Introduction to Stress Management-

Questions: 1.What is the subject of the Research? 2.What are the discoveries from your Research? 3.What are your Recommendations? Answers: 1.The subject of the accompanying exploration is pressure the executives. Stress the board alludes to the different psychotherapies and procedures that endeavor to control the degrees of stress that are experienced by someone in particular because of the motivation behind the improvement of the day by day working of the concerned individual. The worry in this setting for the most part alludes to the interminable worry of the concerned individual. The pressure by and large alludes to the trouble, or a kind of stress that has negative results of a huge sum. 2.According to Babatunde, (2013), work pressure, otherwise called word related pressure can't be characterized in a brought together way because of the way that one single positive methodology will be unable to envelop the wonder in the entirety of its totality. Babatunde further contends that there has been various definitions throughout the years that depict worry to be either a boost, or as a reaction to some upgrade. Stress may likewise have been characterized as the blend of the upgrade and the reaction to the concerned improvement. The value-based relationship that exists between the concerned people and the general condition of the individual may likewise be characterized as pressure. Stress when characterized as an upgrade may contain the attributes of the general condition that might be upsetting for the person who is presented to the concerned elements of the environmental factors. The responsive meaning of pressure alludes to the pressure that has its foundations in the me ntal response of the concerned individual towards the stressors that have been having their influence in the making of the pressure. McVicar et al (2013) contends that there are various writings dependent on the pressure uncover the difficulties that are looked by the individuals because of the pressure that they face at their working environments. The significant issues bringing about the arrangement of the pressure of a worker are the remaining task at hand of the concerned individual, the absence of seriousness of the work relegated, the too much quick pace of work, the bringing down of the self-sufficiency at work, the harmful frameworks of work and different unsettling influences that emerge at the work environment. The most well-known explanation of the worry among the individuals at their separate working environments result from the contentions coming about because of the uncertainty of the jobs that are allocated to the concerned individual. As indicated by Ackfeldt and Malhotra, (2013), job strife, one of the significant explanations behind the job pressure happens when there is contradiction and incongruency among the requests of the activity and the desires for the business from the representatives of the worry. 3.There might be different number of approaches to deal with the pressure that happens at the work environments. The concerned workers ought to be permitted to take parts from the main job. A brief break of at some point may assist the worker with applying new viewpoints to their current task. The representatives might be urged to connect with themselves in certain exercises that may end up being valuable for both the psychological and the physical soundness of the concerned worker. Nature of the work place must advance an upbeat encounter for the representatives. This is turn causes the representatives to de-worry from their every day work schedule. So as to ease the pressure, a representative may likewise counsel the pressure issue with his associates or seniors so as to get an answer for the pressure that he is confronting. Contemplation may likewise end up being one of the pressure relievers if there should arise an occurrence of authoritative pressure. References Ackfeldt, A. L., Malhotra, N. (2013). Returning to the job pressure responsibility relationship: can administrative intercessions help?.European diary of marketing,47(3/4), 353-374. Babatunde, A. (2013). Word related Stress: A Review on Conceptualisations, Causes and Cure.Economic Insights-Trends Challenges,65(3). McVicar, A., Munn-Giddings, C., Seebohm, P. (2013). Working environment stress intercessions utilizing participatory activity research designs.International Journal of Workplace Health Management,6(1), 18-37.

Skeletal System in the Human Body Assignment Example | Topics and Well Written Essays - 500 words - 3

Skeletal System in the Human Body - Assignment Example Diarthroses joint is a little space that exists between the articulating surfaces of the two joined bones. Since no different tissues develop in this hole, the surfaces move openly against each other. Thus, they are practically characterized as uninhibitedly mobile joints. A few models incorporate ball and attachment joints and pivot joints.Synarthroses joint doesn't have a joint pit. Stringy ligament 'or bone tissues develop between the articulating surfaces of the two joined bones and make them incapable to move openly against each other. In this way, they are practically characterized as ardent (or somewhat mobile) joints that don't permit free development. Models incorporate the skull joints. Engine nerves gracefully flags from the sensory system to the muscle framework. A solitary engine nerve fiber that provisions to a gathering of muscle filaments inside a muscle is known as an engine unit.Skeletal muscles are more quick in contracting than heart and smooth muscles. Skeletal m uscles are significant in headway and development and therefore are of most noteworthy enthusiasm to the ergonomist. Glucose put away in the phone or diffused into the phone from the circulatory framework can be separated anaerobically to produce ATP for muscle withdrawals. The all-or-none law, expresses that once the limit has been reached, an activity potential will keep on fruition where the film will depolarize and afterward re-energize. The all-or-none law additionally applies to muscle filaments. For muscles, the law expresses that once satisfactorily invigorated, a muscle fiber will contract totally. Not all the muscle filaments are fundamentally invigorated simultaneously expressed before, littler engine units are selected first and afterward forcefully bigger engine units until the ideal quality is accomplished. Accordingly, not all the muscle filaments are essentially contracted simultaneously. Exhaustion brings about disappointment of a muscle to contract accordingly an u pgrade. The portion of the switch between the purpose of power effort and the support is known as the power arm and, in like manner, the fragment between the obstruction and the support is known as the opposition arm.

Network Key Terms Essay

The Internet-The worldwide system shaped by interconnecting the greater part of the systems on the planet, with each home and friends arrange interfacing with an Internet specialist co-op (ISP), which thus associates with different ISPs. Web edge-The piece of the Internet between an ISP and the ISP client, regardless of whether the client is an organization or association with an enormous private TCP/IP system, or whether the client is a solitary person. purpose of quality A term utilized by specialist organizations, especially for WAN or Internet specialist co-ops rather than customary telcos, that alludes to the structure where the supplier keeps its hardware. Access interfaces that associate the client gadget to the WAN assistance truly interface into the POP. Web center The piece of the Internet made through system interfaces between ISPs that makes the capacity of the ISPs to send IP parcels to the clients of the ISPs that associate with the center. Web get to An expansive term for the numerous advances that can be utilized to associate with an ISP so the gadget or system can send parcels among itself and the ISP. simple modem-A gadget at the client and ISP end of a simple circuit, made when one modem calls the telephone number of the other modem, with the two modems sending information utilizing the simple circuit. DSL-Digital endorser line. A kind of Internet get to support in which the information streams over the neighborhood circle link from the home to the telco focal office, where a DSLAM utilizes FDM innovation to part out the information and send it to a switch, and split out the voice frequencies and send them to a conventional voice switch. satellite Internet-A term alluding to Internet get to administrations gave by a link organization, utilizing numerous parts, including a link modem, coaxial link, and a CMTS at the link organization head end. default course In a switch, an idea where the switch has an exceptional c ourse, the default course, with the goal that when a switch attempts to highway a parcel, however the packet’s goal doesn't coordinate some other course, the switch courses the bundle dependent on the default course. have name-A name made up of alphabetic, numeric, and some extraordinary characters, used to recognize a particular IP have. Host names that follow the show for area names in the DNS framework utilize a progressive structure, with periodsâ separating parts of the name. Area Name System-The name of both a convention and the arrangement of genuine DNS servers that exist on the planet. By and by, DNS gives a path to the world to convey the rundown of coordinating host name/IP address pair data, letting each organization keep up its own naming data, however permitting the whole world to find the IP address utilized by a specific host name, progressively, utilizing DNS conventions, with the goal that any customer can allude to a goal by name and send IP bundles to that have. Subdomain-With DNS naming phrasing, this term alludes to a piece of a host name (or space name).That littler part can be the part that an organization enrolls through IANA or some approved office to distinguish all hosts inside that organization. IPv4 address weariness A term alluding to the genuine issue in the overall Internet, which originally introduced itself in the late 1980s, in which the world had all the earmarks of being coming up short on the accessible IPv4 address space. tactless interdomain steering (CIDR)- One of the transient answers for the IPv4 address depletion issue that really tackled the issue for an any longer time frame.CIDR permits greater adaptability in what number of addresses IANA allots to an organization, and it decreases Internet directing table sizes through course conglomeration. System Address Translation (NAT)- One of the transient answers for the IPv4 address fatigue issue that really tackled the issue for an any longer time allotment. NAT lessens the quantity of open IP tends to required by one ISP client by utilizing one open IP address for the traffic from numerous genuine customer has. Abbreviations: BGP-Border Gateway Protocol CATV-Cable TV CIDR-Classes Interdomain Routing CMTS-Cable Modem Terminating System DSL-Digital Subscriber Line DSLAM-DSL Access Multiplexer FTTC-Fiber to the Curb HFC-Hybrid Fiber Coaxial IANA-Internet Assigned Numbers Authority IPS-Intrusion Prevention Systems ISP-Internet Service Provider NAT-Network Address Translation POP-Point of Presence RIR-Regional Internet Registries RJ-11-Registered Jack 11 SOHO-Small Office/Home Office

Proven Techniques on Persuasive Essay Topics on Cyber Bullying

Proven Techniques on Persuasive Essay Topics on Cyber BullyingProven techniques on persuasive essay topics on cyber bullying will need to address the ability of victims to speak out. If it's possible for them to make a strong, organized statement that speaks out against the bully and seeks justice, then they will have proven their worth.Victims should discuss exactly how their lives have been disrupted by the bullying. Victims should provide detail on how the bullying has resulted in negative relationships with friends and family, as well as the possibility of mental and physical distress. Each victim should explain why the bullying is intolerable and why the bullying should be stopped.At the end of persuasive essay topics on cyber bullying, the discussion should include support and encouragement for the victim. The author of the essay should consider including links to websites and groups offering help and encouragement. Authors can offer a list of websites to visit for help and enc ouragement and should include links to such resources. Writers should consider including links to support groups and forums where victims may seek peer support and information about how to pursue legal action against the bully.Authors of persuasive essays should take advantage of internet research, school counseling and online support groups to prepare their students. Students will benefit from reviewing examples of cyber bullying cases from previous years and studying information about legal proceedings and cyber-bullying legislation. Students should review various websites that contain profiles of victims and what they are doing to deal with the effects of cyber-bullying.Conscientious writing and good grammar should be employing to ensure persuasive essay topics on cyber bullying are as eloquent and persuasive as possible. The use of proper spelling and punctuation is extremely important. It is also important to produce essays that are grammatically correct and avoid mistakes.By u sing certain types of articles, anchors and fillers, students will not have to worry about writing a thesis statement. Students will also be able to write persuasive essays that do not require strong proof or sources and are easier to read and understand.Another great technique to use with persuasive essay topics on cyber bullying is to follow the recommendation of individuals like Theodore Dalrymple, author of the award-winning book, 'Why Most People Fail at Improving Their Lives.' In his book, Dr. Dalrymple advises readers to use complete sentences, sentence fragments and simple paragraphs to help establish the thesis of an essay.Proven techniques on persuasive essay topics on cyber bullying will use case studies and examples of cases and situations to explain and present students' ideas. Those who choose to include examples of cyber-bullying should also include experts' opinions on how a victim's efforts might work and how to successfully bring about an appropriate resolution to the bullying situation.

Writing a Persuasive Essay - How to Make It More Powerful

Writing a Persuasive Essay - How to Make It More PowerfulWriting a persuasive essay isn't hard. It is only hard when you try to go through all of the steps with a clear head and determined intention. If you want to become an effective essay writer, you must write with more purpose.Writing a persuasive essay is no easy task. You have to convince yourself, your audience, and yourself of a number of different things. In order to succeed, you must make sure that you come to each section with a clear mind. This article will teach you what you need to do to write a convincing essay.Writing a persuasive essay begins with you thinking about the information that you are going to use. Every persuasive essay begins with the writer thinking about what he or she wants to say. The reason this is so important is because people don't like to be talked down to.They feel as though the writer has the right to decide how they should think about certain facts or situations. When a person feels that they are in control of the way a conversation is going to go, it puts them in a good mood. That in turn leads to more persuasive writing.You have to be able to visualize your persuasive essay before you begin writing it. Visualization involves having a mental picture of exactly what you want to say. For instance, if you are writing an essay on why homeowners should install smoke alarms, you might visualize the scene of a smoke alarm that is on in the front of the house.As you look at the smoke alarm, you would have a strong and powerful image in your mind of what it would look like in the front of the house. You would know what kind of alarm it is, how it sounds, and what it is capable of doing if you were to install it. Bywriting your essay this way, you can easily make it come alive.Once you have a clear image in your mind of how the smoke alarm will look like, you have to come up with a compelling story that will help you convince others. Writing a persuasive essay requires you to mak e use of words that make statements. For instance, you could use the word 'should' in your first paragraph.If you make it sound like a command, it will make your readers take notice. This is where you really get creative. Writing a persuasive essay takes practice. It is well worth the time and effort it takes to learn all the tricks of the trade.

Arts Dissertation - Visual Culture - Free Essay Example

Hair has traditionally been cited as a discernibly female expression of sexuality and beauty, an aesthetic composition that exacerbates a womans ability to attract members of the opposite sex while acting as a visual demarcation line between the male female divides. Conversely, the fact that men often begin to lose their hair during the middle stages of their life adds further mystique to the power of female hair in popular western culture. Like her sexuality, a womans hair is unrelenting burning bright like the female passion that has so unsettled male artists for centuries. Symbolically, the difference between male and female hair has been ephemeral versus eternal; short lived as opposed to everlasting, a fantasy constructed entirely in tandem with a lack of knowledge or even interest in female sexuality within intellectual and artistic circles in the past. The notion of female hair working together with her sexuality as a tool to make a mockery of men was first cemented artistically during the ancient era, where Greek mythologys most famous exponent of the power of seduction of female hair, the Gorgon Medusa, stands as a warning to all men: to beware the hidden power of a beautiful woman. The punishment inflicted upon Medusa by the Goddess Athena because of her famous beauty and charm was to transform her sensual hair into a nest of snakes: for mortal man to even look at her would cast him, quite literally, into stone. With such a powerful, traditional starting point, it is little wonder that the issue of women, hair, art and society would continue along a broadly similar pattern for so many years, where stereotypically beautiful women were seen by men as constituting the front line of the ongoing cultural and sexual war an object to be simultaneously admired and feared. However, according to James Kirwan (1999:73), it is not female sexuality which is destructive but rather male desire for that beauty. The passion of the lover is not extinguished by the sight or touch of any body, for what he truly desires and unknowingly suffers is the splendour of God shining through the body. It is a desire like that of Narcissus that can never be satisfied. Within the specifically subjective realms of art and visual art, female hair has a long history of conforming to the accepted image of the compliant, recipient woman due to the pervasive, dominant nature of men in art and society. Until the second half of the twentieth century women had become so accustomed to viewing their world through the eyes of men that they had lost sight of the individuality of women as a separate gender and as singular, autonomous human beings. Yet after the 1960s, visual art and aesthetics became increasingly interested in the views of the first wave of feminism, continuing along more radical, left wing lines with the introduction of the second wave during the 1970s. Women were embraced within the artistic community and encouraged to vent and express their sentiments regarding the suppression of the feminine in popular culture. As feminist critic Lucy Lippard (1980:352) details, the true power of feminist art was, logically, in the polar opposite image that it portrayed of modern societys creative achievements. Feminist method and theories have instead offered a socially concerned alternative to the increasingly mechanised evolution of art about art. The 1970s might not have been pluralist at all if women had not emerged during the decade to introduce the multi coloured threads of female experience into the male fabric of modern art. Moreover, women began to change their appearance for the first time in direct protest at the shackles of uniformity that male society had put upon them and hair was at the centre of the re moulding of the image of femininity in the West. The more radical, younger women changed their clothes, re adapted their attitudes and cut their hair in line with the more liberal males of the period who did likewise and grew their hair as a signal of their refusal to conform. The dissertation aims to examine how traditional social and sexual mores have changed in recent times in order to detail what this means for the visual artistic community, in particular the consequences for female artists in the wake of post modernity. In light of the obvious split in feminist art and culture that has been witnessed since the sixties, the dissertation will necessarily be divided into four main sections. The first chapter will provide an analysis and definition of the broader socio political framework of contemporary female sexuality so as to provide a better understanding of the power of feminine symbolism in a male dominated culture. The second chapter will look at the history of female hair and portrayals of female sexuality over the broader history of art; the third chapter examines modern visual art and culture paying particular attention to the use of hair as a medium for communicating with the spectator. The fourth chapter will analyse outsider arts views of female sexuality and hair, as defined by technology and race respectively. A conclusion will be sought only after taking into account each of the above headings as well as the necessary citations that must be employed to back up theory with example along the way. Contemporary Female Sexuality in Post Modern Society Female subversion in cultural affairs has led to womans alienation in the creative world with the result that her sexuality has only very recently been considered important enough to be the inspiration behind a growing body of academic literature. While feminism in the 1970s saw to it that gay women were represented in culture and art as much as heterosexual women, the movement of lesbians into the avant garde community only served to act as a dividing line between straight and gay women whereby many heterosexual female artists were seen as traitors to their own sex. Recent popular works of art and literature have sought to re introduce complexity into an area where theories about the nature of sexual liberty, manufactured largely by men, had become overtly simplistic. The most extreme exponent of the contemporary debate about female sexuality comes from Paris Curator for Conceptual Art, Catherine Millet and her 2002 memoirs, The Sexual Life of Catherine M. In an interview with The Observer (2002:13) newspaper, the French art critic notes that: Sexual mores have evolved recently; nevertheless some sexual practices are only tolerated if they are kept hidden. I look forward to a democratisation of sexuality where anyone can reveal their true nature without suffering socially. Women in Western society have become more independent, assertive and culturally aggressive during the past twenty five years so that female sexuality, in 2005, although still a topic in transition, is a force to be reckoned with inside of the male corridors of artistic influence. Yet contemporary feminist art is an amalgamation and result of the prejudices and taboos that went before it; it is, therefore a symptom of post modernity the culture that defines itself as the generation after the initial social liberation of the sixties implicitly and intrinsically linked to both gender and sexuality. As Christopher Reed (1997:276) implies, feminism was the catalyst for the widespread disassociation that is at the root of post modern radicals ground breaking view of sexuality. From the outset, postmodernism dislodged the wedge that mainstream modernism had driven between art and life feminists, in particular, questioned the way the anti authoritarian rhetoric of postmodernism seemed to become itself a form of cultural authority. However, although it is true that women play a far more integral role than they did barley two or three generations beforehand, modernity has not constituted a complete break with the past. Modern art, as a direct relation of post-modern society, remains a sphere still largely controlled by men. What it has done is to ask questions where previously only traditional lines of argument were sought. In this way it can viewed as a series of separate branches that emanated from the same initial tree creating seedlings of avant garde, abstract art, conceptual art, minimalist art and pop art to name but the most famous few. The sum of the legacy of the schism that occurred in society after the residue of the minor cultural revolution of the sixties had settled was a general approval of art as inversion: that what was previously long was short, that what was previously deemed as beautiful was altered until it became ugly until, paradoxically, it was ultimately seen as beautiful once again. According to Donald Kuspit (artnet.com; first viewed 13 September 2005), modern and post modern art is obsessed with perverse images of sexuality as a source of constantly finding ways to push the barriers of societys rigid attitude towards sexuality and the physical form. The treatment of (the body) as the be all and end all of existence, and the only thing at stake in a relationship is the source of modern arts perversion. It extends to a preoccupation with the body of the work of the art itself, which also becomes the object of perverse formal acts. Postmodernism, therefore, implies rapidly increasing parity between men and women in all spheres of western culture best viewed in the sense of a blurring of the traditional boundaries of sexuality as opposed to a complete merger. At this point it should be noted that, in the same way that it was white males that dominated western art, so the feminists who influenced the first stages of avant garde art were predominantly white, educated and middle to upper class. The issue of race and religion is equally as significant in the discussion of feminism as it is within an analysis of society at large; cliques and hierarchies are a necessary by product of modern civilisation and their presence (and influence) should come as no surprise to basic students of sociology. Hair, every bit as much as skin colour, is a visible dividing line between the races and in the West the image of the Caucasian variety of female hair as a symbol of womens sexuality has resulted in a womans movement that is f ractured and splintered, more so given the brevity of the ideology as a whole. The essential link between culture and art, as well as politics and art means that nothing created during the early years of feminism was out of the reach of politicisation and none of it would have been made were it not for the wider advent of post modern society. Or, as Gombrich (1986:11) puts it: not all art is concerned with visual discovery . With the backdrop to the arrival of feminist sexuality and art in place, an evaluation of how one of the most potent symbols of feminine sexuality was used as a tool of womans subordination in art in the past must now be attempted. Female Hair, Sexuality and Symbolism in the History of Visual Art As already outlined, the question of womens hair and artistic expression is deep rooted in all civilisations. As well as the Greek and Roman equations of hair with dormant female sexuality, the pre Raphaelite artists also promulgated the view of feminine hair as seductive conqueror of weak male spirits. Late nineteenth and early twentieth century paintings continued to expand on the association of the snakes or ringlets of the Gorgons Head with male fear of female genitalia; the reversal of roles whereby the sinuous hairs of Medusa were inverted to symbolise the male phallic icon of power of women and nature. These notions were underlined by Freuds analysis that saw the intricate waves of classical female hair as symbolic of female metamorphosis and change characterised by the uniquely female ability to transcend gender. According to Meghan Edwards (victorianweb.org; first viewed 15 September 2005), the Classical and Romantic image of the female using her hair to devour male libido was a collective and conscious manifestation of fear in Victorian society, one that was transmitted from the ancient period through to the advent of modern visual art. The myth of women who carry in their femininity a grotesque vagina with teeth or who have embedded in their being a serpent or snake with the power to castrate took root long before Rossettis Lady Lilith but became increasingly unambiguous, bizarrely personalized, and widespread among the Symbolist poets and painters by the end of the [nineteenth] century. Visual and psychoanalytic connections between hair and serpents become increasingly explicit in Fernand Khnopffs The Blood of the Medusa, Franz von Stucks Fatality, and Edvard Munchs Vampire, wherein we see the complexity and ambiguousness that infused the imagery of earlier artists like the Rossettis, Waterhouse, Tennyson, and many others give way to an unrestrained fear and indulgence in the grotesque. Rossettis Regina Cordium (Queen of Hearts), which he painted in 1860, began a period of change in artistic perspective on female hair, where it was accented as a means to communicate a womans ultimate fragility and dependence on man: the first realisation of her sexuality as the embodiment of mans annihilation and self destruction. Pollock (1992:132) notes how, her hair is loose, a decent and suggestive sign of allowed disorder, conventionally a sign of womans sexuality. It is of course significant that almost all of the most artistic and visual instances of female hair in painting were created by men. Many male artists, such as Manet, whos Olympia (1863 5) stands as the most obvious popular example, were non apologetic in terms of their bourgeois fascination with lower class women who were able to fulfil the well to do gentlemans most liberal carnal desires. As the prism through which both men and women viewed societys accepted ideal of the female form, these works of art (especially significant in the days before photography and other twentieth century means of visual communication) constituted the only truth that women knew. Artists of the Enlightenment such as Jean Baptiste Greuze, whos Broken Mirror (1773) charts the social struggle of sexually experienced yet single young woman, as well as High Victorian painters like William Holman Hunt, whos The Awakening Conscience (1853) details the plight and unique dilemma of a kept woman, all converged to create the prevailing image of female sexuality that remained the staple diet of western art for much of the twentieth century: a smouldering power that could be easily sedated by the socio political power of man. As Judy Chicago and Edward Lucie Smith (1999:88) testify, the fallen woman was the most popular portrayal of female sexuality for many of the male artists who dominated the pre twentieth century artistic arena with creators highlighting her essential weakness with a minimal visual emotional connection. She is the one who has no way out, and the painter contemplates her dilemma with a sort of repressed sadism. With each one of these works one feels a conflict of intention. The artist, will ostensibly sympathising with the plight of his female subjects, in fact enjoys their suffering, and expects the audience to do so as well. Where hair was employed as a tool to reference female sexuality, it was used to derisory and derogatory effect, as witnessed in the 1934 sculpture by Ren Magritte entitled, Le Viol (The Rape), which transforms a mould of a womans torso into a distorted image of her face; her breasts are made into eyes, the hair covering her genitals becomes the mouth, while locks of coarse wavy hair protrude from the neck, conforming to the male stereotype of female hair as an instantly recognisable feature of her fertile sexuality. Clearly, female artists, although very much in the minority were by no means obsolete and painters such as Louise Marie Elizabeth Vige Lebrun, Rosalba Carriera and Angela Kauffman are but three of a long history of richly talented women artists who showed the intellectual and artistic communities the muted side of female sexuality, beyond the narrow conceptual borders imposed by man. However, in relation to the issue of hair as a vehicle through which to transport female sexuality to the viewer, few of these artists, male or female, made substantial in roads into a deeper philosophical exploration. It is important to note the significant socio economic shift that beset Europe and the United States after the end of the Great War in 1918. Because of their contribution to the labour force, in addition to the nascent political bodies such as the Womens Institute (founded in 1915) and the Suffragette Movement, females in the West were for the first time able to exist, albeit nominally at first, outside of the control of a patriarch. Gradually at first, more completely after the end of the Second World War in 1945, women were able to embrace independency, which necessarily brought with it tremendous consequences for the artistic community. Whereas women artists previously had to pander to male taste in order to sell as well as fund their work, women artists of the second half of the twentieth century were more able to create for the sake of creation as opposed to as a means to fit into male structured society. As Anne Sheppard (1987:97) details, the significance of the release of the socio economic weights of expectation inherently means that essence of the artistic endeavour must change. Among an audiences expectations of a work of art are expectations concerned with artistic forms and conventions. The Greeks of the fifth century BC would expect a chorus in a tragedy. Shakespeares contemporaries would expect a Fool in a comedy. Mozarts contemporaries would expect harpsichord music to be played with trills and grace notes. Giottos contemporaries would expect saints to be painted with haloes. As a broad rule of all artistic behaviour, artists had traditionally been bound by the expectations of the paying audience. Thus, the revolution concerning female sexuality and the way in which she has been visually portrayed came via economic emancipation first. Attention must now be turned to instances of female hair as a means of expression of sexuality in modern visual culture after the creative liberation of women. Female Hair as a Medium in Modern Visual Culture The above background to the advent of the age of modernity, and of the arrival and acceptance of women within the upper echelons of the artistic community in the West, highlights the male dominated nature of notions of female sexuality. Hair was expressed as one of the most seductive of all of womans charms an intricate part of the parcel that was created by God solely for mans destruction. Even when woman is portrayed as life giver in art, the act is more often than not displayed as ugly and confrontational, as Jonathan Wallers Mother No. 27 (1996) testifies. Indeed, the ongoing negative reaction of museums to child birth and maternity reveals more about the still dominant attitudes of females as sex objects as opposed to life enablers as destructive rather than constructive, which is to the detriment of the art community as a whole. It naturally follows that while the majority of the (male) art community continued to associate flowing female hair with her ubiquitous sexuality, women artists tied to the first and second waves of the international feminists movement would wish to convey a hidden, alternative image. One of the most universally celebrated of twentieth century female artists was without doubt Frida Kahlo. She is famous not only for the wealth of talent and technique that was at her disposal but also for her independent, analytical and honest view of women, given added significance due to her prominent position in Mexican society. Her self portrait with cropped hair (1940), which is housed in New Yorks Museum of Modern Art constituted the first mainstream attempt to castrate the pervasive female sexuality as characterised by the iconography of ubiquitous long hair. It should be recalled that this painting was created at a time when uniformity of sexuality was the cultural norm: women were meant to hav e long hair, which meant that the subtle question Kahlo posed to women who viewed it was magnified all the more. Two decades later, at the dawn of the watershed decade of the 1960s, the impact of the famous Beatles haircut, first styled and professionally photographed by Astrid Kircherr (who exhibits the cropped blonde look in a self photograph in 1961) was universal within western culture and was noteworthy for its inversion of traditional sexual roles. As, during the sixties, young men grew their hair longer so young women were more inclined to cut their own, highlighting a deliberate cultural means of rebelling against the tired sexual mores of the time. Gay women, in particular, began to associate short hair with sexual freedom. Although contemporary Western society views the stereotypical butch woman with short hair as symptomatic of the lesbian underworld, it was indeed a bold move in the sixties and seventies for a woman to cut her hair in such a symbolic gesture. In this way, women such as the avant garde artist Harmony Hammond (who famously came out via cutting her previously long, feminine hair in New York in 1974) were using their own hair and body image as their art, to make a statement that, visually and aesthetically, woman was no longer the lens through which man peered at his own vision of beauty. As per all cultural de constructions of popular mythology, the actual look of a womans hair was the only the first building block of conformity to be removed in the first phase of feminist expression. Harmony Hammond, furthermore, was one of the most prominent users of hair as an artistic material. Whereby hair was previously used to express female sexuality via depicting or painting the length, texture and contours, Hammond and the burgeoning abstract sect of North American artists sought to incorporate hair into their work to bring attention to the social and sexual constraints by which we all live. She used her own hair in the construction of a hair blanket as well as utilising animal hair to make hair bags. Hammond used materials such as hemp, straw, thread and braids to reference the equation of feminine hair with sexuality throughout her body of work. As Paul Eli Ivey (queerculturalcenter.org; first viewed 21 September 2005) explains, Harmony Hammond exhibited the greatest abil ity to manoeuvre female hair away from its association with beautiful heterosexual objects of male desire, combining ideology and aesthetics in a discernibly feminist manner. In the 1990s, Hammond combined latex rubber with her own hair and the hair of her daughter or friends, to suggest landscapes of gendered and sexualised bodies. The braid and the pony tail also took on a life of their own as personified characters: the braid relating to an integration of mind, body, and spirit; the stylised ponytail becoming a flirtatious, sexualised persona. Her sculpture, Speaking Braids, plays on the difficulty in forming a singular feminine voice in such a diverse culture, where lesbian and bisexual women still feel cut off from the socially acceptable heterosexual females of the twenty first century. The head is disconnected from the body, mirroring societys view of woman as an object of passive desire. The most shocking element is the vomit of light brown braids that extend from the remorseless face of the head of the woman, designed to engage the audience in contemporary thought about the disembodied cries of women to whom marriage and conformity are not available. Hair was therefore used to point out essential moral and ideological divisions within female sexuality and, according to Joan Smith (1997:165), the failure of society to recognise the fundamental differences amongst the various sectors of the broader female sex has been to the detriment of feminism and, ultimately, western culture as a whole. Women are expected to be different from men but the same as each other. While there is general agreement that women are unlike men in numerous ill defined ways, there is enormous reluctance to accept the idea that women might not be broadly similar to each other. The issue that exposes this distinction most sharply is motherhood, so that a woman who chooses not to give birth is characterised not just as unnatural but as a traitor to her sex. Mille Wilson is another feminist artist who has used the symbolism of hair to state a valid view on female sexuality by employing it as the central theme of persuasion. In her ambitious visual art project, The Museum of Lesbian Dreams (1990 2), Wilson speaks to her audience through the fetish surrogates of the typical view of the female body in this instance using female hair in the form of a series of womens wigs to underline the essential similarity of heterosexual and homosexual womans dreams and deepest aesthetic desires, relying on the long, luxurious manes of the artificial hair to symbolise the traditional notion of hair as standard bearer of vivacious feminine sexuality. As Whitney Chadwick (2002:396) notes in her expansive study of women, art and society; her work articulates the historical inaccuracy, often absurdity, of social constructions of lesbianism within dominant heterosexual discourses. Such discursive formations often to work to fix identity within, and outside, normative paradigms. It should be apparent that much of the artistic arguments pertaining to female hair and sexuality emanate from the perspective of the historical outsiders, namely gay and bisexual women. All great art is created from passion and in terms of damaging sexual stereotyping relating to female icons of beauty the avant garde art community has felt the greatest reason to voice concerns over the prevailing attitude of society towards womens sexuality. However, the real outsiders within the broader feminine artistic debate need to be analysed in order to underscore how hair is culturally understood as one of the most important foundations of mainstream notions of female sexuality. Female Hair and Visual Expressions of Sexuality from the Perspective of Outsider Art Beyond the set boundaries inherent within sculpture and painting, photography and performance art have been the most likely to make a physical statement pertaining to female sexuality. Whereas most other forms of modern visual art minimalism, conceptual art and pop art concentrate on extracting the content rather than moving towards a lifelike representation of the female body, photography recreates the human form as an artistic facsimile. It must be noted that photography and visual performance art highlight the issue of female sexuality via concentrating on the entirety of the hair on her body as opposed to detailing only the stereotypical view of female hair emanating from her head. Indeed, no examination of the subject of sexuality and hair can be complete without an analysis of the art worlds view of female body hair per se, which is culturally speaking hidden, shaved and moulded in a far more stringent and severe way than any style of hair upon the head, a fact that Germaine Greer (1999:20) expands upon. Women with too much (i.e. any) body hair are expected to struggle daily with depilatories of all kinds in order to appear hairless. Bleaching moustaches, waxing legs and plucking eyebrows absorb hundreds of woman hours. Feminist adherents in the art world have inevitably challenged the claustrophobic views of society towards female body hair with pictures created to shock and induce academic debate about a needlessly taboo topic. Sally Mann made a series of explicit photographs of herself and her daughters during the 1990s, including Untitled (1997), a photograph that focuses the viewer upon the dense vaginal hair of the artist, whose legs are spread open in a bathtub with the subtext of highlighting how women enjoy exactly the same bodily functions as men, however much society shuts itself off to biological reality. Moreover, by making the camera concentrate on the nexus of pubic hair the spectator is likewise advised to consider the cultural reasons as to why women must shave every other part of their body where hair grows naturally. The most shocking and moving of all photographic imagery involving female hair tied to the notion of sexuality is Hannah Wilkes self image taken during her demise from cancer, the disease having robbed her of her hair though not of her female organs, as the naked photo in a wheelchair, selected from the Intra Venus collection (1992 3), graphically illustrates. The power of the visual focus is centred upon the artists wish to show how hair does not make a woman feminine and that the human spirit is more powerful than any facet of the physical body. Visual art enactment reserves the greatest power of persuasion and audience manipulation. Post Porn Modernism, a performance art show that was exhibited in New York in the late 1980s, is the most obvious example of a visual exposition of contemporary female sexuality devised to shock the audience, concentrating in this instance, on the artists pubic hair and genitalia. Playing on the historical artistic obsession with the female whore, Rebecca Schneider (1996:161) declares that Post Porn Modernism was merely another way to de mystify the myth of female sexuality, in particular highlighting the fragile nature of consumer capitalism where the prostitute is both buyer and seller merged into one. In theory, the real live Prostitute Annie Sprinkle lay at the threshold of the impasse between true and false, visible and invisible, nature and culture as if in the eye of a storm. As any whore is given to be in this culture she is a mistake, an aberration, a hoax: a show and a sham made of lipstick, mascara, fake beauty marks, hair and black lace. However, the art most likely to capture the absurdity of the persistent link between granted notions of female hair personifying womans innate sexuality is that which is created by African women: artists who have to cross strict racial as well as gender and sexuality lines in order to portray women from their culture in an aesthetically acceptable light. These women are the true outsiders of Western artistic expression. Leslie Rabine (1998:127), for example, declares that: western slave culture and economics invested the arena of skin, hair and make up with political struggle, with the result that African women born in the West have had their body image dictated by colour and gender, which creates a kind of schizophrenic effect on the black women to the extent that the naturally curly, short African hair has been usurped in fashion by wigs, extensions and artificially straight hair. Typically, it has been left to the avant garde community to ignite the backlash against the marginalisation of black female sexuality. Alison Saar, daughter of African American feminist artist Betye Saar accented the widely accepted view of natural black female hair as the cultural antithesis to feminine sexuality in her sculpture entitled, Chaos in the Kitchen (1998). Saar used coarse iron wiring to mimic indigenous African hair, on top of a female face that has been deliberately denied eyes to highlight the cultural blind spot that black women have towards their own vision of female beauty. She means to state that, in attempting to copy white mans image of feminine beauty via hair, black women have only succeeded in hollowing out their historical selves. African American artist and photographer Rene Cox made an even more challenging alternative to the prevailing paradigms pertaining to female sexuality and race when she made, Yo Mama (1993). The photograph places the artist standing up naked except for Western high heels the stereotypical twin symbol of hair as the autograph of heterosexual female sexuality. The hair on her head is made to look as indigenous and anti Caucasian as possible; her pubic hair made deliberately visible underneath the spot where her child lies diagonally across her. The result is a proud and defiant gesture of individuality of race yet likewise a gesture of homogeneity regarding common sexuality with all women gay or straight, black or white. Asian women too have been confined to exist in boundaries set by men both in their culture and in the West, where the problem of defining Asian female sexuality is not so much hindered by the need to adapt to Caucasian hairstyles to appear feminine but rather by the popular notion that all Oriental women look the same. In her search for individuality, Sharon Mizota, attacks the November 2003 photographic exhibition of Sex Work in Asia by Reagan Louie, for portraying all Asian women with the same body, same hair and same permissive personality. In reviewing the body of work, the American born Asian art critic (Sharon Mizota website; first viewed 21 September 2005) declares: As a marker of both racial and sexual difference, hair is by far the most over-fetishized part of the Asian female body. Unlike the portraits, which are titled with the womans first name, these photos have titles like Masseuse or Black Hair. I hoped to read them as some kind of critique of the trope of Asian womens hair as exotic/erotic symbol, but no matter what angle I tried, they just kept saying, hair. One-note images like these belie Louies professed intention to record the specificity of the women he photographs, in effect, reducing them once again to empty symbols. Conclusion Hair remains the most potent sociological and artistic symbol of vibrant female sexuality in the West. Understood at its most simple level as a tool and statement of fashion little has changed regarding how women wear their hair or how the link between long, flowing hair and sexuality has failed to have been broken over centuries of tradition. Though there contains none of the shock that was initially felt in the fashion and art world in the sixties when aesthetically beautiful women cut their hair short like men, the dominant trend in the West remains a rule of long hair for heterosexual women, cropped hair for lesbian and bisexual females. As a microcosm of the broader culture in which it exists, the art community inevitably evolves in a similar fashion to society. However, the advent of a discernibly post modern intellectual hub within artistic circles has resulted in an avant garde scene that represents a brand of conceptual persuasion whereby art is appreciated by the only those who share that vision as opposed to art in the past, which was created with the prevailing ideals of the time in mind. Popular, stereotypical art has ceased to exist in an internationally commercial form yet art has likewise become more fragmented and divisible. Therefore, there exists a discrepancy between offering a conclusion for the symbolism of female hair and sexuality in visual culture and presenting a deduction concerning the same relationship with the dislocated artistic community in mind. While it is fair to say that female hair, in all of its forms, will inevitably be linked to feminine sexuality (as defined from a male perspective), the post modern visual artists have used this premise to turn what was once beautiful into a more perverse image, thereby, within their ideological beliefs, making that object a more unifying piece of work. Essentially, art wishes to embrace all gender and sexuality while society and culture have yet to come to terms with its existence in the first place. The overall creative legacy has been a blurring of the boundaries of the sexes and sexuality. Therefore, one must predict a continuation of the merging of sexuality led by the exponents of post modern visual art that will continue to pose problems for society at large as long as the essential similarities between of the sexes is superseded by a prevailing cultural desire to exacerbate existing gender divides. As Rudolf Arnheim (2002:461) succinctly concludes: We do not know what the future of art will look like. No one particular style is arts final climax. Every style is but one valid way of looking at the world, one view of the holy mountain, which offers a different image from every place but can be seen as the same everywhere. Bibliography R. Arnheim, Art and Visual Perception: a Psychology of the Creative Eye: the New Version (University of California; Berkeley, 2002) J. Carlos Rowe (Edtd.), Culture and the Problem of the Disciplines (Columbia University Press; New York, 1998) W. Chadwick, Women, Art and Society: Third Edition (Thames Hudson; London, 2002) J. Chicago E. Lucie Smith, Women and Art: Contested Territory (Weidenfeld Nicolson; London, 1999) E. Diamond (Edtd.), Performance and Cultural Politics (Routledge; London New York, 1996) M. Evans, Introducing Contemporary Feminist Thought (Polity Press; Cambridge, 1997) E.H. Gombrich, The Image and the Eye: Further Studies in the Psychology of Pictorial Representation (Phaidon; Oxford, 1986) G. Greer, The Whole Woman (Doubleday; London New York, 1999) J. Kirwan, Beauty (Manchester University Press; Manchester, 1999) E. Lucie Smith, Art and Civilisation (Calmann King; London, 1992) G. Pollock, Vision and Difference: Femininity, Feminism and the Histories of Art (Routledge; London New York, 1992) A. Sheppard, Aesthetics: an Introduction to the Philosophy of Art (Oxford University Press; Oxford, 1987) J. Smith, Different for Girls: How Culture Creates Women (Chatto Windus; London, 1997) N. Stangos (Edtd.), Concepts of Modern Art: from Fauvism to Postmodernism: Third Edition (Thames Hudson; London, 1997) F. Woolf M. Cassin, Bodylikes: the Human Figure in Art (The National Gallery Publications; London, 1987) Selected Articles L. Rabine, Fashion and Racial Construction of Gender, quoted in, J. Carlos Rowe (Edtd.), Culture and the Problem of the Disciplines (Columbia University Press; New York, 1998) C. Reed, Postmodernism and Art of Identity, quoted in, N. Stangos (Edtd.), Concepts of Modern Art: from Fauvism to Postmodernism: Third Edition (Thames Hudson; London, 1997) R. Schneider, After us the Savage Goddess: Feminist Performance Art of the Explicit Body Staged, Uneasily, Across Modernist Dreamscapes, quoted in, E. Diamond (Edtd.), Performance and Cultural Politics (Routledge; London New York, 1996) Journals L. Lippard, Sweeping Exchanges: the Contribution of Feminism in the Art of the Seventies, quoted in, Art Journal, Volume 41 (New York, 1980) Newspaper Articles J. Berens, The Double Life of Catherine M, quoted in, The Observer; Review Section (Sunday 19 May, 2002) Websites M. Edwards, The Devouring Woman and Her Serpentine Hair in Late Pre Raphaelitism, quoted in, Victorian Web; https://www.victorianweb.org/painting/prb/edwards12.html (2004) P. Eli Ivey, Harmony Hammond: In the Succeeding Silence, quoted in, Queer Cultural Centre; https://www.queerculturalcenter.org/pages/hammond/hammondessay.html (2002) D. Kuspit, Perversion in Art, quoted in, Artnet.com; https://www.artnet.com/magazine/features/kuspit/kuspit6-10-02.asp (2004) S. Mizota, Reagan Louie; quoted in, https://wwwsharonmizota.com/writing/art/reaganlouie.html (2003)

University of the Pacific Acceptance Rate, SAT/ACT Scores, GPA

The University of the Pacific is a private university with an acceptance rate of 63%. Located on a 175-acre campus in Stockton, California, the University of the Pacific is an easy drive to San Francisco, Sacramento, Yosemite, and Lake Tahoe. Popular undergraduate majors include business, biology, education and health sciences. Pacific was awarded a chapter of the prestigious  Phi Beta Kappa  honor society for its accomplishments in the liberal arts and sciences. On the athletic front, the Pacific Tigers compete in the NCAA Division I  West Coast Conference. Considering applying to University of the Pacific? Here are the admissions statistics you should know, including average SAT/ACT scores and GPAs of admitted students. Acceptance Rate During the 2017-18 admissions cycle, University of the Pacific had an acceptance rate of 63%. This means that for every 100 students who applied, 63 students were admitted, making Pacifics admissions process competitive. Admissions Statistics (2017-18) Number of Applicants 13,545 Percent Admitted 63% Percent Admitted Who Enrolled (Yield) 11% SAT Scores and Requirements University of the Pacific requires that all applicants to submit either SAT or ACT scores. During the 2017-18 admissions cycle, 82% of admitted students submitted SAT scores. SAT Range (Admitted Students) Section 25th Percentile 75th Percentile ERW 560 660 Math 560 690 ERW=Evidence-Based Reading and Writing This admissions data tells us that most of University of the Pacifics admitted students fall within the top 35% nationally on the SAT. For the evidence-based reading and writing section, 50% of students admitted to Pacific scored between 560 and 660, while 25% scored below 560 and 25% scored above 660. On the math section, 50% of admitted students scored between 560 and 690, while 25% scored below 560 and 25% scored above 690. Applicants with a composite SAT score of 1350 or higher have particularly competitive chances at University of the Pacific. Requirements The University of the Pacific does not require the SAT writing section. Note that Pacific participates in the scorechoice program, which means that the admissions office will consider your highest score from each individual section across all SAT test dates. At University of the Pacific, SAT Subject tests are not required for admission, but all students are encouraged to take one of the SAT Subject tests in math prior to enrollment. ACT Scores and Requirements University of the Pacific requires that all applicants to submit either SAT or ACT scores. During the 2017-18 admissions cycle, 37% of admitted students submitted ACT scores. ACT Range (Admitted Students) Section 25th Percentile 75th Percentile English 22 32 Math 22 30 Composite 22 30 This admissions data tells us that most of Pacifics admitted students fall within the top 36% nationally on the ACT. The middle 50% of students admitted to University of the Pacific received a composite ACT score between 22 and 30, while 25% scored above 30 and 25% scored below 22. Requirements University of the Pacific does not require the ACT writing section. Unlike many universities, Pacific superscores ACT results; your highest subscores from multiple ACT sittings will be considered. GPA In 2018, the average high school GPA of University of the Pacifics incoming freshmen class was 3.54, and over 60% of incoming students had average GPAs of 3.5 and above. These results suggest that most successful applicants to University of the Pacific have primarily high B grades. Self-Reported GPA/SAT/ACT Graph University of the Pacific Applicants Self-Reported GPA/SAT/ACT Graph. Data courtesy of Cappex. The admissions data in the graph is self-reported by applicants to University of the Pacific. GPAs are unweighted. Find out how you compare to accepted students, see the real-time graph, and calculate your chances of getting in  with a free Cappex account. Admissions Chances University of the Pacific, which accepts fewer than two-thirds of applicants, has a competitive admissions process. If your SAT/ACT scores and GPA are within the schools average ranges, you have a strong chance of being accepted. Keep in mind, however, that Pacific also has a  holistic admissions  process, and admissions decisions are based on more than numbers. A strong  application essay  and glowing letters of recommendation  can strengthen your application, as can participation in  meaningful extracurricular activities. and a rigorous course schedule. Students with particularly compelling stories or achievements can still receive serious consideration even if their grades and scores are outside Pacifics average range. In the graph above, the blue and green dots represent students who were admitted to University of the Pacific. Most had SAT scores (ERWM) of 1000 or higher, ACT composite scores of 20 or higher, and high school averages of B or higher. If your grades and test scores are above these lower ranges, your chances of admission will increase. If You Like the University of the Pacific, You May Also Like These Colleges Santa Clara UniversityUniversity of Southern CaliforniaUC DavisUCLAPepperdine UniversityUniversity of San DiegoUC San DiegoUC Santa CruzSacramento State UniversityUC IrvineUC Berkeley All admissions data has been sourced from the National Center for Education Statistics and University of the Pacific Undergraduate Admissions Office.