This version dates ca. W hile the recent upsurge of feminist activity in this country has indeed been a liberating one, its force has been chiefly emotional—personal, psychological and subjective—centered, like the other radical movements to which it is related, on the present and its immediate needs, rather than on historical analysis of the basic intellectual issues which the feminist attack on the status quo automatically raises. If, as John Stuart Mill suggested, we tend to accept whatever is as natural, this is just as true in the realm of academic investigation as it is in our social arrangements. In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations.
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Gender, other than a biological or physical determination of the sexes, is a cultural and social classification of masculinity and femininity. Gender presentations in art are the outcome of the cultural process of defining sexual and social identity. Pictorial art and literature, as means of expression through transformation and stylization, are the predominant media reflecting this cultural process. While the term gender refers to both sexes, the concept of gender issues has been primarily driven by a movement of women's emancipation and the twentieth-century emergence of feminism, as women have sought to obtain the rights, privileges, and unique forms of expression that men have enjoyed historically in patriarchal societies where class, race, and sexuality were defined by the dominant gender. The emergence of feminist art and art history since the s has not only resulted in a re-appreciation of the representation of the woman as a subject, creator, and receptor of pictorial art but also has inspired a broader examination of gender-related issues in art through the establishment of gay studies and men's studies, where questions of homosexuality, heterosexuality, masculinity, femininity, and indeed sex itself all pertain to the concept of gender. The understanding of gender in art is thus intrinsically linked to the method and perspective of contemporary gender research. Intellectual perceptions of masculinity and femininity have been transformed into visual arts since antiquity.
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The ancient Greeks considered the centre of the world to be in Delphi, marked by the stone monument known as the omphalos navel. It occupies an impressive site on the south-western slope of Mount Parnassus , overlooking the coastal plain to the south and the valley of Phocis. It is now an extensive archaeological site with a small modern town of the same name nearby.
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