned murder where you could get into a more black and white conversation about good and evil. As for the question; â€Å"Is man fundamentally evil or good or do we all posses both elements? † I have to some extent discussed this but I will lay it out further. I believe that everyone has the capacity to commit evil acts if they are pushed to their furthest limits and boundaries but I would not like to think of myself as a cynic and say that man is fundamentally evil. I believe that we posses both elements and that we are capable of both. I think that is one of the main differences when one talks about evil in for example animals and humans. The fact that we understand evil because we understand compassion, love and are capable of empathy whereas animals act on pure instinct. You can therefore not define evil or claim that something is evil if it does not have the capability of righteousness and goodness. Your language is very convuluted in places and sometimes thus also a bit difficult to follow see orange sentence. Do not use contractions. 12. ———————– [1] Stanza 1, line 1; â€Å"I sit in the top of the wood . . . â€Å" [2] Stanza 1, line 4;†Or in sleep rehearse perfect kills and eat† and stanza 3, line 2; â€Å"I kill where I please†. [3] Stanza 1, line 1; â€Å"I sit in the top of the wood† and stanza 4, line 2; â€Å"I kill where I please† [4] Stanza 4, line 2. [5] Stanza 3, line 2-3. [6] Stanza 1, line 2. [7] Stanza 4, line 3. How to cite Analysis of Hawk Roosting, Papers

Modernism vs Postmodernism Essay example Example For Students

Modernism vs Postmodernism Essay example It quickly emerged that the proper and unique area of competence of each art coincided with all that was unique to the nature of its medium. The task of self-criticism became to eliminate from the effects of each art any and every effect that might conceivably be borrowed from or by the medium of any other art. Thereby each art would be rendered pure, and in its purify find the guarantee of its standards of quality as well as of its independence. Purity meant self-definition, and the enterprise of self-criticism in the arts became one of self-definition, with a vengeance. (Greenberg, Modernist Painting, Art in Theory, p.755) Greenbergs aesthetics are the terminal point of historical trajectory. There is another history of art, however, a history of representations for me, and some other erstwhile conceptualists, conceptual art opened onto that other history, a history which opens onto history. Art practice was no longer to be defined as an artisanal activity, a process of crafting fine objects in a given medium, it was rather to be seen as a set of operations performed in a field of signifying practices, perhaps centred on a medium but certainly not bounded by it. (Victor Burgin, The absence of presence, Art in Theory, pp. 1098-9) Discuss the merits of Burgins statement as a basis on which to distinguish postmodernism from Modernism in the practice of art. In your answer you should make reference to at least four works which you consider to be of particular relevance to an argument between these two positions. This question highlights one of the themes central to the account of modem art offered in this course: the tension between the theoretical perspectives of, on the one hand, Modernist criticism and, on the other, an approach focused on the relationship of the art of any given period to its social, political and historical context. The two quotations given above may be interpreted as representing these polarities. It would be an oversimplification to suggest that to accept a Modernist account of modem art must imply rejection of a socio-historical view, or vice-versa (the discussion between TJ Clark and Michael Fried about Pollock (TV21) suggests that there is room for negotiation, if not for compromise). It is, however, arguable that a definition of postmodernism should take into consideration both the close interrelationship between Modernist criticism and mid-twentieth century abstract art, which together constituted the dominant hegemony in art from the late 1940s to the early 1960 s (and hence the artistic context against which postmodernism in the visual arts evolved), and the social, historical and political context within which art characterised as postmodern has developed. It seems reasonable, therefore, to start by attempting to clarify the critical positions represented by Greenberg and Burgin. Greenberg, in Modernist Painting (1961) and other writings, sets the development of modem art, specifically painting, in the context of the ideas of the Enlightenment philosopher Kant, who used logic to establish the limits of logic (Art in Theory p.755.) Kant thereby established a precedent for using the techniques of a particular medium to define and refine that medium, a process referred to by Greenberg as self-criticism. This implies that painting, rather than using art to conceal art (ibid) by creating illusionistic space and depth, should rather use art to call attention to art (ibid), that is, to emphasise the unique characteristics of the medium; the flat surface, the shape of the support, the properties of pigment (ibid). Greenberg states that such a process would render art pure, that is, autonomous, free of any extraneous elements deriving from othe r arts, such as theatricality or narrative. The impact of a painting should thus derive from those technical aspects characteristic of painting, such as colour, form and composition. An example of the sort of painting Greenberg was advocating at the time may clarify this. Morris Louiss painting Alpha-Phi (pl.D10) is exactly contemporary with the publication of Modernist Painting. It consists of bold, ragged, diagonal streaks of pure colour against an off-white ground; Louiss use of acrylic paints, which soak into the canvas, means that the colours appear integrated with the ground and hence do not disrupt the flatness of the picture plane. Its effect depends upon the arrangement of colours and the large scale of the painting which makes it occupy so much of ones visual field that it loses its character as a discrete tactile object and thereby become that much more purely a picture, a strictly visual entity (Greenberg, Louis and Noland, p.28). It is apparently devoid of references to anything other than the intrinsic qualities of forms and colours. Louiss painting, and the contemporary work of Kenneth Noland (e.g. Bloom, pl 141) and Jules Olitski (e.g. (Twice) Disarmed pl.D11) were seen by Greenberg as being how paintings should look if they are to continue the intelligible continuity of taste and tradition (Art in Theory p.760) and offer the viewer a sufficient degree of aesthetic power (Modernism in Dispute p. 173) in the 1960s. Fredric Jameson - Postmodernism EssayWhile Burgins statement does not emphasise these points, they are illustrated by his own work. What does Possession mean to you (pl. 189) uses a glossy advertising-style photograph which is placed in the context of a caption about the ownership of wealth to put a different, socio-political perspective on the image, calling into question issues of gender dominance and property ownership and thus critiquing social norms. It was exhibited not as a single artwork in a gallery, but in a set of 500 copies posted in the streets of the centre of Newcastle-upon-Tyne. The replication of the image and its display on the streets can be seen as critical both of the idea of the importance of orginality and of the exhibitions and museums system. A decoupling of art from the established methods of presenting it to the public seems to be characteristic of postmodernism, and is also exemplified by developments such as the Land Art of Richard Long and Robert Smith son, and the public projections of Krystof Wodiczko. These images, for instance his projection of hands holding prison bars onto a courthouse (pl.D71), function, like Burgins poster, as socio-political commentary and also share with it the ephemeral quality mentioned in relation to Koons. Work by Burgin such as Any moment previous to the present moment (pl.169), which consists of text from which the viewer/reader has to construct his/her own image, highlights both Burgins view of the importance of concepts in postmodernist art, and the tendency within postmodernist art to invite the viewer to sustained active participation in the work of art. This is in direct opposition to the passive contemplation advocated by Modernist critics such as Fried who, in Art and Objecthood, claims that good art should be instantaneously present. This idea of the importance of presentness is contradicted by the title of Burgins article, The absence of presence. Taking Burgins statement as a point of departure, it is possible to connect postmodern ideas to a diverse range of works of art, which are in turn associated with a series of contemporary concepts and concerns. While Burgin provides a means of distinguishing postmodernism from Modernism in art, there remains the problem of how to, or indeed whether, one ought to distinguish qualitatively between different postmodernist works. If social relevance is a characteristic of postmodernism, then degree or accuracy of social relevance may be used as an evaluative tool; however, as Harrison and Wood have pointed out (see Modernism in Dispute, p.240) radically critical work may become marginalised and lose its ability to challenge. Furthermore, if the main impact of a work depends on its contemporary relevance, it is likely to lose conceptual value with the passage of time; Haackes The Safety Net (pl.D24) borrows its meaning from contemporary politics rather than conforming with Greenbergs idea of art as self-defining, and is hence now arguably of historic rather than artistic interest. The aesthetic of Greenbergian Modernism may never recover a dominant position within art history but, as Harrison and Wood have suggested, the contingency of the historical is only half the point of art. Bibliography Wood, Frascina, Harris, Harrison, Modernism in Dispute: Art since the Forties, Chapters 2 and 3, and associated A316 materials. Harrison Wood (eds), Art in Theory, 1900 1990: An Anthology of Changing Ideas, Blackwell, 1994 Frascina Harris (eds), Art in Modern Culture: An anthology of critical texts, Phaidon, 1992 OBrian (ed), Clement Greenberg: The Collected Essays and Criticism, Volumes 2 3, University of Chicago Press, 1986, 1993

Why has Richard Wagner been a controversial composer even today Essay Example

Why has Richard Wagner been a controversial composer even today Essay As in religious and political questions, when race has once been admitted, it becomes a factor of the highest importance in musical controversy. A prominent part in the music and literature of Germany in the 19th century played the popular, but controversial as well, German composer, conductor, theatre director and essayist Richard Wagner. His full name actually is Wilhelm Richard Wagner. Born in Leipzig, Germany on May 22, 1813, unlike most other great opera composers, Wagner wrote both the scenario and libretto for his works. He is primarily known for his operas, called later music dramas. He is one of the composers who revolutionized opera by writing stage works of unprecedented length and complexity , in which the orchestra was no longer a simple accompaniment to the singers, but an integral part of the action. Wagner made the music continuous, unlike the previous tendency to make an opera as a collection of separate arias and ensembles which could be performed separately . He used a complex system of what are called Leitmotifs, or melodic ideas which stand for characters , things or ideas in the drama. With Wagner, harmonies became more complex than ever before, and his revolutionary use of this element influenced composers everywhere, and led to the music of the 20th century. As I already mentioned, Wagner is the most controversial composer of 19th century. He divides people as no other composer did it before. A lot of people and musical critics find his work magnificent, but there are a lot of others who cant stand his music, because of his ideas, mostly political opinions in the real life. We will write a custom essay sample on Why has Richard Wagner been a controversial composer even today specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Why has Richard Wagner been a controversial composer even today specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Why has Richard Wagner been a controversial composer even today specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Even a century ago, many critics and composers thought his music was awful noise, with the most cacophonous harmonies, but others recognized its greatness. Wagners operas, writings, his politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime. The debate about his ideas and their interpretation, particularly in Germany during the 20th century, continued to make him politically and socially controversial in a way that other great composers are not. The biggest issue is generated by Wagners comments on Jews, which continue to influence the way that his works are regarded, and by the essays he wrote on the nature of race from 1850 onwards, and their putative influence on the anti-Semitism of Adolf Hitler. In some of his essays, Wagner attacks Jewish contemporaries, especially Felix Mendelssohn, and accused Jews of being a harmful and alien element in German culture. Wagner stated the German people were repelled by their alien appearance and behavior. He argued that because Jews had no connection to the German spirit, Jewish musicians were only capable of producing shallow and artificial music. They therefore composed music to achieve popularity and, thereby, financial success, as opposed to creating genuine works of art. Thats why, Wagner was the Hitlers favorite composer and he made his name a symbol of the Nazis. As a result of his infatuation, Hitler adopted many parts of Wagners thought and used this as propaganda that would influence World War II. As a result Wagners operas cannot be found in the modern state of Israel although his works have been broadcasted on government-owned TV and radio. To this day, those who attempt staging public performances are halted by protests, including protests from Holocaust survivors. As a great example, I have watched, the great from the filmmaking point of view, Triumph of the Will the most dramatic ever made propaganda film by Leni Riefenstahl, which chronicles the 1934 Nazi Party Congress in Nuremberg. The film opens with shots of the clouds above the city, and then moves through the clouds to float above the assembling masses below, with the intention of portraying beauty and majesty of the scene. The shadow of Hitlers plane is visible as it passes over the tiny figures marching below, accompanied by music from Richard Wagners Die Meistersinger von Ni rnberg, which slowly turns into the Horst-Wessel-Lied. Among Wagners ideas was that the opera be an uninterrupted melody, also emphasizing drama as a focal point. To Wagner, the opera was the ultimate blend of all the arts. Spending many years in exile, he went for long periods without hearing the performance of his own works. It is exceedingly difficult for us of the present generation to do justice to Wagner, or to arrive at any final and impartial conclusions concerning the permanent value of his gigantic achievement. As a conclusion, today Wagner is no longer a symbol of Nationalism and Nazism, as he was at the beginning of the controversy. Like Lili Eylon in her essay Wagner Controversy says: The question is not whether Wagners music is of high or low quality, nor is the argument about how deep-seated was his anti-Semitism really relevant. There is no doubt that there have been other composers who were no less anti-Semitic. While it cannot be maintained that Wagner was directly responsible for German National Socialism, there is no doubt that he was a powerful symbol in the Nazi era, and his music held a singular importance in the Nazi psyche. For those who survived the Holocaust, Wagners music is terrible reminder of the horror those people have gone through. For them music must be separated from the politics, but unfortunately Wagner was the composer, who actually merged them together and became the composer of music and race.