Easy Earth Enterprises Miss Susie Home Maker Secrets Of The Girl Next Door 3

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women

to have received an adequate education (primary, secondary and preferably also tertiary) and to be able to use her knowledge wisely;
to earn money and thus be financially independent;
to participate in political discussion and decision-making;
to decide herself if, when and whom she wants to marry and how many children she wants to have;
to show outward signs of being different by wearing more comfortable clothes, see rational dress;
and, generally, to defy convention and social norms in order to create a better world for women.

The finest achievement of the new woman has been personal liberty. This is the foundation of civilization; and as long as any one class is watched suspiciously, even fondly guarded, and protected, so long will that class not only be weak, and treacherous, individually, but parasitic, and a collective danger to the community. Who has not heard wives commended for wheedling their husbands out of money, or joked because they are hopelessly extravagant? As long as caprice and scheming are considered feminine virtues, as long as man is the only wage-earner, doling out sums of money, or scattering lavishly, so long will women be degraded, even if they are perfectly contented, and men are willing to labor to keep them in idleness!


Although individual women from pre-historic times have accomplished much, as a class they have been set aside to minister to men's comfort. But when once the higher has been tried, civilization repudiates the lower. Men have come to see that no advance can be made with one half-humanity set apart merely for the functions of sex; that children are quite liable to inherit from the mother, and should have opportunities to inherit the accumulated ability and culture and character that is produced only by intellectual and civil activity. The world has tried to move with men for dynamos, and "clinging" women impeding every step of progress, in arts, science, industry, professions, they have been a thousand years behind men because forced into seclusion. They have been over-sexed. They have naturally not been impressed with their duties to society, in its myriad needs, or with their own value as individuals.
The new woman, in the sense of the best woman, the flower of all the womanhood of past ages, has come to stay — if civilization is to endure. The sufferings of the past have but strengthened her, maternity has deepened her, education is broadening her — and she now knows that she must perfect herself if she would perfect the race, and leave her imprint upon immortality, through her offspring or her works.


The Gibson Girl was the personification of the feminine ideal as portrayed in the satirical pen and ink illustrated stories created by illustrator Charles Dana Gibson during a twenty year period spanning the late nineteenth and early twentieth century in the United States.
The "Gibson Girl" set what some argue as the first national standard for a feminine beauty ideal. For the next two decades, the popularity of this fictional image ushered in a national mania for all things Gibson. There was merchandising of "saucers, ashtrays, tablecloths, pillow covers, chair covers, souvenir spoons, screens, fans, umbrella stands", all bearing her image.

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women

The Gibson Girl was tall, slender yet with ample bosom, hips and bottom in the S-curve torso shape achieved by wearing a swan-bill corset. The images of her epitomized the late nineteenth and early 20th-century Western preoccupation with statuesque, youthful features, and ephemeral beauty. Her neck was thin and her hair piled high upon her head in the contemporary bouffant, pompadour, and chignon ("waterfall of curls") fashions. The tall, narrow-waisted ideal feminine figure was portrayed as multi-faceted, always at ease and fashionable. Gibson depicted her as an equal and sometimes teasing companion to men.

Many models posed for Gibson Girl-style illustrations, including Gibson's wife, Irene Langhorne (who may have been the original model, and was a sister of Nancy Astor, Viscountess Astor) and Evelyn Nesbit. The most famous Gibson Girl was probably the Belgian-American stage actress, Camille Clifford, whose towering coiffure and long, elegant gowns wrapped around her hourglass figure and tightly corseted wasp waist defined the style.
Among Gibson Girl illustrators were Howard Chandler Christy whose work celebrating American "beauties" was similar to Gibson's and Harry G. Peter, who was most famous for his art on Wonder Woman comics.


"They are only collecting the usual fans and gloves" by Charles Dana Gibson
The Gibson Girl personified beauty, limited independence, personal fulfillment (she was pictured attending college and choosing the best mate, but she was never pictured as part of a suffrage march), and American national prestige. By the outbreak of World War I, changing fashions caused the Gibson Girl to fall from favor. Women of the World War I era favored a sober, masculine suit (first designed and popularized by Coco Chanel) over the elegant dresses, bustle gowns, shirtwaists, and terraced, shorter skirts favored by the Gibson Girl.


Arresting and gorgeous, icons of feminine beauty from America's "golden age of illustration" (1880-1920s) dazzled viewers with an intensity, vividness and variety that captivate us today. The creation in the 1890s of the "Gibson Girl" by Charles Dana Gibson (1867-1944) began a decades-long fascination with idealized types of feminine beauty in America. Other gifted illustrators of the era such as Coles Phillips (1880-1927), Wladyslaw Benda (1873-1948), Nell Brinkley (1886-1944), and John Held, Jr., (1888-1958) fashioned diverse portrayals of idealized American womanhood that mirrored changing standards of beauty. More fundamentally, however, this popular art highlighted transformations in women's roles in the late nineteenth and early twentieth centuries. During what historians call the era of the "new woman," increasing numbers of women pursued higher education, romance, marriage, leisure activities, and a sense of individuality with greater independence. This exhibition features drawings selected from outstanding recent acquisitions and graphic art in the Library's Cabinet of American Illustration and the Swann Collection of Caricature and Cartoon.

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women

The Gibson Girl first appeared in Life Magazine and rapidly set a standard for feminine beauty that endured for two decades. Gibson drew his tall, narrow-waisted ideal in black and white, portraying her as a multi-faceted type, always at ease and fashionable. He depicted her as an equal, sometimes teasing companion to men and highlighted her interests or talents, such as violin playing in The Sweetest Story Ever Told, ca. 1910. Gibson's influence on fellow artists can be seen in the stately beauty in A Quick Change, ca. 1901 by Charlotte Harding (1873-1951). Other artists created rival icons. Coles Phillips, for example, developed his "Fade-away Girl" through innovative use of negative space--his full figured beauties blend into backgrounds of colorful, tightly composed designs that graced the covers of Life and Good Housekeeping in the early 1900s.

Typically involved in domestic tasks or appraising suitors' gifts as in Know All Men by These Presents, 1910, the "Phillips Girl" projected a warm allure that differed from the Gibson Girl's winsome reserve. Neither seriously challenged the patriarchal tradition of separate spheres--public and professional for men, private and domestic for women.
The influence of Gibson's and Phillip's romantic ideals waned markedly as the American public and artistic communities were introduced to modern European and American art at the time of the Armory Show of 1913 in New York City. American society also became increasingly urban as cities burgeoned in size. Modernist styles and urbanism influenced younger artists such as Ethel Plummer (1888-1936) and Rita Senger
(active 1915-1930s) as they drew new types of beauties. Plummer drew her young women as slim silhouettes, clad in tighter, formfitting clothing.

Shown in an urban setting, they convey a consciousness of themselves as fashionable beings in their attitudes and communicate a poise and confidence that became hallmarks of the modern woman. Rita Senger's lithe beauty dancing on a shore (ca. 1916) embodied a freedom based on insistent individuality. Compared with their predecessors, Plummer's and Senger's figures move freely in more public, open spaces. Both artists also depicted their slender beauties as stylish, flattened figures, defined by sophisticated use of line, color, and pattern in drawings that are contemporary with the introduction of modernist styles.

Their work possesses a bold, modern simplicity that was prized by Vanity Fair and Vogue. Images from magazine covers, short-story illustrations, and advertisements exerted widespread influence, for readers sought not only entertainment and enlightenment from these visual sources, but also regarded them as examples to be admired and imitated.


During the World War I era, "new women" sought equality and opportunity through more active roles in the public realm. Nell Brinkley stood out during this period as a female pioneer in the field of illustration--a woman artist who created the "Brinkley Girl," a highly popular icon. She drew active idealistic young women in illustrations for newspaper feature stories that she wrote.

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women

"Golden Eyes," a World War I heroine who promoted the sale of Liberty Bonds and supported overseas war efforts, emerged as one of Brinkley's most memorable creations. In her fine-lined Art Nouveau manner, Brinkley portrayed her heroine as a dynamic, windblown symbol of women's active patriotism.
John Held, Jr.'s creation, the flirtatious, flippant flapper, exemplified a revolutionary type of beauty. He delineated her as a stylish, carefree, and boyishly slender figure, capturing her assertive, pleasure-seeking nature in a lively, refined style.

Held's flapper pervaded popular culture, appearing in Life, Judge, Liberty, College Humor, The New Yorker, and Harper's Bazaar. The flapper's dynamic open outline departed radically from Gibson's calm, long-haired ideal. Demure in dress and manner, the Gibson Girl originated from the more structured, socially choreographed milieu of the Gilded Age. In comparison, the Jazz Age icon, with her scanty clothing, short hair, and forward ways, appeared brazen. She interacted directly and boldly with men, whether dancing or joining them in sports, sometimes with humorous, witty effect as seen in The Girl Who Gave Him the Cold Shoulder, ca. 1925.


Wladyslaw Benda, Georges Lepape (1887-1971), and Russell Patterson (1893-1977) skillfully incorporated elements of glamour and current fashion into their compelling visions of beauty in the late 1910s-1920s. Fashion and glamour intertwined as women avidly followed the latest trends in clothing, jewelry, and cosmetics through popular art. Polish-born Benda, working in charcoal and watercolor, created the "Benda Girl," whose flawless features and bejeweled form reflected the glamourous taste of the time. The strengths of his distinctive style--skillful modeling of forms, attention to detail, and use of strong color--served him well in drawing the vivid images that adorned the covers and pages of Hearst's International Magazine, Cosmopolitan, and Liberty. In contrast with Benda, Lepape and Patterson rendered their beauties as stylized figures who indulge in smoking, a pleasure seen as mildly risqué and glamourous. Both make minimal use of modeling and depend heavily on the graphic power of elegant, outlined forms, linear patterns of clothing and trailing smoke to compose strongly decorative, eye-catching designs.

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women

Jaro Fabry (1912-1953) employed a modernist approach related to Held's and Patterson's beauties in creating his drawing of Katherine Hepburn for the cover of Cinema Arts. Applying watercolor with loose, free brushwork, Fabry achieves a fresh, spontaneous portrayal of Hepburn. Completely all-American, she is a fitting choice for an icon. She personifies a singular, individual beauty, yet projects star quality and universal appeal.
These artist's images reveal change and variety in women's roles in society as seen in Gibson's violin player, the heroic Brinkley Girl, Held's flapper, Patterson's smoker, and the actress Hepburn. They also reflect significant shifts in manners and mores. Far from superficial and solely concerned with surface beauty, these icons illuminate the complex trajectory traced by the evolution of the modern woman.


Gaiety Girls were the chorus girls in Edwardian musical comedies, beginning in the 1890s at the Gaiety Theatre, London, in the shows produced by George Edwardes. The popularity of this genre of musical theatre depended, in part, on the beautiful dancing corps of "Gaiety Girls" appearing onstage in bathing attire and in the latest fashions. The 1890s Gaiety Girls were respectable, elegant young ladies, unlike the corseted actresses from London's earlier musical burlesques. Later, even the stars of these musical comedies were referred to as Gaiety Girls.

Victorian morality is a distillation of the moral views of people living at the time of Queen Victoria (reigned 1837 - 1901) in particular, and to the moral climate of Great Britain throughout the 19th century in general. It is not tied to this historical period and can describe any set of values that espouses sexual repression, low tolerance of crime, and a strong social ethic. Due to the prominence of the British Empire, many of these values were spread across the world.

Historians now regard the Victorian era as a time of many contradictions. A plethora of social movements concerned with improving public morals co-existed with a class system that permitted harsh living conditions for many. The apparent contradiction between the widespread cultivation of an outward appearance of dignity and restraint and the prevalence of social phenomena that included prostitution and child labour were two sides of the same coin: various social reform movements and high principles arose from attempts to improve the harsh conditions.

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women

The term Victorian has acquired a range of connotations, including that of a particularly strict set of moral standards, which are often applied hypocritically. This stems from the image of Queen Victoria—and her husband, Prince Albert, perhaps even more so—as innocents, unaware of the private habits of many of her respectable subjects;

this particularly relates to their sex lives. This image is mistaken: Victoria’s attitude toward sexual morality was a consequence of her knowledge of the corrosive effect of the loose morals of the aristocracy in earlier reigns upon the public’s respect for the nobility and the Crown. The Prince Consort as a young child had experienced the pain of his parents' divorce after they were involved in public sexual scandals. Young Prince Albert's mother had left his family home and she died shortly thereafter.


Two hundred years earlier the Puritan republican movement, which led to the installment of Oliver Cromwell, had temporarily overthrown the British monarchy. During England’s years as a republic, the law imposed a strict moral code on the people (such as abolishing Christmas as too indulgent of the sensual pleasures).


When the monarchy was restored, a period of loose living and debauchery appeared to be a reaction to the earlier repression. (See: Charles II of England) The two social forces of Puritanism and libertinism continued to motivate the collective psyche of Great Britain from the restoration onward. This was particularly significant in the public perceptions of the later Hanoverian monarchs who immediately preceded Queen Victoria. For instance, her uncle George IV was commonly perceived as a pleasure-seeking playboy, whose conduct in office was the cause of much scandal.
By the time of Victoria, the interplay between high cultured morals and low vulgarity was thoroughly embedded in British culture.


Victorian prudery sometimes went so far as to deem it improper to say "leg" in mixed company; instead, the preferred euphemism “limb” was used. Those going for a swim in the sea at the beach would use a bathing machine.

However, historians Peter Gay and Michael Mason both point out that we often confuse Victorian etiquette for a lack of knowledge. For example, despite the use of the bathing machine, it was also possible to see people bathing nude. Another example of the gap between our preconceptions of Victorian sexuality and the facts is that contrary to what we might expect, Queen Victoria liked to draw and collect male nude figure drawings and even gave her husband one as a present


Verbal or written communication of emotion or sexual feelings was also often proscribed so people instead used the language of flowers. However they also wrote explicit erotica, perhaps the most famous being the racy tell-all My Secret Life by the pseudonym Walter (allegedly Henry Spencer Ashbee), and the magazine The Pearl, which was published for several years and reprinted as a paperback book in the 1960s. Victorian erotica also survives in private letters archived in museums and even in a study of women's orgasms. Some current historians now believe that the myth of Victorian repression can be traced back to early twentieth-century views, such as those of Lytton Strachey, a member of the Bloomsbury Group, who wrote Eminent Victorians.

Victoria ascended to the throne in 1837, only four years after the Abolition of slavery in the British Empire. The anti-slavery movement had campaigned for years to achieve the ban, succeeding with a partial abolition in 1807 and the full ban on slave trade, but not slave ownership, in 1833. It took so long because the anti-slavery morality was pitted against a powerful capitalist element in the empire, which claimed their businesses would be destroyed if they were not permitted to exploit slave labour. Eventually plantation owners in the Caribbean received £20 million in compensation.


In Victoria's time the British Royal Navy patrolled the Atlantic Ocean, stopping any ships that it suspected of trading African slaves to the Americas and freeing any slaves found. The British had set up a Crown Colony in West Africa—Sierra Leone—and transported freed slaves there. Freed slaves from Nova Scotia founded and named the capital of Sierra Leone "Freetown". Many people living at that time argued that the living conditions of workers in English factories seemed worse than those endured by some slaves.

Throughout the whole Victorian Era homosexuals were regarded as abominations and homosexuality was illegal. However, many famous men from the British Isles, such as Oscar Wilde, were notorious homosexuals. Toward the end of the century, many large trials were held on the subject.

In the same way, throughout the Victorian Era, movements for justice, freedom, and other strong moral values opposed greed, exploitation, and cynicism. The writings of Charles Dickens, in particular, observed and recorded these conditions. Karl Marx and Friedrich Engels carried out much of their analysis of capitalism in and as a reaction to Victorian Britain.

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women

A sexual norm can refer to a personal or a social norm. Most cultures have social norms regarding sexuality, and define normal sexuality to consist only of certain legal sex acts between individuals who meet specific criteria of age, relatedness or social role and status.

In most societies, the term 'normal' is actually a spectrum. In other words, rather than each act being simply classified as "acceptable" or "not acceptable", in practice many acts are viewed as "more or less accepted" by different people, and the opinion on how normal or acceptable they are greatly depends on the individual making the opinion as well as the culture itself. Based on information gained from sexological studies, a great many ordinary people's sex lives are very often quite different from popular beliefs about normal, in private.

If non-restrictive sexual norms are regarded positively, they may be called sexual freedom, "sexual liberation" or "free love". If they are regarded negatively, they may be called "sexual licence" or "licentiousness". Restrictive social norms, if judged negatively, are called sexual oppression or "compulsory heterosexuality;" if the restrictive norms are judged positively, they may be regarded as encouraging chastity, "sexual self-restraint" or "sexual decency", and negative terms are used for the targeted sexuality, e.g. sexual abuse and perversion.


In the West, many people have relaxed the traditional definitions of normality, choosing instead to define normal sexuality as any sexual practice which does not involve what are regarded as sexual perversions. However, using this definition makes use of a long list of sexual perversions which themselves show up hidden assumptions about cultural norms. Recently, in Western society, consensual paraphilias are becoming more acceptable, in particular "any activity, not otherwise illegal, performed between consenting adults in private."

This liberalization of attitudes has resulted in the legalization of homosexuality in many countries, following the ground-breaking Wolfenden report in the UK.
There is a tendency in Western countries towards serial monogamy as a normal heterosexual lifestyle. In the reverse direction, there is also a movement towards recognizing long-term homosexual relationships (see same-sex marriage).

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women


There is also greater acceptance of sexual relationships (partnerships) without requiring the sanction of a form of marriage recognised by the church, state or legal system. In other words, there is freedom from the interference in people's sex lives by institutions. Sexual relationships are seen as a matter for individuals rather than for society as a whole.

These liberalizing trends can be contrasted with conservative social trends that seek to reverse these patterns of behaviour, with encouragement for young people to choose traditionally accepted roles, beliefs and behaviors, and to exercise sexual abstinence or non-promiscuous lifestyles before marriage.

There is an opposing trend in reaction, that views such changes as a socially destructive force, and is opposed to them. It is often, though not exclusively, associated with people who have strong religious feelings, and are prevalent in much of Christianity in America, as well as Islam in the Middle East and Asia, and other devout religious groups such as Hasidic Jews in Israel. In such countries there is often strong criticism of non-traditional sexualities and sexual liberation.
Some social unrest in both Eastern and Western cultures is due to this conflict between these two trends, and views upon acceptability and control of social and sexual norms.

Morality (from the latin moralitas "manner, character, proper behavior") has three principal meanings.

In its first descriptive usage, morality means a code of conduct held to be authoritative in matters of right and wrong. Morals are created by and define society, philosophy, religion, or individual conscience.

In its second, normative and universal sense, morality refers to an ideal code of conduct, one which would be espoused in preference to alternatives by all rational people, under specified conditions. To deny 'morality' in this sense is a position known as moral skepticism.

In its third usage, 'morality' is synonymous with ethics, the systematic philosophical study of the moral domain.

Ethics seeks to address questions such as how a moral outcome can be achieved in a specific situation (applied ethics), how moral values should be determined (normative ethics), what morals people actually abide by (descriptive ethics), what the fundamental nature of ethics or morality is, including whether it has any objective justification (meta-ethics), and how moral capacity or moral agency develops and what its nature is (moral psychology).

In applied ethics, for example, the prohibition against taking human life is controversial with respect to capital punishment, abortion and wars of invasion. In normative ethics, a typical question might be whether a lie told for the sake of protecting someone from harm is justified. In meta-ethics, a key issue is the meaning of the terms "right" or "wrong".

Moral realism would hold that there are true moral statements which report objective moral facts, whereas moral anti-realism would hold that morality is derived from any one of the norms prevalent in society (cultural relativism); the edicts of a god (divine command theory); is merely an expression of the speakers' sentiments (emotivism); an implied imperative (prescriptive); falsely presupposes that there are objective moral facts (error theory). Some thinkers hold that there is no correct definition of right behavior, that morality can only be judged with respect to particular situations, within the standards of particular belief systems and socio-historical contexts. This position, known as moral relativism, often cites empirical evidence from anthropology as evidence to support its claims.

The opposite view, that there are universal, eternal moral truths is known as moral absolutism. Moral absolutists might concede that forces of social conformity significantly shape moral decisions, but deny that cultural norms and customs define morally right behavior.

Evolutionary biologists, particularly sociobiologists, believe that morality is a product of evolutionary forces acting at an individual level and also at the group level through group selection. Sociobiologists contend that the set of behaviors that constitute morality evolved because they were good for the individual and good for the group. Humans consequently evolved positive emotions, such as feelings of righteousness or pride, in response to these moral behaviors.

In this respect, morality is not absolute, but relative and constitute any set of behaviors that encourage human cooperation. Biologists contend that all social animals, from ants to elephants, have modified their behaviors, by restraining selfishness in order to make group living worthwhile. Human morality, though sophisticated and complex relative to other animals, is essentially a natural phenomenon that evolved to restrict excessive individualism and foster human cooperation.

On this view, moral codes are ultimately founded on emotional instincts and intuitions that were selected for in the past because they aided survival and reproduction (inclusive fitness). The strength of the maternal bond is one example. Another is the Westermarck effect, seen as underpinning taboos against incest, which decreases the likelihood of inbreeding depression.

The phenomenon of 'reciprocity' in nature is seen by evolutionary biologists as one way to begin to understand human morality. Its function is typically to ensure a reliable supply of essential resources, especially for animals living in a habitat where food quantity or quality fluctuates unpredictably. For example, on any given night for vampire bats, some individuals fail to feed on prey while others consume a surplus of blood. Bats that have successfully fed then regurgitate part of their blood meal to save a conspecific from starvation. Since these animals live in close-knit groups over many years, an individual can count on other group members to return the favor on nights when it goes hungry (Wilkinson, 1984)

It has been convincingly demonstrated that chimpanzees show empathy for each other in a wide variety of contexts.They also possess the ability to engage in deception, and a level of social 'politics' prototypical of our own tendencies for gossip and reputation management.


Christopher Boehm (1982) has hypothesized that the incremental development of moral complexity throughout hominid evolution was due to the increasing need to avoid disputes and injuries in moving to open savanna and developing stone weapons. Other theories are that increasing complexity was simply a correlate of increasing group size and brain size, and in particular the development of theory of mind abilities. Richard Dawkins in The God Delusion suggested that our morality is a result of our biological evolutionary history and that the Moral Zeitgeist helps describe how morality evolves from biological and cultural origins and evolves with time within a culture.

PeopleNology
Gregory Bodenhamer
Nollijy Franklin University Research Institute
PeopleNology
Easy Earth Enterprises & Society for Women





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