Writing Assignment 3 EAPS 10000 Y01 Planet Earth On.docx

Writing Assignment 3
EAPS 10000 Y01 Planet Earth
Online Course
Fall 2015
August 23, 2015
August 23, 2015 – Writing Assignment 3: Writing Assignment
3 should include topics in
Chapters 11 through 16 in the textbook. Except for the topics,
the instructions for
completing Writing Assignment 3 are the same as for Writing
Assignment 1. See the Due
Dates file (on the Course Content area of BB Learn) for due
dates of all assignments. Be
sure to read the instructions in the WA 1 assignment. Please
pay

particular attention to the plagiarism discussion!
Suggested topics for Writing Assignment 3:
Greenhouse gasses Ozone hole
Acid rain Global warning
Climate change Clouds
Droughts Floods
Blizzards Air pollution
Atmospheric circulation Coriolis effect
Thunderstorms Weather hazards
Lightning Tornadoes
Hurricanes Hurricane Andrew
Hurricane Katrina The Tri-State hurricane
The solar system Earth’s tilt
Jupiter’s moons Galileo
Copernicus Keppler
Newton Planetary impacts
Asteroids Formation of the Moon

Olympus Mons Life on Mars?
Water on Mars? Comets
Atmosphere of Venus Terrestrial and gaseous planets
Volcanoes of Io Saturn’s rings
Asteroid belt Jupiter’s great red spot
Measuring astronomical distances Galaxies
Hertzsprung-Russell diagram Life of a star
2
The big bang Hubble red shift
Suggested Topics and Example References (links) for WA 3:
Air pollution
Intro to six common air pollutants:
http://www.epa.gov/air/urbanair/
List of topic resources on specific
issues:http://www.nrdc.org/air/

Greenhouse gasses
Intro to greenhouse gases:
http://www.ncdc.noaa.gov/oa/climate/gases.html
Intro to the greenhouse
effect:http://www.ucar.edu/learn/1_3_1.htm
Ozone hole
Intro to the ozone hole: http://ozonewatch.gsfc.nasa.gov/
Process of ozone depletion:
http://www.epa.gov/ozone/science/process.html
Acid rain
Basics of acid rain: http://www.epa.gov/acidrain/
http://ga.water.usgs.gov/edu/acidrain.html
Global warming
Brief intro to causes of global warming:
http://climate.nasa.gov/causes/

Frequently asked questions surrounding a changing climate:
http://www.ipcc.ch/pdf/assessment-report/ar4/wg1/ar4-wg1-
faqs.pdf
Climate change
Intro to the issues: http://www.epa.gov/climatechange/
http://www.nrdc.org/globalwarming/
Clouds
Cloud types: http://eo.ucar.edu/webweather/cloud3.html
Formation of clouds:
http://www.atmosphere.mpg.de/enid/1__Clouds/-
_Formation_of_clouds_t9.html
Droughts
http://www.epa.gov/air/urbanair/
http://www.nrdc.org/air/
http://www.ncdc.noaa.gov/oa/climate/gases.html
http://www.ucar.edu/learn/1_3_1.htm
http://ozonewatch.gsfc.nasa.gov/
http://www.epa.gov/ozone/science/process.html

http://www.epa.gov/acidrain/
http://ga.water.usgs.gov/edu/acidrain.html
http://climate.nasa.gov/causes/
http://www.ipcc.ch/pdf/assessment-report/ar4/wg1/ar4-wg1-
faqs.pdf
http://www.epa.gov/climatechange/
http://www.nrdc.org/globalwarming/
http://eo.ucar.edu/webweather/cloud3.html
3
NOAA drought info center: http://www.drought.noaa.gov/
NASA articles:
http://earthobservatory.nasa.gov/Features/DroughtFacts/
Floods
Intro to floods: http://www.ready.gov/floods
Emergency
preparedness:http://emergency.cdc.gov/disasters/floods/
Blizzards

Basics:http://www.wrh.noaa.gov/fgz/science/blizzard.php?wfo=
fgz
http://www.weather.com/encyclopedia/winter/blizzard.html
Atmospheric circulation
Basics: http://www.ux1.eiu.edu/~cfjps/1400/circulation.html
Three cell circulation:
http://sparce.evac.ou.edu/q_and_a/air_circulation.htm
Coriolis effect
Brief description:
http://oceanservice.noaa.gov/education/kits/currents/05currents
1.html
More technical and historical description:
http://www.aos.princeton.edu/WWWPUBLIC/gkv/history/Persso
n98.pdf
Thunderstorms

Basic in question and answer format:
http://www.nssl.noaa.gov/primer/tstorm/tst_basics.html
http://weather.cod.edu/sirvatka/ts.html
Weather hazards
Stats (see menu for more info):
http://www.nws.noaa.gov/om/hazstats.shtml
An intro to high impact meteorology:
http://severewx.atmos.uiuc.edu/
Lightning
Basics: http://www.pbs.org/wgbh/nova/earth/how-lightning-
works.html
List of resources: http://thunder.msfc.nasa.gov/
http://www.drought.noaa.gov/
http://earthobservatory.nasa.gov/Features/DroughtFacts/
http://www.ready.gov/floods
http://emergency.cdc.gov/disasters/floods/
http://www.wrh.noaa.gov/fgz/science/blizzard.php?wfo=fgz
http://www.weather.com/encyclopedia/winter/blizzard.html
http://www.ux1.eiu.edu/~cfjps/1400/circulation.html
http://sparce.evac.ou.edu/q_and_a/air_circulation.htm

http://oceanservice.noaa.gov/education/kits/currents/05currents
1.html
http://www.aos.princeton.edu/WWWPUBLIC/gkv/history/Persso
n98.pdf
http://www.nssl.noaa.gov/primer/tstorm/tst_basics.html
http://weather.cod.edu/sirvatka/ts.html
http://www.nws.noaa.gov/om/hazstats.shtml
http://severewx.atmos.uiuc.edu/
http://www.pbs.org/wgbh/nova/earth/how-lightning-works.html
http://thunder.msfc.nasa.gov/
4
Tornadoes
Basics: http://www.nssl.noaa.gov/edu/safety/tornadoguide.html
FAQ: http://www.spc.noaa.gov/faq/tornado/
Hurricanes
Brief intro: http://eo.ucar.edu/webweather/hurricane2.html
General overview (select presentations):
http://www.nhc.noaa.gov/outreach/
Hurricane Andrew

Historical report on Hurricane Andrew:
http://www.nhc.noaa.gov/1992andrew.html
Effects of hurricane Andrew on wetlands:
http://water.usgs.gov/nwsum/WSP2425/andrew.html
Hurricane Katrina
Detailed report: http://www.ncdc.noaa.gov/special-
reports/katrina.html
Survivors’ stories:
http://www.npr.org/templates/story/story.php?storyId=5704652
US Air Force response:
http://www.afhra.af.mil/shared/media/document/AFD-070912-
046.pdf
The Tri-State hurricane
Intro (see links on left menu):
http://www.pbs.org/wgbh/americanexperience/features/timeline/
hurricane-timeline/

Brief report:
http://www.erh.noaa.gov/box/hurricane/hurricane1938.shtml
The solar system
Variety of resources on the solar system:
http://solarsystem.nasa.gov/index.cfm
Some solar system basics including theories of formation:
http://abyss.uoregon.edu/~js/ast121/lectures/lec24.html
Earth’s tilt
Effect of earth’s tilt on seasons:
http://imagine.gsfc.nasa.gov/docs/ask_astro/answers/980211f.ht
ml
http://www.nssl.noaa.gov/edu/safety/tornadoguide.html
http://www.spc.noaa.gov/faq/tornado/
http://eo.ucar.edu/webweather/hurricane2.html
http://www.nhc.noaa.gov/outreach/
http://www.nhc.noaa.gov/1992andrew.html
http://water.usgs.gov/nwsum/WSP2425/andrew.html
http://www.ncdc.noaa.gov/special-reports/katrina.html
http://www.npr.org/templates/story/story.php?storyId=5704652

046.pdf
046.pdf
http://www.pbs.org/wgbh/americanexperience/features/timeline/
hurricane-timeline/
http://www.erh.noaa.gov/box/hurricane/hurricane1938.shtml
http://solarsystem.nasa.gov/index.cfm
http://abyss.uoregon.edu/~js/ast121/lectures/lec24.html
http://imagine.gsfc.nasa.gov/docs/ask_astro/answers/980211f.ht
ml
5
Basics:
http://astronomy.nmsu.edu/nicole/teaching/astr110/lectures/lect
ure07/slide04.html
Jupiter’s moons
Basics:
http://solarsystem.nasa.gov/planets/profile.cfm?Object=Jupiter
&Display=Sats
http://galileo.rice.edu/sci/observations/jupiter_satellites.html
Galileo
Brief account of Galileo’s life:
http://math.berkeley.edu/~robin/Galileo/life.html

Account with more detail:
http://plato.stanford.edu/entries/galileo/
Copernicus
Brief account of Galileo’s life:
http://physics.gmu.edu/~jevans/astr103/CourseNotes/ECText/Bi
os/copernic.htm
Account with more detail:
http://plato.stanford.edu/entries/copernicus/
Kepler
Several resources:
http://kepler.nasa.gov/Mission/JohannesKepler/
Detailed bio: http://plato.stanford.edu/entries/kepler/
Newton
Timeline of Isaac Newton:
http://web.clas.ufl.edu/users/ufhatch/pages/13-
NDFE/newton/05-
newton-timeline-m.htm

Detailed bio: http://plato.stanford.edu/entries/newton/
Planetary impacts
Basics: http://www.psi.edu/explorecraters/background.htm
More detail:
http://www.lpi.usra.edu/education/explore/shaping_the_planets/
impact_cratering.shtml
Comets, meteorites, asteroids, and impacts:
http://www.uni.edu/morgans/astro/course/Notes/section4/new22
.html
Asteroids
List/links of resources:
http://solarsystem.nasa.gov/planets/profile.cfm?Object=Asteroid
s
http://nssdc.gsfc.nasa.gov/planetary/planets/asteroidpage.html
http://astronomy.nmsu.edu/nicole/teaching/astr110/lectures/lect
ure07/slide04.html
http://solarsystem.nasa.gov/planets/profile.cfm?Object=Jupiter

&Display=Sats
http://galileo.rice.edu/sci/observations/jupiter_satellites.html
http://math.berkeley.edu/~robin/Galileo/life.html
http://plato.stanford.edu/entries/galileo/
http://physics.gmu.edu/~jevans/astr103/CourseNotes/ECText/Bi
os/copernic.htm
http://plato.stanford.edu/entries/copernicus/
http://kepler.nasa.gov/Mission/JohannesKepler/
http://plato.stanford.edu/entries/kepler/
NDFE/newton/05-newton-timeline-m.htm
NDFE/newton/05-newton-timeline-m.htm
http://plato.stanford.edu/entries/newton/
http://www.psi.edu/explorecraters/background.htm
http://www.lpi.usra.edu/education/explore/shaping_the_planets/
impact_cratering.shtml
.html
http://solarsystem.nasa.gov/planets/profile.cfm?Object=Asteroid
s
http://nssdc.gsfc.nasa.gov/planetary/planets/asteroidpage.html
6
.html
Formation of the Moon

Discussion on the various theories of moon formation:
http://cloe.boulder.swri.edu/aboutTheMoon/alternateTheories.ht
ml
A NASA scientist explains the leading theory of lunar
formation:
http://lunarscience.nasa.gov/articles/nasa-scientist-jen-
heldmann-describes-how-the-earths-
moon-was-formed/
Olympus Mons
Brief intro:
http://marsprogram.jpl.nasa.gov/gallery/atlas/olympus-
mons.html
Brief discussion on Martian volcanism:
http://www.geology.sdsu.edu/how_volcanoes_work/mars.html
Life on Mars?
Brief discussion on the possibility of life on Mars:
http://www.lpi.usra.edu/publications/slidesets/marslife/

Does the presence of methane mean life on Mars?:
http://www.nasa.gov/mission_pages/mars/news/marsmethane.ht
ml
Water on Mars?
Recent update on the quest for water on Mars:
http://www.nasa.gov/mission_pages/MRO/news/mro20110804.h
tml
More recent update:
http://science.nasa.gov/science-news/science-at-
nasa/2011/08dec_slamdunk/
Comets
.html
Intro to comets: http://en.wikipedia.org/wiki/Comet
Atmosphere of Venus

Intro: http://burro.astr.cwru.edu/stu/advanced/venus.html
More detailed basics of Venus’ atmosphere:
http://hyperphysics.phy-
astr.gsu.edu/HBase/Solar/venusenv.html
.html
http://cloe.boulder.swri.edu/aboutTheMoon/alternateTheories.ht
ml
heldmann-describes-how-the-earths-moon-was-formed/
heldmann-describes-how-the-earths-moon-was-formed/
http://marsprogram.jpl.nasa.gov/gallery/atlas/olympus-
mons.html
http://www.geology.sdsu.edu/how_volcanoes_work/mars.html
http://www.lpi.usra.edu/publications/slidesets/marslife/
http://www.nasa.gov/mission_pages/mars/news/marsmethane.ht
ml
http://www.nasa.gov/mission_pages/MRO/news/mro20110804.h
tml
nasa/2011/08dec_slamdunk/
.html
http://en.wikipedia.org/wiki/Comet
http://burro.astr.cwru.edu/stu/advanced/venus.html

7
Venus/Earth facts comparison:
http://nssdc.gsfc.nasa.gov/planetary/factsheet/venusfact.html
Terrestrial and gaseous planets
Basics of solar system and outer planets:
http://lasp.colorado.edu/education/outerplanets/giantplanets.php
Basics of terrestrial plaents:
http://lasp.colorado.edu/~bagenal/1010/SESSIONS/12.PlanetGe
ology.html
Volcanoes of Io
NASA’s description: http://science.nasa.gov/science-
news/science-at-
nasa/1999/ast04oct99_1/
Intro:
http://csep10.phys.utk.edu/astr161/lect/jovian_moons/io.html
Saturn’s rings

Brief intro:
http://solarsystem.nasa.gov/planets/profile.cfm?Object=Saturn&
Display=Rings
Uncertainties: http://science.nasa.gov/science-news/science-at-
nasa/2002/12feb_rings/
Basics:
http://saturn.jpl.nasa.gov/science/index.cfm?SciencePageID=55
Asteroid belt
Asteroids: http://burro.astr.cwru.edu/stu/asteroid.html
Brief intro:
http://starchild.gsfc.nasa.gov/docs/StarChild/solar_system_level
2/asteroids.html
Basics: http://en.wikipedia.org/wiki/Asteroid_belt
Jupiter’s great red spot
Intro:
http://csep10.phys.utk.edu/astr161/lect/jupiter/redspot.html

Explained: http://apod.nasa.gov/apod/ap110502.html
Jupiter’s atmosphere:
http://cde.nwc.edu/SCI2108/course_documents/solar_system/out
ergasplanets/jupiter/atmosph
ere/atmosphere.htm
Measuring astronomical distances
26 methods for measuring out-of-solar-system distances:
http://www.astro.ucla.edu/~wright/distance.htm
http://nssdc.gsfc.nasa.gov/planetary/factsheet/venusfact.html
http://lasp.colorado.edu/education/outerplanets/giantplanets.php
http://lasp.colorado.edu/~bagenal/1010/SESSIONS/12.PlanetGe
ology.html
http://csep10.phys.utk.edu/astr161/lect/jovian_moons/io.html
http://solarsystem.nasa.gov/planets/profile.cfm?Object=Saturn&
Display=Rings
nasa/2002/12feb_rings/
http://saturn.jpl.nasa.gov/science/index.cfm?SciencePageID=55
http://burro.astr.cwru.edu/stu/asteroid.html
http://starchild.gsfc.nasa.gov/docs/StarChild/solar_system_level
2/asteroids.html
http://en.wikipedia.org/wiki/Asteroid_belt

http://csep10.phys.utk.edu/astr161/lect/jupiter/redspot.html
http://apod.nasa.gov/apod/ap110502.html
ergasplanets/jupiter/atmosphere/atmosphere.htm
ergasplanets/jupiter/atmosphere/atmosphere.htm
http://www.astro.ucla.edu/~wright/distance.htm
8
The cosmic distance scale: http://heasarc.nasa.gov/docs/cosmic/
Galaxies
Intro: http://science.nasa.gov/astrophysics/focus-areas/what-are-
galaxies/
Types:
http://www.damtp.cam.ac.uk/research/gr/public/gal_home.html
Images: http://www.noao.edu/image_gallery/galaxies.html
Hertzsprung-Russell diagram
Intro: http://zebu.uoregon.edu/~soper/Stars/hrdiagram.html
http://casswww.ucsd.edu/archive/public/tutorial/HR.html

Life of a star
Basics: http://map.gsfc.nasa.gov/universe/rel_stars.html
Stella evolution intro:
http://science.nasa.gov/astrophysics/focus-areas/how-do-stars-
form-
and-evolve/
News and images:
http://hubblesite.org/search/?query=star+life&x=0&y=0
The big bang
Brief intro:
http://www.exploratorium.edu/origins/cern/ideas/bang.html
Intro: http://www.umich.edu/~gs265/bigbang.htm
Basics: http://cmb.physics.wisc.edu/tutorial/bigbang.html
Hubble red shift
Brief intro:
http://www.exploratorium.edu/hubble/tools/doppler.html

Basics to calculation details:
ftp://io.cc.gettysburg.edu/pub/clea_products/manuals/Hubbl_sm.
pdf
http://heasarc.nasa.gov/docs/cosmic/
http://science.nasa.gov/astrophysics/focus-areas/what-are-
galaxies/
http://www.damtp.cam.ac.uk/research/gr/public/gal_home.html
http://www.noao.edu/image_gallery/galaxies.html
http://zebu.uoregon.edu/~soper/Stars/hrdiagram.html
http://casswww.ucsd.edu/archive/public/tutorial/HR.html
http://map.gsfc.nasa.gov/universe/rel_stars.html
form-and-evolve/
form-and-evolve/
http://hubblesite.org/search/?query=star+life&x=0&y=0
http://www.exploratorium.edu/origins/cern/ideas/bang.html
http://www.umich.edu/~gs265/bigbang.htm
http://cmb.physics.wisc.edu/tutorial/bigbang.html
http://www.exploratorium.edu/hubble/tools/doppler.html
ftp://io.cc.gettysburg.edu/pub/clea_products/manuals/Hubbl_sm.
pdf
1

Why
Have
There
Been
No
Great
Women
Artists?
By
Linda
Nochlin

(Extract
from
Women,
Art
and
Power
and
Other
Essays,
Westview
Press,
1988
by
Linda
Nochlin,
pp.147-‐158)
"Why
have
there
been
no
great
women
artists?"
The

question
tolls
reproachfully
in
the
background
of
most
discussions
of
the
so-‐called
woman
problem.
But
like
so
many
other
so-‐called
questions
involved
in
the
feminist
"controversy,"
it
falsifies
the
nature
of
the
issue
at

the
same
time
that
it
insidiously
supplies
its
own
answer:
"There
are
no
great
women
artists
because
women
are
incapable
of
greatness."
The

assumptions
behind
such
a
question
are
varied
in
range
and
sophistication,
running
anywhere
from
"scientifically
proven"
demonstrations
of
the
inability
of
human
beings
with
wombs
rather
than
penises
to
create
anything
significant,
to
relatively

open
minded
wonderment
that
women,
despite
so
many
years
of
near
equality
and
after
all,
a
lot
of
men
have
had
their
disadvantages
too
have
still
not
achieved
anything
of
exceptional
significance
in
the

visual
arts.
The
feminist's
first
reaction
is
to
swallow
the
bait,
hook,
line
and
sinker,
and
to
attempt
to
answer
the
question
as
it

is
put:
that
is,
to
dig
up
examples
of
worthy
or
insufficiently
appreciated
women
artists
throughout
history;
to
rehabilitate
rather
modest,
if
interesting
and
productive
careers;
to
"rediscover"
forgotten
flower
painters
or
David
followers

and
make
out
a
case
for
them;
to
demonstrate
that
Berthe
Morisot
was
really
less
dependent
upon
Manet
than
one
had
been
led
to
think-‐in
other
words,
to
engage
in
the
normal
activity
of

the
specialist
scholar
who
makes
a
case
for
the
importance
of
his
very
own
neglected
or
minor
master.
Such
attempts,
whether
undertaken
from
a
feminist
point
of
view,
like
the
ambitious
article
on
women

artists
which
appeared
in
the
1858
Westminster
Review,
or
more
recent
scholarly
studies
on
such
artists
as
Angelica
Kauffmann
and
Artemisia
Gentileschi,
are
certainly
worth
the
effort,
both
in
adding
to
our
knowledge
of

women's
achievement
and
of
art
history
generally.
But
they
do
nothing
to
question
the
assumptions
lying
behind
the
question
"Why
have
there
been
no
great
women
artists?"
On
the
contrary,
by
attempting
to

answer
it,
they
tacitly
reinforce
its
negative
implications.
Another
attempt
to
answer
the
question
involves
shifting
the
ground
slightly
and
asserting,
as
some
contemporary

feminists
do,
that
there
is
a
different
kind
of
"greatness"
for
women's
art
than
for
men's,
thereby
postulating
the
existence
of
a
distinctive
and
recognizable
feminine
style,
different
both
in
its
formal
and
its

expressive
qualities
and
based
on
the
special
character
of
women's
situation
and
experience.
This,
on
the
surface
of
it,
seems
reasonable
enough:
in
general,

women's
experience
and
situation
in
society,
and
hence
as
artists,
is
different
from
men's,
and
certainly
the
art
produced
by
a
group
of
consciously
united
and
purposefully
articulate
women
intent
on
bodying
forth
a

group
consciousness
of
feminine
experience
might
indeed
be
stylistically
identifiable
as
feminist,
if
not
feminine,
art.
Unfortunately,
though
this
remains
within
the
realm
of
possibility
it
has
so
far
not
occurred.
While
the

members
of
the
Danube
School,
the
followers
of
Caravaggio,
the
painters
gathered
around
Gauguin
at
Pont-‐Aven,
the
Blue
Rider,
or
the
Cubists
may
be
recognized
by
certain
clearly
defined
stylistic
or
expressive
qualities,
no

such
common
qualities
of
"femininity"
would
seem
to
link
the
styles
of
women
artists
generally,
any
more
than
such
qualities
can
be
said
to
link
women
writers,
a
case
brilliantly
argued,
against
the
most

devastating,
and
mutually
contradictory,
masculine
critical
cliches,
by
Mary
Ellmann
in
her
Thinking
about
Women.
No
subtle
essence
of
femininity
would
seem
to
link
the
work
of
Artemesia
Gentileschi,
Mine
Vigee-‐Lebrun,
Angelica
Kauffmann,
Rosa

Bonheur,
Berthe
Morlsot,
Suzanne
Valadon,
Kathe
Kollwitz,
Barbara
Hepworth,
Georgia
O'Keeffe,
Sophie
Taeuber-‐Arp,
Helen
Frankenthaler,
Bridget
Riley,
Lee
Bontecou,
or
Louise
Nevelson,
any
more
than
that
of
Sappho,
Marie
de
France,
Jane
Austen,

Emily
Bronte,
George
Sand,
George
Eliot,
Virginia
Woolf,
Gertrude
Stein,
Anais
Nin,
Emily
Dickinson,
Sylvia
Plath,
and
Susan
Sontag.
In
every
instance,
2
women
artists
and
writers
would

seem
to
be
closer
to
other
artists
and
writers
of
their
own
period
and
outlook
than
they
are
to
each
other.
Women
artists
are

more
inward-‐looking,
more
delicate
and
nuanced
in
their
treatment
of
their
medium,
it
may
be
asserted.
But
which
of
the
women
artists
cited
above
is
more
inward-‐turning
than
Redon,
more
subtle
and
nuanced
in

the
handling
of
pigment
than
Corot?
Is
Fragonard
more
or
less
feminine
than
Mme.
Vigee-‐Lebrun?
Or
is
it
not
more
a
question
of
the
whole
Rococo
style
of
eighteenth-‐century
France
being
"feminine,"
if
judged

in
terms
of
a
binary
scale
of
"masculinity"
versus
"femininity"?
Certainly,
if
daintiness,
delicacy,
and
preciousness
are
to
be
counted
as
earmarks
Of
a
feminine
style,
there
is
nothing
fragile
about
Rosa
Bonheur's
Horse

Fair,
nor
dainty
and
introverted
about
Helen
Frankenthaler's
giant
canvases.
If
women
have
turned
to
scenes
of
domestic
life,
or
of
children,
so
did
Jan
Steen,
Chardin,
and
the
Impressionists
Renoir
and
Monet
as

well
as
Morisot
and
Cassatt.
In
any
case,
the
mere
choice
of
a
certain
realm
of
subject
matter,
or
the
restriction
to
certain
subjects,
is
not
to
be
equated
with
a
style,
much
less

with
some
sort
of
quintessentially
feminine
style.
The
problem
lies
not
so
much
with
some
feminists'
concept
of
what
femininity
is,
but
rather
with

their
misconception-‐shared
with
the
public
at
large-‐of
what
art
is:
with
the
naive
idea
that
art
is
the
direct,
personal
expression
of
individual
emotional
experience,
a
translation
of
personal
life
into
visual
terms.

Art
is
almost
never
that,
great
art
never
is.
The
making
of
art
involves
a
self-‐consistent
language
of
form,
more
or
less
dependent
upon,
or
free
from,
given
temporally
defined
conventions,
schemata,
or
systems

of
notation,
which
have
to
be
learned
or
worked
out,
either
through
teaching,
apprenticeship,
or
a
long
period
of
individual
experimentation.
The
language
of
art
is,
more
materially,
embodied
in
paint
and
line
on

canvas
or
paper,
in
stone
or
clay
or
plastic
or
metal
it
is
neither
a
sob
story
nor
a
confidential
whisper.
The
fact
of

the
matter
is
that
there
have
been
no
supremely
great
women
artists,
as
far
as
we
know,
although
there
have
been
many
interesting
and
very
good
ones
who
remain
insufficiently
investigated
or
appreciated;
nor

have
there
been
any
great
Lithuanian
jazz
pianists,
nor
Eskimo
tennis
players,
no
matter
how
much
we
might
wish
there
had
been.
That
this
should
be
the
case
is
regrettable,
but
no
amount
of

manipulating
the
historical
or
critical
evidence
will
alter
the
situation;
nor
will
accusations
of
male-‐chauvinist
distortion
of
history.
There
are
no
women
equivalents
for
Michelangelo
or
Rembrandt,
Delacroix
or
Cezanne,
Picasso
or
Matisse,
or

even,
in
very
recent
times,
for
de
Kooning
or
Warhol,
any
more
than
there
are
black
American
equivalents
for
the
same.
If
there
actually
were
large
numbers
of
"hidden"
great
women
artists,
or
if

there
really,
should
be
different
standards
for
women's
art
as
opposed
to
men's-‐-‐and
one
can't
have
it
both
ways-‐-‐then
what
are
feminists
fighting
for?
If
women
have
in
fact
achieved
the
same
status
as

men
in
the
arts,
then
the
status
quo
is
fine
as
it
is.
But
in
actuality,
as
we
all
know,
things
as
they
are

and
as
they
have
been,
in
the
arts
as
in
a
hundred
other
areas,
are
stultifying,
oppressive,
and
discouraging
to
all
those,
women
among
them,
who
did
not
have
the
good
fortune
to
be

born
white,
preferably
middle
class
and,
above
all,
male.
The
fault
lies
not
in
our
stars,
our
hormones,
our
menstrual
cycles,
or
our
empty
internal
spaces,
but
in
our
institutions
and
our
education-‐education
understood

to
include
everything
that
happens
to
us
from
the
moment
we
enter
this
world
of
meaningful
symbols,
signs,
and
signals.
The
miracle
is,
in
fact,
that
given
the
overwhelming
odds
against
women,
or
blacks,

that
so
many
of
both
have
managed
to
achieve
so
much
sheer
excellence,
in
those
bailiwicks
of
white
masculine
prerogative
like
science,
politics,
or
the
arts.

It
is
when
one
really
starts
thinking
about
the
implications
of
"Why
have
there
been
no
great
women
artists?"
that
one
begins
to
realize
to
what
extent
our
consciousness
of
how
things

are
in
the
world
has
been
conditioned--‐and
often
falsified-‐by
the
way
the
most
important
questions
are
posed.
We
tend
to
take
it
for
granted
that
there
really
is
an
East
Asian
Problem,
a
Poverty

Problem,
a
Black
Problem
and
a
Woman
Problem.
But
first
we
must
ask
ourselves
who
is
formulating
these
"questions,"
and
then,
what
purposes
such
formulations
may
serve.
(We
may,
of
course,
refresh
our

3
memories
with
the
connotations
of
the
Nazis'
"Jewish
Problem.")
Indeed,
in
our
time
of
instant
communication,
"problems"
are
rapidly
formulated
to
rationalize
the
bad
conscience
of
those
with

power:
thus
the
problem
posed
by
Americans
in
Vietnam
and
Cambodia
is
referred
to
by
Americans
as
the
"East
Asian
Problem,"
whereas
East
Asians
may
view
it,
more
realistically,
as
the
"American
Problem";

the
so-‐called
Poverty
Problem
might
more
directly
be
viewed
as
the
"Wealth
Problem"
by
denizens
of
urban
ghettos
or
rural
wastelands;
the
same
irony
twists
the
White
Problem
into
its
opposite,
a
Black
Problem;

and
the
same
inverse
logic
turns
up
in
the
formulation
of
our
own
present
state
of
affairs
as
the
"Woman
Problem."
Now
the
"Woman

Problem,"
like
all
human
problems,
so-‐called
(and
the
very
idea
of
calling
anything
to
do
with
human
beings
a
"problem"
is,
of
course,
a
fairly
recent
one)
is
not
amenable
to
"solution"
at
all,

since
what
human
problems
involve
is
reinterpretation
of
the
nature
of
the
situation,
or
a
radical
alteration
of
stance
or
program
on
the
part
of
the
"problems
"
themselves.
Thus
women
and
their
situation

in
the
arts,
as
in
other
realms
of
endeavor,
are
not
a
"problem"
to
be
viewed
through
the
eyes
of
the
dominant
male
power
elite.
Instead,
women
must
conceive
of
themselves
as
potentially,
if

not
actually,
equal
subjects,
and
must
be
willing
to
look
the
facts
of
their
situation
full
in
the
face,
without
self-‐pity,
or
cop-‐outs;
at
the
same
time
they
must
view
their
situation
with
that
high

degree
of
emotional
and
intellectual
commitment
necessary
to
create
a
world
in
which
equal
achievement
will
be
not
only
made
possible
but
actively
encouraged
by
social
institutions.

It
is
certainly
not
realistic
to
hope
that
a
majority
of
men,
in
the
arts
or
in
any
other
field,
will
soon
see
the
light
and
find
that
it
is
in

their
own
self-‐interest
to
grant
complete
equality
to
women,
as
some
feminists
optimistically
assert,
or
to
maintain
that
men
themselves
will
soon
realize
that
they
are
diminished
by
denying
themselves
access
to
traditionally
"feminine"

realms
and
emotional
reactions.
After
all,
there
are
few
areas
that
are
really
"denied"
to
men,
if
the
level
of
operations
demanded
be
transcendent,
responsible,
or
rewarding
enough:
men
who
have
a
need
for

"feminine"
involvement
with
babies
or
children
gain
status
as
pediatricians
or
child
psychologists,
with
a
nurse
(female)
to
do
the
more
routine
work;
those
who
feel
the
urge
for
kitchen
creativity
may
gain
fame

as
master
chefs;
and,
of
course,
men
who
yearn
to
fulfill
themselves
through
what
are
often
termed
"feminine"
artistic
interests
can
find
themselves
as
painters
or
sculptors,
rather
than
as
volunteer
museum
aides

or
part-‐time
ceramists,
as
their
female
counterparts
so
often
end
up
doing;
as
far
as
scholarship
is
concerned,
how
many
men
would
be
willing
to
change
their
jobs
as
teachers
and
researchers
for
those

of
unpaid,
part-‐time
research
assistants
and
typists
as
well
as
full-‐time
nannies
and
domestic
workers?
Those
who
have
privileges
inevitably
hold
on
to
them,

and
hold
tight,
no
matter
how
marginal
the
advantage
involved,
until
compelled
to
bow
to
superior
power
of
one
sort
or
another.
Thus
the

question
of
women's
equality-‐-‐in
art
as
in
any
other
realm-‐-‐devolves
not
upon
the
relative
benevolence
or
ill-‐will
of
individual
men,
nor
the
self-‐confidence
or
abjectness
of
individual
women,
but
rather
on
the
very
nature

of
our
institutional
structures
themselves
and
the
view
of
reality
which
they
impose
on
the
human
beings
who
are
part
of
them.
As
John
Stuart
Mill
pointed
out
more
than
a
century
ago:
"Everything

which
is
usual
appears
natural.
The
subjection
of
women
to
men
being
a
universal
custom,
any
departure
from
it
quite
naturally
appears
unnatural."'
Most
men,
despite
lip
service
to
equality,
are
reluctant
to
give

up
this
"natural"
order
of
things
in
which
their
advantages
are
so
great;
for
women,
the
case
is
further
complicated
by
the
fact
that,
as
Mill
astutely
pointed
out,
unlike
other
oppressed
groups
or

castes,
men
demand
of
them
not
only
submission
but
unqualified
affection
as
well;
thus
women
are
often
weakened
by
the
internalized
demands
of
the
male-‐dominated
society
itself,
as
well
as
by
a
plethora
of

material
goods
and
comforts:
the
middle-‐
class
woman
has
a
great
deal
more
to
lose
than
her
chains.
The
question
"Why
have
there
been
no

great
women
artists?"
is
simply
the
top
tenth
of
an
iceberg
of
misinterpretation
and
misconception;
beneath
lies
a
vast
dark
bulk
of
shaky
idees
recues
about
the
nature
of
art
and
its
situational
concomitants,

about
the
nature
of
human
abilities
in
general
and
of
human
excellence
in
particular,
and
the
role
that
the
social
order
plays
in
all
of
this.
4
While

the
"woman
problem"
as
such
may
be
a
pseudo-‐issue,
the
misconceptions
involved
in
the
question
"Why
have
there
been
no
great
women
artists?"
points
to
major
areas
of
intellectual
obfuscation
beyond
the
specific
political

and
ideological
issues
involved
in
the
subjection
of
women.
Basic
to
the
question
are
many
naive,
distorted,
uncritical
assumptions
about
the
making
of
art
in
general,
as
well
as
the
making
of
great
art.

These
assumptions,
conscious
or
unconscious,
link
together
such
unlikely
superstars
as
Michelangelo
and
van
Gogh,
Raphael
and
Jackson
Pollock
under
the
rubric
of
"Great"-‐an
honorific
attested
to
by
the
number
of
scholarly
monographs
devoted

to
the
artist
in
question-‐and
the
Great
Artist
is,
of
course,
conceived
of
as
one
who
has
"Genius";
Genius,
in
turn,
is
thought
of
as
an
atemporal
and
mysterious
power
somehow
embedded
in
the

person
of
the
Great
Artist.'
Such
ideas
are
related
to
unquestioned,
often
unconscious,
meta-‐historical
premises
that
make
Hippolyte
Taine's
race-‐milieu-‐moment
formulation
of
the
dimensions
of
historical
thought
seem
a
model
of
sophistication.
But

these
assumptions
are
intrinsic
to
a
great
deal
of
art-‐historical
writing.
It
is
no
accident
that
the
crucial
question
of
the
conditions
generally
productive
of
great
art
has
so
rarely
been
investigated,
or
that

attempts
to
investigate
such
general
problems
have,
until
fairly
recently,
been
dismissed
as
unscholarly,
too
broad,
or
the
province
of
some
other
discipline,
like
sociology.
To
encourage
a
dispassionate,
impersonal,
sociological,
and
institutionally
oriented

approach
would
reveal
the
entire
romantic,
elitist,
individual-‐glorifying,
and
monograph-‐producing
substructure
upon
which
the
profession
of
art
history
is
based,
and
which
has
only
recently
been
called
into
question
by
a
group
of

younger
dissidents.
Underlying
the
question
about
woman
as
artist,
then,
we
find
the
myth
of
the
Great
Artist-‐subject
of
a
hundred
monographs,
unique,
godlike-‐bearing

within
his
person
since
birth
a
mysterious
essence,
rather
like
the
golden
nugget
in
Mrs.
Grass's
chicken
soup,
called
Genius
or
Talent,
which,
like
murder,
must
always
out,
no
matter
how
unlikely
or
unpromising

the
circumstances.
The
magical
aura
surrounding
the
representational
arts
and
their
creators
has,
of
course,
given
birth
to
myths
since
the
earliest
times.
Interestingly

enough,
the
same
magical
abilities
attributed
by
Pliny
to
the
Greek
sculptor
Lysippos
in
antiquity-‐-‐the
mysterious
inner
call
in
early
youth,
the
lack
of
any
teacher
but
Nature
herself-‐-‐is
repeated
as
late
as
the

nineteenth
century
by
Max
Buchon
in
his
biography
of
Courbet.
The
supernatural
powers
of
the
artist
as
imitator,
his
control
of
strong,
possibly
dangerous
powers,
have
functioned
historically
to
set
him
off
from
others

as
a
godlike
creator,
one
who
creates
Being
out
of
nothing.
The
fairy
tale
of
the
discovery
by
an
older
artist
or
discerning
patron
of
the
Boy
Wonder,
usually
in
the
guise
of
a

lowly
shepherd
boy,
has
been
a
stock-‐
in-‐trade
of
artistic
mythology
ever
since
Vasari
immortalized
the
young
Giotto,
discovered
by
the
great
Cimabue
while
the
lad
was
guarding
his
flocks,
drawing
sheep
on
a
stone;

Cimabue,
overcome
with
admiration
for
the
realism
of
the
drawing,
immediately
invited
the
humble
youth
to
be
his
pupil.
Through
some
mysterious
coincidence,
later
artists
including
Beccafumi,
Andrea
Sansovino,
Andrea
del
Castagno,
Mantegna,

Zurbardn,
and
Goya
were
all
discovered
in
similar
pastoral
circumstances.
Even
when
the
young
Great
Artist
was
not
fortunate
enough
to
come
equipped
with
a
flock
of
sheep,
his
talent
always
seems
to
have

manifested
itself
very
early,
and
independent
of
any
external
encouragement:
Filippo
Lippi
and
Poussin,
Courbet
and
Monet
are
all
reported
to
have
drawn
caricatures
in
the
margins
of
their
schoolbooks
instead
of
studying
the

required
subjects-‐we
never,
of
course,
hear
about
the
youths
who
neglected
their
studies
and
scribbled
in
the
margins
of
their
notebooks
without
ever
becoming
anything
more
elevated
than
department-‐store
clerks
or
shoe
salesmen.

The
great
Michelangelo
himself,
according
to
his
biographer
and
pupil,
Vasari,
did
more
drawing
than
studying
as
a
child.
So
pronounced
was
his
talent,
reports
Vasari,
that
when
his
master,
Ghirlandalo,
absented
himself
momentarily

from
his
work
in
Santa
Maria
Novella,
and
the
young
art
student
took
the
opportunity
to
draw
"the
scaffolding,
trestles,
pots
of
paint,
brushes
and
the
apprentices
at
their
tasks"
in
this
brief
absence,

he
did
it
so
skillfully
that
upon
his
return
the
master
exclaimed:
"This
boy
knows
more
than
I
do."
As
is
so
often
the

case,
such
stories,
which
probably
have
some
truth
in
them,
tend
both
to
reflect
and
perpetuate
the
attitudes
they
subsume.
Even
when
based
on
fact,
these
myths
about
the
early
manifestations
of
genius
are

misleading.
It
is
no
doubt
true,
for
example,
that
the
young
Picasso
passed
all
the
examinations
for
entrance
to
the
Barcelona,
and
later
to
the
Madrid,
Academy
of
Art
at

5
the
age
of
fifteen
in
but
a
single
day,
a
feat
of
such
difficulty
that
most
candidates
required
a
month
of
preparation.
But
one
would
like
to
find
out
more
about
similar

precocious
qualifiers
for
art
academies
who
then
went
on
to
achieve
nothing
but
mediocrity
or
failure-‐-‐in
whom,
of
course,
art
historians
are
uninterested-‐-‐or
to
study
in
greater
detail
the
role
played
by
Picasso's
art-‐professor

father
in
the
pictorial
precocity
of
his
son.
What
if
Picasso
had
been
born
a
girl?
Would
Senor
Ruiz
have
paid
as
much
attention
or
stimulated
as
much
ambition
for
achievement
in
a
little

Pablita?
What
is
stressed
in
all
these
stories
is
the
apparently
miraculous,
nondetermined,
and
asocial
nature
of
artistic
achievement;
this
semireligious
conception
of
the

artist's
role
is
elevated
to
hagiography
in
the
nineteenth
century,
when
art
historians,
critics,
and,
not
least,
some
of
the
artists
themselves
tended
to
elevate
the
making
of
art
into
a
substitute
religion,
the

last
bulwark
of
higher
values
in
a
materialistic
world.
The
artist,
in
the
nineteenth-‐century
Saints'
Legend,
struggles
against
the
most
determined
parental
and
social
opposition,
suffering
the
slings
and
arrows
of
social
opprobrium

like
any
Christian
martyr,
and
ultimately
succeeds
against
all
odds
generally,
alas,
after
his
death-‐because
from
deep
within
himself
radiates
that
mysterious,
holy
effulgence:
Genius.
Here
we
have
the
mad
van
Gogh,
spinning
out

sunflowers
despite
epileptic
seizures
and
near-‐starvation;
Cezanne,
braving
paternal
rejection
and
public
scorn
in
order
to
revolutionize
painting;
Gauguin
throwing
away
respectability
and
financial
security
with
a
single
existential
gesture
to
pursue
his

calling
in
the
tropics;
or
Toulouse-‐Lautrec,
dwarfed,
crippled,
and
alcoholic,
sacrificing
his
aristocratic
birthright
in
favor
of
the
squalid
surroundings
that
provided
him
with
inspiration.

Now
no
serious
contemporary
art
historian
takes
such
obvious
fairy
tales
at
their
face
value.
Yet
it
is
this
sort
of
mythology
about
artistic
achievement
and
its
concomitants
which
forms
the
unconscious
or

unquestioned
assumptions
of
scholars,
no
matter
how
many
crumbs
are
thrown
to
social
influences,
ideas
of
the
times,
economic
crises,
and
so
on.
Behind
the
most
sophisticated
investigations
of
great
artists-‐more
specifically,
the
art-‐historical

monograph,
which
accepts
the
notion
of
the
great
artist
as
primary,
and
the
social
and
institutional
structures
within
which
he
lived
and
worked
as
mere
secondary
"influences"
or
"background"-‐lurks
the
golden-‐nugget
theory
of

genius
and
the
free-‐enterprise
conception
of
individual
achievement.
On
this
basis,
women's
lack
of
major
achievement
in
art
may
be
formulated
as
a
syllogism:
If
women
had
the
golden
nugget
of
artistic
genius
then

it
would
reveal
itself.
But
it
has
never
revealed
itself.
O.E.D.
Women
do
not
have
the
golden
nugget
theory
of
artistic
genius.
If
Giotto,
the
obscure
shepherd
boy,
and
van
Gogh
with
his
fits

could
make
it,
why
not
women?
Yet
as
soon
as
one
leaves
behind
the
world
of
fairy
tale
and
self-‐fulfilling
prophecy
and,
instead,
casts

a
dispassionate
eye
on
the
actual
situations
in
which
important
art
production
has
existed,
in
the
total
range
of
its
social
and
institutional
structures
throughout
history,
one
finds
that
t
he
very
questions
which

are
fruitful
or
relevant
for
the
historian
to
ask
shape
up
rather
differently.
One
would
like
to
ask,
for
instance,
from
what
social
classes
artists
were
most
likely
to
come
at
different
periods
of

art
history,
from
what
castes
and
subgroup.
What
proportion
of
painters
and
sculptors,
or
more
specifically,
of
major
painters
and
sculptors,
came
from
families
in
which
their
fathers
or
other
close
relatives
were
painters

and
sculptors
or
engaged
in
related
professions?
As
Nikolaus
Pevsner
points
out
in
his
discussion
of
the
French
Academy
in
the
seventeenth
and
eighteenth
centuries,
the
transmission
of
the
artistic
profession
from
father
to

son
was
considered
a
matter
of
course
(as
it
was
with
the
Coypels,
the
Coustous,
the
Van
Loos,
etc.);
indeed,
sons
of
academicians
were
exempted
from
the
customary
fees
for
lessons.
Despite
the
noteworthy

and
dramatically
satisfying
cases
of
the
great
father-‐rejecting
revoltes~s
of
the
nineteenth
century,
one
might
be
forced
to
admit
that
a
large
proportion
of
artists,
great
and
not-‐so-‐great,
in
the
days
when
it
was

normal
for
sons
to
follow
in
their
fathers'
footsteps,
had
artist
fathers.
In
the
rank
of
major
artists,
the
names
of
Holbein
and
Durer,
Raphael
and
Bernim,
immediately
spring
to
mind;
even
in
our

own
times,
one
can
cite
the
names
of
Picasso,
Calder,
Giacometti,
and
Wyeth
as
members
of
artist-‐families.
As
far
as
the
relationship
of
artistic

occupation
and
social
class
is
concerned,
an
interesting
paradigm
for
the
question
"Why
have
there
been
no
great
women
artists?"
might
well
be
provided
by
trying
to
answer
the
question
"Why
have
there
been

no
great
artists
from
the
aristocracy?"
One
can
6
scarcely
think,
before
the
anti
traditional
nineteenth
century
at
least,
of
any
artist
who
sprang
from
the
ranks
of

any
more
elevated
class
than
the
upper
bourgeoisie;
even
in
the
nineteenth
century,
Degas
came
from
the
lower
nobility
more
like
the
haute
bourgeoisie,
in
fact-‐and
only
Toulouse-‐
Lautrec,
metamorphosed
into
the
ranks
of
the

marginal
by
accidental
deformity,
could
be
said
to
have
come
from
the
loftier
reaches
of
the
upper
classes.
While
the
aristocracy
has
always
provided
the
lion's
share
of
the
patronage
and
the
audience
for

art-‐as,
indeed,
the
aristocracy
of
wealth
does
even
in
our
more
democratic
days-‐it
has
contributed
little
beyond
amateurish
efforts
to
the
creation
of
art
itself,
despite
the
fact
that
aristocrats
(like
many
women)
have

had
more
than
their
share
of
educational
advantages,
plenty
of
leisure
and,
indeed,
like
women,
were
often
encouraged
to
dabble
in
the
arts
and
even
develop
into
respectable
amateurs,
like
Napoleon
III's
cousin,
the

Princess
Mathilde,
who
exhibited
at
the
official
Salons,
or
Queen
Victoria,
who,
with
Prince
Albert,
studied
art
with
no
less
a
figure
than
Landseer
himself.
Could
it
be
that
the
little
golden
nugget-‐genius-‐is
missing

from
the
aristocratic
makeup
in
the
same
way
that
it
is
from
the
feminine
psyche?
Or
rather,
is
it
not
that
the
kinds
of
demands
and
expectations
placed
before
both
aristocrats
and
women-‐the
amount

of
time
necessarily
devoted
to
social
functions,
the
very
kinds
of
activities
demanded-‐simply
made
total
devotion
to
professional
art
production
out
of
the
question,
indeed
unthinkable,
both
for
upper-‐class
males
and
for
women

generally,
rather
than
its
being
a
question
of
genius
and
talent?
When
the
right
questions
are
asked
about
the
conditions
for
producing
art,
of
which

the
production
of
great
art
is
a
subtopic,
there
will
no
doubt
have
to
be
some
discussion
of
the
situational
concomitants
of
intelligence
and
talent
generally,
not
merely
of
artistic
genius.
Piaget
and

others
have
stressed
in
their
genetic
epistemology
that
in
the
development
of
reason
and
in
the
unfolding
of
imagination
in
young
children,
intelligence
or,
by
implication,
what
we
choose
to
call
genius-‐is
a

dynamic
activity
rather
than
a
static
essence,
and
an
activity
of
a
subject
in
a
situation.
As
further
investigations
in
the
field
of
child
development
imply,
these
abilities,
or
this
intelligence,
are
built
up

minutely,
step
by
step,
from
infancy
onward,
and
the
patterns
of
adaptation-‐accommodation
may
be
established
so
early
within
the
subject-‐in-‐an-‐environment
that
they
may
indeed
appear
to
be
innate
to
the
unsophisticated
observer.
Such
investigations

imply
that,
even
aside
from
meta-‐historical
reasons,
scholars
will
have
to
abandon
the
notion,
consciously
articulated
or
not,
of
individual
genius
as
innate,
and
as
primary
to
the
creation
of
art.'

The
question
"Why
have
there
been
no
great
women
artists?"
has
led
us
to
the
conclusion,
so
far,
that
art
is
not
a
free,
autonomous
activity
of

a
super-‐endowed
individual,
"Influenced"
by
previous
artists,
and,
more
vaguely
and
superficially,
by
"social
forces,"
but
rather,
that
the
total
situation
of
art
making,
both
in
terms
of
the
development
of
the
art
maker

and
in
the
nature
and
quality
of
the
work
of
art
itself,
occur
in
a
social
situation,
are
integral
elements
of
this
social
structure,
and
are
mediated
and
determined
by
specific
and
definable
social

institutions,
be
they
art
academies,
systems
of
patronage,
mythologies
of
the
divine
creator,
artist
as
he-‐man
or
social
outcast.
Writing Assignment 1
EAPS 10000 Y01 Planet Earth
Online Course
Fall 2015

August 23, 2015
August 23, 2015 – Writing Assignment 1: As discussed in the
Syllabus, there are 3 writing
assignments during the course. WA 1 should include topics
covered in Chapters I to 5 of the
textbook. See the Due Dates file (in the Course Content area of
BB Learn) for due dates of
all assignments. Be sure to read all the instructions below.
Please pay particular
attention to the plagiarism discussion (section 3, below)! In
addition to
avoiding plagiarism, you must understand and use correct
citation and
referencing in your paper (see more information and links to
other citation
and referencing resources below). Also, be sure to read the
information on
grading of the WAs that is included in the syllabus (page 6).
The writing assignments are short papers (short, informative
research papers on a

geosciences topic) designed to allow you to explore (in greater
depth) a topic of interest to
you that we have covered in about 5 chapters in the textbook.
1. Instructions (please read carefully): Write a 1½ to 2 page
paper on a geosciences topic
of interest to you that is related to the material that we have
covered in the textbook during
approximately the last 5 weeks. Some suggested topics are
listed below, but you are free to
choose other relevant topics for your paper. Your paper must
use 12 point, Times Roman
font (or equivalent), be single spaced and utilize one inch
margins (sides, bottom and
top). With these formatting choices, the 1½ to 2 page paper
(main body of paper, text only,
not including references) should have 750 to 1000 words (750
words is the required
minimum).
In addition, provide a references section at the bottom of your
paper (or on a separate page)
listing your book, journal or internet (complete URL)
references, and use citations in your

text to note quotations or specific information that you used
from your references. In order
for a source to be included in your reference list, it needs to be
cited in the text of your
paper. Also, be sure to use metric units (used almost
universally in science) in your paper.
You can also add (optional) copies of a small number of figures,
photos or tables to support
or illustrate the topics or concepts that you describe in your
text. Figures, photos and tables
must include a caption and a citation showing the source.
2
It is not necessary to have a large number of references – two or
three, or so, good
references are all that is necessary. You can use the textbook as
a reference, but it
cannot be the only reference that you use.
The easiest (and recommended) way to handle references and
citations is illustrated by the
examples below (the author's name(s); if more than 3, put first
author's name "and others";

followed by the date of publication. If publication is a book,
also include the page number(s)
in the citation, such as “(Lutgens, Tarbuck and Tasa, 2014, p.
107)”):
Examples of citations (needed for referring to specific
information, or quotes, that you
obtained from your references) in your text:
Earthquakes which occur in stable continental crust are
commonly associated with ancient
rift zones (Johnston and Kanter, 1990). (Note: if the above
sentence is a direct quote, it
needs to be placed in quotation marks.)
.....
Johnston and Kanter (1990) show that although intraplate
earthquakes occur less
frequently than earthquakes at plate margins, their potential size
and efficient wave
propagation in stable continental crust results in significant
seismic risk. (Note: if the
above sentence is a direct quote, it needs to be placed in
quotation marks.)
.....
For an Internet source, the citation should be similar to the

following; and the reference
section should be similar to the examples shown below. (Note
that this is the full URL for
this specific source – not a reference to an extensive website,
such as www.epa.gov. If you
are making multiple citations from a site such as www.epa.gov,
you must cite multiple
URLs unique to each citation. For example, you could have a
citation for acid rain such as
(What is acid rain, epa.gov, 2015) with the related reference and
full URL shown in the
reference list below.)
A summary of recent earthquake activity and possible causes of
earthquakes on the
Midwest is provided by Braile (2011).
.....
Example of reference format for separate reference section (all
sources cited in your text
must be listed in the reference list [if it is an Internet source,
the complete URL in
parentheses can serve as the citation and the reference], and all
entries in your reference

list need to be cited in your text):
Braile, L., 2011, Midwest Earthquakes,
http://web.ics.purdue.edu/~braile/news/midwest.htm.
Johnston, A.C., and L.R. Kanter, Earthquakes in stable
continental crust, Scientific
American, 262, 68-75, 1990.
What is acid rain, epa.gov, retrieved May 5, 2015,
http://www.epa.gov/acidrain/what/index.html.
http://www.epa.gov/
http://www.epa.gov/
http://web.ics.purdue.edu/~braile/news/midwest.htm
http://www.epa.gov/acidrain/what/index.html
3
Good references can be found in the Purdue libraries (the Earth,
Atmospheric, and Planetary
Sciences library is on the second floor of Hampton Hall/Civil
Engineering building), local
public libraries and on the Internet. For Internet sources, try to
find reliable sites such as
from government agencies (US Geological Survey, NOAA,
NASA, EPA, DOE, etc.), and

websites (search on a topic, but be selective in which website
you use) developed by
scientists or professional scientific societies. A wealth of
geosciences educational materials
can also be found at the following websites: www.geology.com
(some advertising is included
on this website), http://serc.carleton.edu/index.html,
http://serc.carleton.edu/NAGTWorkshops/index.html. A list of
useful references (books,
journal articles, periodicals) on many geosciences topics can
also be found at:
http://web.ics.purdue.edu/~braile/eas100/reflist.htm.
2. Review of geoscience video option: For at most one of the
three writing assignments this
semester, you can choose to do a review of a video (or two or
three videos if they are short);
an education video – from Discovery, History, Science,
National Geographic channels, etc.
(some geosciences video series: How the Earth was Made,
Planet Earth, The Universe, Blue
Planet, The Planets, etc.), or a movie that covers a geoscience
topic – Dante’s Peak,

Volcano, Earthquake, San Andreas, Twister, It Could Happen
Tomorrow (series, Weather
Channel), Secrets of Earth (series, Weather Channel), The
Core, etc.), on a geosciences
topic. Many videos (and animations and visualizations – see
Carleton sites above) on
geosciences topics that can be found on the Internet.
You can also search on ‘geology documentary’, ‘geophysics
documentary’, ‘ocean
documentary’, ‘atmosphere documentary’, or ‘astronomy
documentary’ on
www.youtube.com and you will find many full-length and
shorter geosciences videos.
If you choose to do a review of a geosciences video, provide a
description of the video, the
topic and the source. Be sure to check the scientific accuracy
(and use and cite a reference
that you checked) and comment on the accuracy and
effectiveness of the video. Also, if the
movie or video portrays inaccurate or exaggerated science
occurrences, provide some
description of the “real geosciences” that the video contains
(this could also require

consulting and citing additional sources). In other words,
provide some accurate background
information (and add citations and references to those sources
to your paper) of the science
that is related to the video. All other requirements of the
writing assignment are the same as
described above and below.
3. Information about plagiarism: IMPORTANT! – Do not be
tempted to use a
paper obtained from the Internet or some other source or to
copy sentences or paragraphs
(without citations and references) from the Internet or other
reference! A simple Internet
search can distinguish papers that are copied. When plagiarism
is suspected, we also
use an online tool that can detect plagiarism in submitted
papers.
Plagiarism is just wrong (because a writer who plagiarizes is
taking credit for someone
else’s work), and is educationally negative (because there is
usually very little learning if
material is just copied and pasted into your paper).

Plagiarism is copying or direct paraphrasing a sentence (or a
significant part of a
sentence) or more without citing the original source and placing
the copied material in
http://www.geology.com/
http://serc.carleton.edu/index.html
http://serc.carleton.edu/NAGTWorkshops/index.html
http://web.ics.purdue.edu/~braile/eas100/reflist.htm
http://www.youtube.com/
4
quotes. (“Paraphrasing should not include the replication of
vivid phasing, chains of syntax
or sequences of ideas. Where those things are involved, direct
quotation marks should be
employed.” Thomas Mallon, author of Stolen Words, 1989, as
quoted in USA Today,
January 17, 2002.) Please note (in accordance with the previous
statement) that copying
a sentence or more from the Internet (or other source) and then
changing a word or
two, or leaving out a phrase, in that sentence is still “direct
paraphrasing” and is
considered plagiarism! You need to research your topic and

then write your report in
your own words.
Direct quotation (copying) is permissible but must be placed in
quotes in your text and
be cited (citations). Specific information that you obtain from a
reference must be
cited. You may copy a small number of specific sentences
(must be in quotes), and
Figures and Tables from an Internet, book or journal source to
include in your paper to
support your own writing and objective. However, the copied
material (quotes, figures,
photos, tables) must be cited (in the text, in the Figure caption,
or Table information)
and the source (Internet URL, book, periodical) must appear in
your reference list.
Direct quotes should not be a major part of your paper.
To avoid plagiarism or filling your paper with direct quotes, a
good method is to prepare
notes and outlines from your reference material, then use only
your notes and outlines (along
with citation and reference information) to write your paper

with your own organization and
in your own words. Also, see additional resources below.
Sources cited in your paper must be included in your reference
list. Also, in order for a
source to be included in your reference list, it needs to be cited
in the text of your paper.
Be sure that you understand the difference between references
and citations.
4. Grading: Each writing assignment is worth 40 points toward
the semester point total.
Grading of the paper will be on the following criteria: following
directions and format,
appropriate references and sources, organization of paper, clear
and concise writing, and
scientific content (explanations, scientific accuracy).
5. Submitting your paper: The writing assignments must be
typed and can be submitted
electronically through the Blackboard Learn pages. To submit
your assignment (WA) on
Blackboard, open the Writing Assignment folder, then click on
the assignment name (such

as WA 1) next to the icon; a new window will open (such as
Upload Assignment: WA 1);
under item 2. (Assignment Materials, Submissions), you can
attach the file (.doc or .pdf
format) of your completed assignment by browsing to your
computer. Please be sure your
file has a name such as WA1.YourName.doc.
For Hw and WA assignments, you can submit more than once if
you make updates – for
example, if you submit an incorrect file the first time, or if you
have forgotten to add your
references sections, you can submit a second (or more) time.
For more information, see Directions for Submission on the
EAPS 10000 Y01 Course
Content page on Blackboard for instructions for submitting
homework and writing
assignments. Additional information on the assignments is also
included in the Syllabus.
5

6. Additional resources:
Hacker, Diana, and Nancy Sommers, Rules for Writers, 7
th
edition, Bedford/St. Martin’s, 672
pages, 2011.
Modern Language Association, MLA Handbook for Writers of
Research Papers, 7
th
edition,
Modern Language Association of America, 292, pages, 2009.
Scholastic Books, The Arrow Writer’s Handbook, Scholastic
Book Club, 32 pages, 2000. (A
very short but useful guide to writing.)
Here are some resources for writing a research paper from the
Purdue OWL.
http://owl.english.purdue.edu/owl/ – Purdue Online Writing
Lab (OWL) home page
http://owl.english.purdue.edu/owl/resource/658/01/ – Writing a

research paper
https://owl.english.purdue.edu/owl/resource/589/02/ – Is it
Plagiarism Yet?
http://owl.english.purdue.edu/owl/resource/953/01/ – Writing
reports, proposals, technical
papers
http://owl.english.purdue.edu/owl/resource/560/03/ – In-text
citations
http://owl.english.purdue.edu/owl/resource/560/05/ –
References list basic rules
http://owl.english.purdue.edu/owl/resource/589/1/ – Avoiding
Plagiarism
http://owl.english.purdue.edu/media/pdf/20090212013008_560.
pdf – APA Sample paper
(with annotations)
7. Suggested topics for Writing Assignment 1:

The scientific method Earth’s spheres
Minerals Rocks
Uses of minerals Mineral identification
The rock cycle Metamorphism
Volcanic rocks Sedimentary rocks
Intrusive (plutonic) rocks The water cycle
The Mississippi delta Flooding
Groundwater resources Groundwater contamination
Effects of mining Glaciers
Causes of ice ages Future water resources
Alfred Wegener Continental drift
Evidence for plate tectonics What drives the plates?
Paleomagnetism
http://owl.english.purdue.edu/owl/
http://owl.english.purdue.edu/owl/resource/658/01/
https://owl.english.purdue.edu/owl/resource/589/02/
http://owl.english.purdue.edu/media/pdf/20090212013008_560.
pdf

6
Suggested topics and Example References (links) for WA 1
The scientific method
General overview of the scientific method:
http://teacher.nsrl.rochester.edu:8080/phy_labs/AppendixE/App
endixE.html
A GSA article detailing the scientific method with added
emphasis on application to the earth
sciences: http://www.geosociety.org/educate/NatureScience.pdf
Minerals
Mineralogy database with general and detailed info:
http://webmineral.com/
General overview of minerals:
astr.gsu.edu/hbase/geophys/mineral.html

Detailed “notes” for mineralogy course at the University of
Colorado:
http://ruby.colorado.edu/~smyth/G30101.html
Uses of minerals
A comprehensive guide to mineral resources and related topics:
http://minerals.usgs.gov/
Common minerals and their uses:
http://www.mii.org/commonminerals.html
40 common minerals and their uses:
http://www.nma.org/publications/common_minerals.asp
The rock cycle
Geologic Society of London presents the rock cycle and all its
components in detail:
http://www.geolsoc.org.uk/rockcycle
A brief overview of the rock cycle and its components:
http://www.geology.wisc.edu/courses/g112/rock_cycle.html
Volcanic rocks

USGS overview of igneous rocks (NOTE: igneous rocks include
volcanic and plutonic
rocks):
http://vulcan.wr.usgs.gov/LivingWith/VolcanicPast/Notes/igneo
us_rocks.html
A brief overview of igneous rocks:
http://www.tulane.edu/~sanelson/geol111/igneous.htm
Lava flows and pyroclastic materials discussions:
http://facweb.bhc.edu/academics/science/harwoodr/GEOL101/L
abs/VolcanicMaterials/
http://teacher.nsrl.rochester.edu:8080/phy_labs/AppendixE/App
endixE.html
http://www.geosociety.org/educate/NatureScience.pdf
http://webmineral.com/
astr.gsu.edu/hbase/geophys/mineral.html
http://ruby.colorado.edu/~smyth/G30101.html
http://minerals.usgs.gov/
http://www.mii.org/commonminerals.html
http://www.nma.org/publications/common_minerals.asp
http://www.geolsoc.org.uk/rockcycle
http://www.geology.wisc.edu/courses/g112/rock_cycle.html
us_rocks.html

http://facweb.bhc.edu/academics/science/harwoodr/GEOL101/L
abs/VolcanicMaterials/
7
Volcanic and extrusive rocks as a part of the rock cycle:
http://www.geolsoc.org.uk/page3597.html
Intrusive (plutonic) rocks
USGS overview of igneous rocks (NOTE: igneous rocks include
volcanic and plutonic
rocks):
us_rocks.html
A brief overview of igneous rocks:
Intro to structures and textures of igneous rocks:
http://www.tulane.edu/~sanelson/geol212/intro&textures.htm
The Mississippi delta

General stats of the river:
http://www.nps.gov/miss/riverfacts.htm
Evolution of the Mississippi delta:
http://www.ce.berkeley.edu/projects/neworleans/report/Draft/C
H_3.pdf
Links to additional Mississippi River info:
http://www.tulane.edu/~mrbc/MRBClinks.htm
Groundwater resources
US groundwater resource info including studies,
availability/sources, and uses:
http://water.usgs.gov/ogw/gwrp/
US groundwater basics, data and info, selected topics,
publications, etc:
http://water.usgs.gov/ogw/
Effects of mining
Environmental impacts of mining with three additional
references at page bottom:

http://ecorestoration.montana.edu/mineland/guide/problem/impa
cts/default.htm
An essay on the effects of mining in the Scranton, PA region:
http://www.wilkes.edu/pages/2299.asp
Causes of ice ages
A general discussion of ice age triggers:
http://www.pbs.org/wgbh/nova/earth/cause-ice-age.html
Lawrence Berkeley National Lab presents a brief intro to ice
age theories:
http://muller.lbl.gov/pages/iceagebook/IceAgeTheories.html
Earth’s spheres
http://www.geolsoc.org.uk/page3597.html
us_rocks.html
http://www.tulane.edu/~sanelson/geol212/intro&textures.htm
http://www.nps.gov/miss/riverfacts.htm
http://www.ce.berkeley.edu/projects/neworleans/report/Draft/C
H_3.pdf
http://www.tulane.edu/~mrbc/MRBClinks.htm
http://water.usgs.gov/ogw/gwrp/
http://water.usgs.gov/ogw/

http://ecorestoration.montana.edu/mineland/guide/problem/impa
cts/default.htm
http://www.wilkes.edu/pages/2299.asp
http://www.pbs.org/wgbh/nova/earth/cause-ice-age.html
http://muller.lbl.gov/pages/iceagebook/IceAgeTheories.html
8
Basic info, outside resources, related topics, and images:
http://earth.rice.edu/earthupdate/
Interactions in Earth’s Systems:
http://www.ucmp.berkeley.edu/education/dynamic/session4/sess
4_interactions.htm
Rocks
Rocks
basics:http://www.nature.nps.gov/Geology/usgsnps/rxmin/rock.
html
Additional info on rocks including properties, characteristics,
and case studies:
http://www.fi.edu/qa97/spotlight1/spotlight1.html
Mineral identification

Basics of mineral identification:
http://esa21.kennesaw.edu/activities/mineralid/mineralid.pdf
Additional general information on mineral identification:
http://faculty.chemeketa.edu/afrank1/rocks/minerals/minerals.ht
m
Metamorphism
Intro to metamorphism and metamorphic rocks:
http://www.tulane.edu/~sanelson/geol111/metamorphic.htm
Metamorphic rock classification:
http://geology.csupomona.edu/drjessey/class/gsc101/meta.html
Sedimentary rocks
Brief intro to sedimentary rocks:
http://geomaps.wr.usgs.gov/parks/rxmin/rock2.html
Characteristics of sedimentary rocks:
http://www.physicalgeography.net/fundamentals/10f.html

Classification of sedimentary rocks: http://www-
odp.tamu.edu/curation/gcr/geol106lab/classifications.htm
The water cycle
General info on the water cycle:
http://ga.water.usgs.gov/edu/watercycle.html
Global water distribution and brief discussion:
http://earthobservatory.nasa.gov/Features/Water/
Video presentation by NOAA discussing the water cycle:
http://earth.rice.edu/earthupdate/
http://www.ucmp.berkeley.edu/education/dynamic/session4/sess
4_interactions.htm
http://www.nature.nps.gov/Geology/usgsnps/rxmin/rock.html
http://www.fi.edu/qa97/spotlight1/spotlight1.html
http://esa21.kennesaw.edu/activities/mineralid/mineralid.pdf
http://faculty.chemeketa.edu/afrank1/rocks/minerals/minerals.ht
m
http://www.tulane.edu/~sanelson/geol111/metamorphic.htm
http://geology.csupomona.edu/drjessey/class/gsc101/meta.html
http://geomaps.wr.usgs.gov/parks/rxmin/rock2.html
http://www.physicalgeography.net/fundamentals/10f.html
http://www-

http://www-
http://ga.water.usgs.gov/edu/watercycle.html
http://earthobservatory.nasa.gov/Features/Water/
9
http://www.montereyinstitute.org/noaa/lesson07.html
Flooding
Diverse resource database on flooding issues and topics:
http://www.floodsafety.noaa.gov/
Geology and geography of floods:
http://andrewsforest.oregonstate.edu/pubs/pdf/pub2812.pdf
Groundwater contamination
Summary of topic with specific examples of sources and types
of contamination:
http://oceanworld.tamu.edu/resources/environment-
book/groundwatercontamination.html
Basics of groundwater:

http://techalive.mtu.edu/meec/module04/title.htm
Glaciers
General info on glaciers including formation, components,
effects, etc:
http://nsidc.org/cryosphere/glaciers/index.html
The Forest Service presents an overview of glaciers:
http://www.fs.fed.us/r10/tongass/forest_facts/resources/geology
/icefields.htm
Future water resources
Case study of issues surrounding future water resources for
Maryland:
http://www.mde.state.md.us/programs/ResearchCenter/Reportsa
ndPublications/Pages/Resear
chCenter/publications/general/emde/vol3no7/wolfman_report.as
px
A paper discussing the many issues of water resources in the
US:
http://ag.arizona.edu/azwater/files/Water.People.and.the.Future.
pdf

Case study for Connecticut:
http://www.ct.gov/dep/lib/dep/air/climatechange/adaptation/090
313_water_resources.pdf
Alfred Wegener
Brief bio and description of Wegener’s contributions to science:
http://www.ucmp.berkeley.edu/history/wegener.html
http://www.pbs.org/wgbh/aso/databank/entries/bowege.html
http://pubs.usgs.gov/gip/dynamic/wegener.html
Evidence for plate tectonics
http://www.montereyinstitute.org/noaa/lesson07.html
http://www.floodsafety.noaa.gov/
http://andrewsforest.oregonstate.edu/pubs/pdf/pub2812.pdf
http://oceanworld.tamu.edu/resources/environment-
book/groundwatercontamination.html
http://techalive.mtu.edu/meec/module04/title.htm
http://nsidc.org/cryosphere/glaciers/index.html
http://www.fs.fed.us/r10/tongass/forest_facts/resources/geology
/icefields.htm

ndPublications/Pages/ResearchCenter/publications/general/emde
/vol3no7/wolfman_report.aspx
ndPublications/Pages/ResearchCenter/publications/general/emde
/vol3no7/wolfman_report.aspx
http://ag.arizona.edu/azwater/files/Water.People.and.the.Future.
pdf
http://www.ct.gov/dep/lib/dep/air/climatechange/adaptation/090
313_water_resources.pdf
http://www.ucmp.berkeley.edu/history/wegener.html
http://www.pbs.org/wgbh/aso/databank/entries/bowege.html
http://pubs.usgs.gov/gip/dynamic/wegener.html
10
Brief history of the development of plate tectonic theory:
http://pubs.usgs.gov/gip/dynamic/historical.html
More detailed history of plate tectonic theory:
http://www.csa.com/discoveryguides/drift/review.pdf
Paleomagnetism
Basics of paleomagnetism:
http://geology.cr.usgs.gov/capabilities/paleom.html
List of links to all things geo- and paleo-magnetism:

http://www.agu.org/sections/geomag/background.html
Continental drift
Development of the theory in brief:
http://www.oregon.gov/dsl/ssnerr/docs/efs/efs25contdrift.pdf?ga
=t
http://www.platetectonics.com/article.asp?a=18
What drives the plates?
Driving mechanisms of plate tectonics:
http://www.umich.edu/~gs265/tecpaper.htm
Brief intro:
http://www.geology.um.maine.edu/ges416/Lecture3/Lecture.htm
l
References:
Mallon, Thomas, Stolen Words – The Classic Book on
Plagiarism, Penguin Books, 312
pages, 1991.

http://pubs.usgs.gov/gip/dynamic/historical.html
http://www.csa.com/discoveryguides/drift/review.pdf
http://geology.cr.usgs.gov/capabilities/paleom.html
http://www.agu.org/sections/geomag/background.html
http://www.oregon.gov/dsl/ssnerr/docs/efs/efs25contdrift.pdf?ga
=t
http://www.platetectonics.com/article.asp?a=18
http://www.umich.edu/~gs265/tecpaper.htm
http://www.geology.um.maine.edu/ges416/Lecture3/Lecture.htm
l

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