Gender Discrimination in Womens Sports - 682 Words

Gender discrimination in sports has been an issue since competition began long ago. Back then, people believed only men should play sports, women might hurt themselves, women should wear respectable clothes, and women should stay home and take care of the children (â€Å"Women†). However, this inequity became outdated in the 1970s when Title IX was passed. â€Å"No person in the United States shall, on the basis of sex, be excluded from participation in, be denied the benefits of, or be subjected to discrimination under any educational program or activity receiving Federal financial assistance† (â€Å"A†). Still, more needs to be done for equality in men and women’s sports. Any sports fan will admit that he or she watches more men’s sports than women’s. When asked why, one may answer that men are stronger, faster, and more athletic or the game is more entertaining when men are participating instead of women. Also, men are more interested in sports than women. Therefore, a man is more likely to watch men perform than women. A man’s body is stronger than a woman’s body because of testosterone. According to Dr. Mark Tarnopolsky, Testosterone enables men to develop larger skeletal muscles as well as larger hearts. Men also have a larger proportion of Type 2 muscle fibers, which generate power, strength and speed. Testosterone also increases the production of red blood cells, which absorb oxygen, giving men an even greater aerobic advantage (qtd. in Lee). Obviously, men have the bodyShow MoreRelatedA Brief Note On Gender And Discrimination Sports Soccer 1580 Words   |  7 PagesRute Tilahun Professor Selina Hammond English 101- Composition 12, November 2015 Gender and Discrimination in Sports: Soccer How many fans do you see supporting women’s Soccer teams? Why are women receiving less acknowledgements for their success towards sports than men? 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A Comparison of Community in Hurstons Their Eyes Were...

Importance of Community in Their Eyes Were Watching God and Sula Community is an important concern in both black and womens literature. The racist and patriarchal nature of American society, what Morrison refers to as the master narrative of our culture, places blacks and women and especially black women in a position of powerlessness and vulnerability. Communities serve as a protective buffer within which black women must function in order to survive. However both Hurston and Morrison identify and criticize how the patriarchal nature of the master narrative is present in black communities. The male-female hierarchy in the black community mirrors not only the patriarchy of the dominant white culture, but also the white-black†¦show more content†¦As setting, the community is a place of origin. It is the starting point by which the horizon is defined as well as the location and steward of the past, providing the context for the future. Community is a cultural and social structure which provides the economic freedom for Janie and Sula to go out into the world. Janie is left with her husbands wealth, which allows her to go to the horizon while maintaining her house in Eatonville. Sulas inheritance of Evas house leaves her with a place to call home no matter how far she travels or what she does. Through these social structures, the community creates, illustrates and embodies the values and expectations which shape the circumstances of the novels. Part of the contextual role of community is the enforcement of models of conformity. There are roles for black women and transgressing these roles can result in isolation. These community expectations represent a threat to the empowerment of black women. Sula powerfully identifies the negative impact of conformity on black women in her final conversation with Nel: I know what every colored woman in this country is doing. Whats that? Dying. Just like me. But the difference is they dying like a stump. Me, Im going down like one of those redwoods. I sure did live in this world (143). Morrison shows the

The Difference Between Sissy And Bitzer Essay Example For Students

The Difference Between Sissy And Bitzer Essay Give me your definition of a horse, (Pg 3) says the eminently practical Mr. Thomas Gradgrind of Charles Dickens unforgettable novel, Hard Times. Can anybody really define a horse? Cecilia Jupe, also known as Sissy, was unable to answer this question because she was, well, normal. Bitzer, the boy brought up in Coketown, the city of facts, answered, Quadruped. Graminivorous. Forty teeth, namely, twenty-four grinders, four eye-teeth, and twelve incisive (Pg. 4). Clearly the contrast between Sissy and Bitzer can be seen. The differences between Bitzer and Sissy are shown not only in their definitions of a horse, but also in their physical appearance, personality, background, and the different philosophies that they each represent: fact and fancy. From the very beginning, Dickens had made it clear to the reader that Sissy represents fancy and Bitzer represents facts. He uses the two characters in many ways to portray the differences between fact and fancy. One way of doing this is describing Sissy and Bitzers physical appearance. Dickens has a tendency to make his characters physical appearance reflect their personalities. This is true for both Sissy and Bitzer. Sissy is described as vibrant and full of dark, rich colors. She glows with passion and kindness. Bitzer, on the other hand, is described as a very pale boy. He seems cold and emotionless, with light colored eyes and light colored hair. While Sissy seems to have an aura of goodness, Bitzer does not. He is emotionless. Even in the setting of a classroom, the differences in appearance between Sissy and Bitzer are apparent, for Sissy, being at the corner of a row on the sunny side, came in for the beginning of a sunbeam, of which Bitzer, being at the corner of a row on th e other side, a few rows in advance, caught the end. Sissy seemed to receive a deeper and more lustrous colour from the sun when it shone upon her, while the same sunbeam seem to draw out of him (Bitzer) what little colour he ever possessed (Pg. 3-4). The differences between Sissy and Bitzer are so evident that one must have been able to tell which philosophies that they each stand for. Throughout the course of the novel, Sissy and Bitzers actions help to describe what kind of personality they each have, which are also opposites of each other. Sissy is very emotional and never thinks only of herself. For example, when Sissys father abandons her, she does not cry for herself. Instead, she says, between sobs, O my dear father, my good kind father, where are you gone? You are gone to try to do me some good, I know! You are gone away for my sake, I am sure! And how miserable and helpless you will be without me, poor, poor Father, until you come back! (Pg. 35) and cries for her father rather than feel sorry for herself. She is so caring and compassionate that she always thinks the best of things. This is probably why Jane, the younger sister of Louisa and Tom, grew up much happier than her older siblings. She had been raised by the affectionate Sissy and treated like a human, unlike her older siblings, who had been raised more like robots by their father, Mr. Gradgrind. Bitzer, however, is completely different. He did not receive the love and the care the Sissy did. Because of this, it seems as though Bitzer has no heart (but of course he does, physically). He cares only for himself, even at the expense of others. Near the end of the novel, when Tom Gradgrind, Jr. (also known as the whelp) tries to escape from Coketown, who, other than Bitzer, is there to turn him in? In his own words, he says, I am going to take young Mr. Tom back to Coketown in order to deliver him over to Mr. Bounderby, for I have no doubt whatever that Mr. Bounderby will then promote me to young Mr. Toms situation (position) (Pg 267). Basically, he wished to pursue Tom, for it will be a rise to me, and will do me good (Pg 267). Bitzer has no heart and therefore cannot see that helping another human being is logical. He was raised under a utilitarian, or severely practical, form of education, which is the assumption that humans act only for their own self-interest. An interestin g contribution to Bitzers personality is where he was taught. Bitzers education was in the school of Mr. McChoakumchild, whose name has a disturbing connotation, as if his job was to choke the imagination out of the children. Bitzer had been raised and treated like a robot, and, as a result, he has the personality of a robot. Sissy and Bitzers personalities contribute to the two philosophies that Dickens is trying to point out. .u2bcbe33d0308cd4901c1f4477cac7fb8 , .u2bcbe33d0308cd4901c1f4477cac7fb8 .postImageUrl , .u2bcbe33d0308cd4901c1f4477cac7fb8 .centered-text-area { min-height: 80px; position: relative; } .u2bcbe33d0308cd4901c1f4477cac7fb8 , .u2bcbe33d0308cd4901c1f4477cac7fb8:hover , .u2bcbe33d0308cd4901c1f4477cac7fb8:visited , .u2bcbe33d0308cd4901c1f4477cac7fb8:active { border:0!important; } .u2bcbe33d0308cd4901c1f4477cac7fb8 .clearfix:after { content: ""; display: table; clear: both; } .u2bcbe33d0308cd4901c1f4477cac7fb8 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u2bcbe33d0308cd4901c1f4477cac7fb8:active , .u2bcbe33d0308cd4901c1f4477cac7fb8:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2bcbe33d0308cd4901c1f4477cac7fb8 .centered-text-area { width: 100%; position: relative ; } .u2bcbe33d0308cd4901c1f4477cac7fb8 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2bcbe33d0308cd4901c1f4477cac7fb8 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2bcbe33d0308cd4901c1f4477cac7fb8 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u2bcbe33d0308cd4901c1f4477cac7fb8:hover .ctaButton { background-color: #34495E!important; } .u2bcbe33d0308cd4901c1f4477cac7fb8 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2bcbe33d0308cd4901c1f4477cac7fb8 .u2bcbe33d0308cd4901c1f4477cac7fb8-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2bcbe33d0308cd4901c1f4477cac7fb8:after { content: ""; display: block; clear: both; } READ: Forecast Storms EssayThe main reason why Sissy and Bitzer act and think the way they do is because of how and where they were raised. Bitzer was raised in the labor-filled Coketown and had a utilitarian education, in which facts were stressed and nothing else in the world mattered except for ones self-interest. The children in the school where both Sissy and Bitzer attended was just a plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim (Pg. 2). Bitzers education consisted of facts, facts, and more facts. Nothing else was important and nothing else will ever be of any more import ance than facts. This way of growing up instilled in Bitzer the unpleasantness that expresses when he grows older. Sissy, however, was brought up in a circus. Her father had been a horse trainer and doctored horses. The circus represents the one thing that the school of facts resents: fancy. As Mr. McChoakumchild said, Aye, aye, aye! But you mustnt fancy. Thats it! You are never to fancy (Pg. 6). The ability to wonder, which was strictly forbidden in the Gradgrind household, was encouraged at the circus. It was how circus performers earned their living. Although Sissy was sent to live with Gradgrind, she was immune to his teachings of facts, facts, and more facts because she was raised in a circus. She had become kind of immune to that sort of teaching. Sissy was able to grow up happy and caring, full of imagination. This just goes to show that a childs surroundings will influence the way the kind of person they will become when they grow up. In this case, Dickens shows a child grow ing up with laughter and happiness and another child growing up with obedience and structure. It represents, once again, the two philosophies fact and fancy. As anyone can tell when they read Hard Time, the characters Sissy and Bitzer are not in the story just to make the novel more interesting. They are symbols for something greater: fact and fancy. Sissy represents the human nature because she is human. She was brought up and treated like a human so she has feelings like a human. Her vibrant colors, compassion, and friends from the circus help to enforce that kind of philosophy: fancy and imagination of the free will. Because Sissy had been raised like a human, she was able to do something that the kids from Coketown were forbidden to do: wonder. They could not use their imaginations, only what is proven is logical to them. Bitzer, however, represents the philosophy of facts and only facts. His actions, appearance, and training at Mr. McChoakumchilds school show what a person becomes when they follow that philosophy. He had become cold and hard, with not a single thought for anyone but his self-interest. Dickens uses these two character s to show the differences between the two philosophies and the consequences that following these philosophies may have. Through Bitzer and Sissy, the two different philosophies that each represent can be clearly seen: fact versus fancy. Bitzer has become a selfish person who does not care for anyone but himself. Sissy was the emotional center of the book because she was, practically, the only one that had real emotions from the very beginning. It can be distinguished which philosophy Dickens agrees with: fancy. He makes fact seem dull and dead, while making fancy seem colorful and full of life. Sissy is the kind of person that everyone would love, and Bitzer is someone that everybody would hate. Unmistakably, it is easy to tell which philosophy one would prefer. Maybe Bitzer ought to take a couple of lessons from Sissy.

The story of Oedipus or Antigone Essay Example For Students

The story of Oedipus or Antigone? Essay This idea of gaining strength in femininity falls in line with the twentieth centurys changing attitudes to women, with strong female figures breaking through for equality in a male-dominated society. Overall, Antigone as a character gives a message that in certain heroic natures unmerited suffering and death can be met with a greatness of soul which, because it is purely human, brings honor to us all (Knox, in Sophocles, 1984, p. 53). However, despite her being shown as heroic in nature, in the play characters are more complex than simply protagonist and antagonist. We will write a custom essay on The story of Oedipus or Antigone? specifically for you for only $16.38 $13.9/page Order now This multi-dimensional view of them makes them in a way more human than simple good and evil. As Webster states, the character must have as complete a character as possible; the audience must see or hear him in the greatest possible number of different circumstances (Webster, 1969, p. 83). This depth of character means that it is easy for a practitioner or writer interpreting the play to put the audience in a position of seeing different aspects of the character, and see their humanity and identify with aspects of the character (as mentioned with Brecht above). The simple way in which the plays are presented also contributes to their success in translation, adaptation, and performance. In translations such as Fagles, there are no stage directions, as if Sophocles intended for the plays to be read and studied rather than performed. In Greek theatre overall, plays are written in this format, and action and gruesome death is described in messenger speech instead of being shown on stage. This bare-bones style of presentation means the plays give much directorial freedom, with the director able to interpret the play in a multitude of interesting and innovative ways if they so desire. Also, the Greek language of the original work means that when it comes to translation, the exact wording of the manuscript may differ, offering opportunity for many different versions of the same text. The popularity of Antigone, alongside other Greek tragedies, can be examined and explained from a Freudian perspective, that tragedy pleases because of the formal control it provides (Holland, in Nuttall, 1996, p. 54). When watching a tragedy, the audience will feel empathy with characters, but after the performance will return to their life. Similar, for example, to the adrenaline rush but without risk gained when watching a horror film, it is a case of being moved emotionally without having to deal with the permanent resonance of loss, grief and tragedy in a persons own life. As Huxley describles, tragedy is something that is separated from the whole truth is chemically pure (Huxley, 1931). He continues to explain that this chemical purity means tragedy has an immediate and powerful effect, and gives audiences a sense of catharsis. In its simplest essence, theatre is a form of entertainment and escapism, and tragedies offer exactly this. Antigones complexity of characters and political resonance, and the ability to adapt it to create different messages and represent different ideals makes it easy to see why it is considered one of the greatest classic tragedy plays of not just the Ancient Greek era, but all time. Bibliography Bowlby, R. (2007). Freudian Mythologies: Greek Tragedy and Modern Identities. Oxford University Press. Bowra, C. (1970). Classical Greece. Nederland: Time-Life International. Burgess, J. (2005). The Faber Pocket Guide to Greek and Roman Drama. London: Faber and Faber Limited. Ewen, F. (1967). Bertolt Brecht, His Life, His Art and His Times. London: Calder and Boyars. Huxley, A. (1931). Tragedy and the Whole Truth. In Music at Night. unknown. Nuttall, A. (1996). Why Does Tragedy Give Pleasure? Oxford: Clarendon Press. Segal, C. (1966). Sophocles Praise of Man and the Conflicts of Antigone. In T. Woodward (Ed. ), Sophocles, A Collection of Critical Essays (pp. 62-85). New Jersey: Prentice-Hall Inc. Sophocles. (1984). The Three Theban Plays. (R. Fagles, Trans. ) Harmondsworth, UK: Penguin Classics. Webster, T. (1969). An Introduction to Sophocles (2nd Edition ed. ). London: Methuen Co. Wiles, D. (2000). Greek Theatre Performance. Cambridge: Cambridge University Press.