critically analysing the following four articles in order to identify the ways in which personal and social policy issues contribute to issues relating to sex education and teenage sexuality; Burnie (2013), Pearson (2013), Thomson (2013) and Grimshaw (2013). In order to do this it is important to first identify how sex education and teenage sexuality are characterised within the articles and the discourses that are present in order to establish the ways in which these two issues are constructed as both
gender equity and sexuality. MacNaughton (2000, p. 21) explains that children’s ideas of identity (including gender and sexuality) are developed through social interactions, whether inside or outside school. An educator must be a positive advocate of gender equity and sexuality in order to influence positive ideas of gender equality to their students. The Melbourne Declaration outlines its focus of providing an equal experience for all children regardless of gender or sexuality, and educators must
Sexuality in The Wife of Bath and the Pardoner In Geoffrey Chaucer’s The Canterbury Tales, an eclectic mix of people gathers together at Tabard Inn to begin a pilgrimage to Canterbury. In the General Prologue, the readers are introduced to each of these characters. Among the pilgrims are the provocative Wife of Bath and the meek Pardoner. These two characters both demonstrate sexuality, in very different ways. Chaucer uses the Wife and the Pardoner to examine sexuality in the medieval period
Ethics, Duty and Sexuality in Book IV of Virgil’s Aeneid Book IV of Virgil’s Aeneid depicts the doomed romance of Aeneas, Trojan refugee and destined father of Rome, and Dido, expatriate Phoenician noble and Queen of Carthage. Called away to Italy by his obligation to the Fates and to his Roman descendants, Aeneas abruptly ends his passionate sexual relationship with Dido. He goes on to defeat the native Latin tribes and founds the civilization that will eventually become the Roman Empire
Black Women in Sports: Sexuality and Athleticism Men and women who chose to engage in sports from which they would traditionally be discouraged because of their gender, particularly as professionals, redefine the sport. The social and cultural "costs" are not the result of the individual's participation, but rather the way in which sports have been socially, politically, and economically constructed. Gender is only one of the few ways in which people are categorized according to their proficiency
Violence and Sexuality in Video Games Unlike popular belief, the first violent video game was not Mortal Kombat. The killing started with a game called Death Race 2000 released in 1976 by Exidy Software. It was based on a B movie by the same title and features the main theme of the movie in the game: to run people over. You control the car to run over people, and the people you have killed become a cross. Needless to say, the game was quick to draw attentions towards it. The criticism from
Gender and Sexuality in The Piano "THERE IS A SILENCE WHERE HATH BEEN NO SOUND THERE IS A SILENCE WHERE NO SOUND MAY BE IN THE COLD GRAVE, UNDER THE DEEP DEEP SEA." With these words, The Piano ends and leaves me in a state of confusion about what point the film was trying to express. The film by Jane Campion has been compared to the likes of Wuthering Heights and has been highly lauded for championing freedom of women’s sexuality and identity. Many critics, though, have debated on the final
Blanche does not conform to a typical woman who exposes her sexuality and obedience to her husband but, is known to have a history of many sexual partners. However, Stella Kowalski obeyed Stanley after numerous tries in closing down poker night. Stella explains to Stanley and the other men at the table, “All of you-please go home! If any of you have one spark of decency in you-” (Williams 62), and Stanley’s automatic response was to charge after Stella (Williams 63). Stanley has an animalistic and
By transforming herself to create a new sensory experience for Beauplaisir, Fantomina uses metaphorical sensual capital to confuse Beauplaisir’s literal and sexual capital. Haywood writes, “it must be confessed, indeed, that [Fantomina] preserved an Economy in the management of this Intrigue beyond what almost any Woman but herself ever did” (233). Connecting the two tropes, Fantomina’s sensual identity and its accompanying intrigue is capital to be managed. Because she manages this identity through
not their attire. Women should be acknowledged for their creative ability instead of their physical beauty. Powers states, “For women in pop music, sexuality is both the most powerful force and the biggest trap” (2). There are also many people in the industry that agree with Powers. However, I disagree with Powers, because I still believe that sexuality is not a big source of success. Some men and women in the music industry believe female artists will only be successful if they dress in a provocative
centres upon the role, status, sexuality, and "place" of women in society. According to Chantal Cornut-Gentille d'Arcy, "Mansfield's succinct narratives are triumphs of style, a style which challenged the conventional parameters of nineteenth-century realism, constrained to plot, sequential development, climax, and conclusion" (244). More specifically, maintains that "even though Mansfield never acknowledged any profound engagement with Freudian approaches to sexuality or psychic disorder Mansfield
Plastic Surgery Starting with modernity, we have entered an era of production of the Other. It is no longer a question of killing, of devouring or seducing the Other, of facing him, of competing with him, of loving or hating the Other. It is first of all a matter of producing the Other. The Other is no longer an object of passion but an object of production. Maybe it is because the Other, in his radical otherness [alterite], or in his irreducible singularity, has become dangerous or unbearable
Males and females are classed differently from the moment they are pronounced boy or girl. Gender determines the differences in power and control in which men and women have over the socioeconomic determinants of their health, lives and status in their community. Our society moulds how men and women should and should not behave and can be observed in all parts of our society. As a result of these Gender stereotypes men and women have issues which affect their health which are unique to each gender
Sexuality in As You Like It In a romantic forest setting, rich with the songs of birds, the fragrance of fresh spring flowers, and the leafy hum of trees whistling in the wind, one young man courts another. A lady clings to her childhood friend with a desperate and erotic passion, and a girl is instantly captivated by a youth whose physical features are uncannily feminine. Oddly enough, the object of desire in each of these instances is the same person. In As You Like It, William Shakespeare
The can-can, cabaret and prostitution dominated Paris in La Belle Epoque. Sex was a commerce, an escape, and a way of life. It's prominence in Parisian culture made sexuality synonymous with power and a tool for obtaining it. The combination of beauty and assertiveness could get you places that hard, honest work simply could not. Both men and women took advantage of this lustful commodityprostitutes and mistresses were seen as status symbols, while flirtatious "femme fatales" had their way with
This essay will analyse whether the iconic representation of the roaring twenties with the woman's new right to sexuality, was a liberal step of progression within society or a capitalist venture to exploit a new viable market. Using Margaret Sanger's work in comparison with a survey conducted by New Girls for Old, the former a more mature look at the sexuality and ownership to a woman's body and the second a representation of girls coming of age in the sexually "free" roaring twenties. Margaret
Repressed Sexuality in Bram Stoker's Dracula Perhaps no work of literature has ever been composed without being a product of its era, mainly because the human being responsible for writing it develops their worldview within a particular era. Thus, with Bram Stoker's Dracula, though we have a vampire myth novel filled with terror, horror, and evil, the story is a thinly veiled disguise of the repressed sexual mores of the Victorian era. If we look to critical interpretation and commentary to
Sexuality in Steinbeck's The Chrysanthemums Reading over this excellent story once more, I am again filled with the same emotion (if it can be called that) that I experienced when first reading it. Steinbeck planned for that. In a letter to George Albee in 1933, Steinbeck comments on this story and his interest in Albee's opinion of it. "...It is entirely different and is designed to strike without the reader's knowledge. I mean he reads it casually and after it is finished
Sexuality and Desire in Jane Austen's Mansfield Park In a letter to her brother dated 1814, Jane Austen boasted about a compliment she had received from a friend on her most recent work, Mansfield Park: "It's the most sensible novel he's ever read" (263). Austen prided herself on creating literature that depicted realistic characters and honest situations, but perhaps more importantly, she strove to create fiction that was moral and instructional as well as entertaining. So what does sensible
for sex." (Willis, 71) Both caricatures are lasting nametags for black female sexuality. There is never an in between version of the mammy or the immoral jezebel/primitive ‘ho’. Black burlesque performers use their bodies/attitudes in a way to promulgate that yes, I am sexual, yes, I am flirtatious, yes, I enjoy the attention, the applause, the laughter, the audience support, and yes, I can woo a crowd by using my sexuality and body in a way that makes not only a personal statement but meaningful political