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Distinct from maleness is cholesterol in shrimp good or bad for you buy lipitor once a day, which is a biological and physiological classification concerned with the reproductive system quick cholesterol lowering foods order genuine lipitor on line, masculinity principally refers to socially acquired traits and secondary sex characteristics" nutrition cholesterol lowering foods cheap lipitor 5mg visa. This module will portray a theoretical picture in which culture and religion are seen as key institutional parameters that dominate the shaping of identities and relationships cholesterol lowering foods red yeast rice buy discount lipitor 40mg on line, attributes and worldviews as appropriate to patriarchy and masculinity. This study guide will explore the key concepts of culture, religion and masculinity, and thus help participants to retrace assumptions of gender identities, relationships and practices. In most circumstances it becomes impossible for young activists and others to counter the logic of these arguments. We want through this module to start preparing the fellows to start a process of understanding that neither culture nor religious practices are static and homogenous. Each religious practice has multiple variants and very different worldviews on imagining the masculine and feminine as well as the relationship between the two. There is also constantly an element of conflict between actual practice and theological positions. What however, they end up doing in practise is to uphold caste-hierarchies and patriarchy, often backed by violence against those who go against their diktats. Hence, the Khap Mahapanchayat has a far more deadly hold over subordinate panchayats than in earlier times, as a result of tremendously improved means of communication and transport. Being repositories of large vote banks, the khaps also often use state level and national level political parties to further their cause. The caste councils/ Khap Panchayats are opposed to the progressive, non-hierarchical, non-stratified, non-status quo, open and equal society. They are against the weakening of collective identity of the jati and the strengthening of individual identity and mobility. Caste and gender are closely related and the sexuality of women is directly linked to the question of purity of race. Ideologically concepts of caste purity of women to maintain patrilineal succession justified subordination of women. The caste system and caste endogamy retained control over the labour and sexuality of women. As repositories of community honour, women are vulnerable to killings in the name of honour which reinforces patriarchy. This study note intends to provide perspectives to generic terminologies and identify the contextual connections between, culture, religion and masculinities, which induce and perpetuate prejudices discriminations, hate and violence. When we talk about "culture", we often mean intellectual and creative products, including literature, music, drama, and painting. It shapes "the way things are done" and our understanding of why this should be so. This more comprehensive approach is proposed in the definition of culture adopted at the World Conference on Cultural Policies (Mexico, 1982): "Culture. It includes not only arts and letters, but also modes of life, the fundamental rights of the human being, value systems, traditions and beliefs. Aspects of gender expectations may have costs and disadvantages for men (the expectation that they will take up arms and the defence of the nation, for example). However, the overall pattern of gender relations favours men in the distribution of resources, opportunities and power. These are basic questions, but they are not easy to answer because gender is an idea that has been discussed and analysed from very different perspectives for many years. Gender is both an analytical category ­ a way of thinking about how identities are constructed ­ and a political idea that addresses the distribution of power in society. It is also important in a range of social and political debates that are conducted differently according to the cultural context. We learn to identify ourselves in particular ways, and in relation to wider images, codes and assumptions about gender. Importantly, these understandings of gender have an influential bearing on how people are viewed in our societies, and what kinds of possibilities are available or unavailable to them. To accept the idea of gender and the kinds of thinking that follow from it is to accept that being a woman or a man is not only a biological category of being with a fixed, shared meaning, but rather that these are categories that - socially and culturally - we give meaning to .

The struggle of the French people for human rights and political freedom had led cholesterol medication mayo clinic buy lipitor 10mg, in his eyes cholesterol lowering foods and drinks buy lipitor with a visa, not to a reign of freedom and humanity cholesterol medication knee pain buy generic lipitor from india, but to violence and terror cholesterol yellow eyes buy lipitor overnight delivery. If Kant had proposed a separation of the faculties, each articulated differently according to its realm (the moral, the rational, or the aesthetic), Schiller emphasised a binary opposition (the physical and the intellectual) and turned it into 271 a rt i f i c i a l h e l l s stages towards a goal: from the physical, through the aesthetic, to the moral. For Schiller, the aesthetic is fundamentally tied to education, that is, to the moral improvement of the unrefined individual. The same problem of actual or ideal education, a universal audience or specific students, faces all pedagogically oriented art projects today. Yet this task is essential to projects in the artistic realm if they are to fulfil the ambitions of an aesthetic education. For all that Barthes emphasises the invisible libidinal dynamic of the seminar, he also manages to convey this to us in his mastery of language. It seems telling that when the most artistically successful instances of pedagogy-as-art today manage to communicate an educational experience to a secondary audience, it is through modes that are time-based or performative: through video (mijewski), the exhibition (Bruguera), the lecture (Chan) or the publication (Hirschhorn). The secondary audience is ineliminable, but also essential, since it keeps open the possibility that everyone can learn something from these projects: it allows specific instances to become generalisable, establishing a relationship between particular and universal that is far more generative than the model of exemplary ethical gesture. In so doing, the aesthetic state is merely a path to moral education, rather than an end in itself. Near the end of his last book Chaosmosis (1993), Fйlix Guattari asks: `how do you bring a classroom to life as if it were a work of art? Established by Jean Oury in the Dйpartement de Loir-et-Cher in 1953, the clinic began to employ Guattari in 1955. La Borde, like Summerhill, seems to be the kind of organisational and experiential comparison we need to bring to bear on contemporary art projects that seek to create a rapprochement between art and the social field. Significantly, however, Guattari is insistent that the ethico-aesthetic paradigm involves overthrowing current forms of art as much as current forms of social life. Like all long-term participatory 273 a rt i f i c i a l h e l l s projects, this art must tread the fine line of a dual horizon ­ faced towards the social field but also towards art itself, addressing both its immediate participants and subsequent audiences. It needs to be successful within both art and the social field, but ideally also testing and revising the criteria we apply to both domains. These latter will never be as compelling as Summerhill and La Borde ­ examples that establish their own institutional frameworks and operate in ways that continue to trouble the parameters of existing social structures. Pedagogic art projects therefore foreground and crystallise one of the most central problems of all artistic practice in the social field: they require us to examine our assumptions about both fields of operation, and to ponder the productive overlaps and incompatibilities that might arise from their experimental conjunction, with the consequence of perpetually reinventing both. For secondary viewers like ourselves, perhaps the most educational aspect of these projects is their insistence that we learn to think both fields together and devise adequate new languages and criteria for communicating these transversal practices. Beginning from this premise, participatory art aims to restore and realise a communal, collective space of shared social engagement. In both instances, the work seeks to forge a collective, co-authoring, participatory social body ­ but one does this affirmatively (through utopian realisation), the other indirectly (through the negation of negation). The history of participatory art charted in this book allows us to gain critical distance on this question, and to see it as the latest instantiation of the art vs real life debate that so typifies the twentieth century. This tension ­ along with that between equality and quality, participation and spectatorship ­ indicate that social and artistic judgements do not easily merge; indeed, they seem to demand different criteria. This impasse surfaces in every printed debate and panel discussion on participatory and socially engaged art. For one sector of artists, curators and critics, a good project appeases a superegoic injunction to ameliorate society; if social agencies have failed, then art is obliged to step in. In this schema, judgements are based on a humanist ethics, often inspired by Christianity. What counts is to offer ameliorative 275 a rt i f i c i a l h e l l s solutions, however short-term, rather than the exposure of contradictory social truths. In this schema, ethics are nugatory, because art is understood continually to throw established systems of value into question, including questions of morality; devising new languages with which to represent and question social contradiction is more important. The social discourse accuses the artistic discourse of amorality and inefficacy, because it is insufficient merely to reveal, reduplicate, or reflect upon the world; what matters is social change. The artistic discourse accuses the social discourse of remaining stubbornly attached to existing categories, and focusing on micropolitical gestures at the expense of sensuous immediacy as a potential locus of disalienation.

The story begins when a curious dog wanders onto Poland`s frozen Vistula River results of cholesterol test cheap lipitor 20 mg free shipping, only to be swept away on a fast-moving sheet of ice cholesterol ratio in human body buy 20mg lipitor with amex. A group of children notice something out at sea and once they realize it is a dog adrift does cholesterol medication help weight loss effective 10mg lipitor, they quickly take action and try to get help cholesterol values guidelines cheap lipitor 20 mg with visa. Many people get involved in trying to rescue the dog, but are unsuccessful in reaching him and he is presumed dead, swept out to sea. Stories such as this one that involve animals provide a wonderful vehicle to elicit deeper conversation among students about their feelings, fears and hopes. It can also be used to reinforce the need to help others (including animals) when we can, and emphasizes the amount of cooperation and communication it took to make this miraculous rescue possible. Consider supplementing this book by reading actual news clips and watching a brief Associated Press news storyviii of the rescue on YouTube. Marisol is full of contradictions: from her favorite lunch (peanut butter and jelly burritos) to how she writes her name (combining cursive and print) to her choice of clothing and her playground exploits (playing soccer dressed as a pirate princess). This book has a strong female protagonist and offers a positive model that can help young Biracial or bicultural children feel comfortable in their own skin. It reinforces the idea that culture is an important aspect of who we are and that all aspects of our heritage (and individuality) are of value. For other students, it provides a vehicle to address the tendency that children in this age group have of wanting to "pigeonhole" people they perceive as different from themselves, and encourages discussion about ethnicity and different cultures in a developmentally appropriate way. The author is herself of mixed ancestry: a mestiza Peruvian American viii. Mullin Page 45 Student Literature Grades K-2 of European, Jewish, and Amerindian heritage. The book is bilingual-with the English text on one side and the Spanish text on the other. It includes childhood experiences like seeing "White Only" signs, his role in the Montgomery bus strike, and his efforts as a pacifist and civil rights crusader. Any of the inspirational quotes can be used to spark additional discussion or used as writing prompts with slightly older students (in Grades 2-3). Concepts such as family support and encouragement, courage, spiritual strength, resilience and persistence are themes presented. The simple text and bold illustrations are great as a read-aloud but also make it accessible to beginning readers. Mullin Page 46 Student Literature Grades K-2 My Name is Gabriela: the Life of Gabriela Mistral Monica Brown (Author), John Parra (Illustrator) Cooper Square Publishing (Bilingual Ed. Written in the first person, the simple poetic text follows the life of the Chilean-born poet and teacher who became the first Latina woman to win the Nobel Prize for literature (in 1945). Born Lucila Godoy Alcayaga at the end of the nineteenth century, the story begins in her childhood, where she chooses a new name (because she likes the sound of it) and teaches herself to read. The story captures her love of words and stories, and her personal journey to become a renowned poet and teacher who inspired children across many countries to let their voices be heard. The story begins with the young boy named Rolihlahla ("troublemaker") and his tribal upbringing in Qunu. When his father dies, he is sent away to a boarding school at the age of nine, where he is renamed Nelson. Young Nelson sees firsthand the inequities of apartheid for Black South Africans, and grows determined to fight for change. His commitment to his principles and struggles to bring equality for all South Africans, regardless of the color of their skin, is a key talking point: His beliefs and resolve (and great personal sacrifice) led him on his lifelong quest to create a more just world. The powerful images of Mandela project his calm strength, resilience and courage-use them to encourage students to consider the emotions conveyed throughout the book and to talk about whether they think he ever felt angry, and what he did to redirect those feelings into positive actions. The book states that it supports the Common Core State Standards; it is appropriate for students through Grade 5. When Red begins to pick on Blue, it gets hotter and bigger and soon intimidates the other colors, and they are too afraid to say anything. One tells Red: "If someone is mean and picks on me, I, for One, stand up and say, No. Red begins to feel left out and tries to bully Blue, but Blue ignores him and becomes Six. The rest of the numbers stick up for Blue, but instead of excluding Red, Blue invites it to join the counting game, too.

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On this account a woman with a knife to her throat is forced to engage in sexual intercourse and a woman with no other adequate means of support for herself and her family is forced to work cholesterol target values buy 5 mg lipitor with mastercard. An exceptional person indeed may pull herself up by the bootstraps; the standard person cholesterol blood test definition cheap lipitor 10mg with visa, however cholesterol medication weight loss discount 40 mg lipitor, cannot cholesterol levels good & bad ratio buy cheap lipitor 20mg. Fourthly, a growing sociological literature on women in the workforce, observation, and personal experience all suggest that the work most women do is every bit as harmful as I have suggested. A "phenomenology" of womenswork is beyond the scope of this paper, and beyond my competence as an analytic philosopher. Even if I should succeed in conveying the dull misery of the working day, the stress at other times, knowing that another day of work is getting closer, and beyond this, the knowledge that there is no way out, it would not be entirely to the point. Even if many workers avoid the hurt, all endure the harm insofar as their interests are impeded and their lives are impoverished. Finally, I recognize that many men are forced to do demeaning, dull, often dangerous work. I grant that men are harmed in the most serious way by being forced into such 314 H. My suggestion is merely that a person, whether male or female, who spends a good deal of time doing such work is in a more seriously harmed state than one who is raped. Beyond the harm that rapists inflict upon their victims, rape is a powerful symbol of the oppression women suffer and thus naturally arouses the wrath and indignation of virtually all women who are aware of their situation. First, it is generally assumed that women are largely incapable of dealing with danger or physical violence. Since rape is a crime against women primarily, given this assumption, it would follow that most rape victims would be more traumatized than victims of other violent crimes. This is an insult to women: it is incumbent upon us to show that we are as macho as anyone! Secondly, women are traditionally viewed primarily in connection with concerns which center around their sexuality-in terms of their roles as lovers, wives and mothers. Because women are seen in this way, it is commonly assumed that they have a greater stake in matters concerning sexuality in the broadest sense than do men. Indeed, it is often assumed that women have more of a stake in sexual matters than they do in any other concerns. Given these assumptions it would follow that any violation of sexual integrity would be extremely harmful to women. Arguably if rape is considered among the gravest of harms it is largely because women are regarded How Bad Is Rape? I suggest that the primary reason why rape is regarded as one of the most serious harms that can befall a woman is precisely because women are regarded as sex objects, beings who have little of value beyond their sexuality. Further I suggest that women who would regard being raped as the supreme violation and humiliation are implicitly buying into this view. If these are indeed the reasons why rape is seen as supremely harmful to women, as I suggest they are, then it follows that the suggestion that rape is the worst harm that can befall a woman is a consequence of sexist assumptions about the character and interests of women. Rape, like all other crimes of violence, constitutes a serious harm to the victim. Nevertheless, I have suggested that to consider it the most serious of all harms is no less sexist than to consider it no harm at all. The recent reopening of the Dotson case, for example, represents a threat to feminist gains insofar as it tends to undermine the credibility of victims-not because it suggests that rape is less serious than is commonly supposed. The core meaning of "rape" is "forcible or fraudulent sexual intercourse especially imposed on women" (The Little Oxford Dictionary); but, given the elaborate and confusing rules of sexual etiquette that have traditionally figured in human courtship rituals, it has not always been clear what constituted fraud or coercion in these matters. In particular, it has been assumed that female coyness is simply part of the courtship ritual so that women who acquiesce to the sexual demands of acquaintances under protest are merely playing the game and thus have not in fact been forced into anything. That is to say it is assumed that under such conditions the sexual act is not an instance of rape at all, hence that a woman who claims she has been raped in such circumstances is disingenuous and may be assumed to have malicious motives. Baber It is to these assumptions that women should object-not to my suggestion that rape is a less serious harm than has commonly been thought. What sexists underestimate is not the seriousness of rape but rather the frequency with which it occurs. In spite of popular acceptance of Freudian doctrines, this does seem to be the case. In such circumstances rape would indeed violate a welfare interest and would be among the most serious of crimes, rather like horsetheft in the Old West.