How to Make 0.1 M Sulfuric Acid Solution

Instructions for making a 0.1M solution of sulfuric acid or H2SO4. Materials 3.7 mL concentrated (18M) sulfuric acid (H2SO4)distilled water Procedure Pour 3.7 mL concentrated sulfuric acid into 500 mL distilled water.Dilute the solution to 1.0 liter. Sulfuric Acid Info Important: Adding Sulfuric Acid to WaterHow To Make Sulfuric AcidSulfuric Acid and Sugar Chem DemoHow To Prepare other Sulfuric Acid Solutions

Sexism In Rock N Roll - Free Essay Example

Sample details Pages: 5 Words: 1634 Downloads: 4 Date added: 2019/06/24 Category Society Essay Level High school Topics: Sexism Essay Did you like this example? Thesis: Sexism is still alive in the rock world. Women artist in bands really dont get an fair chance. Women writers or women in general with a musical talent can basically have the craziest ideas that doesnt get appreciated as much a man in a rock band. Don’t waste time! Our writers will create an original "Sexism In Rock N Roll" essay for you Create order Men expect women to be half naked in order to get attention. Women should be able to be theirselves and wear what they please without being judged or shamed about their ideas. Its really no secret that popular music, rock n roll can be sexist and misogynistic. Rock nroll came to life in the 50s, with Chuck Berry, Elvis and Little Richard, they all became popular in the 60s when The Rolling Stones and The Beatles took over the world. At the time sex, drugs and rock n roll was a mantra, an rousing war cry for a generation in transition, hypnotized by the men on stage with their guitars and glorified in music magazines like Rolling Stone. A cool rock band was formed. Like most industries during that time, the music industry was dominated by men. Men worked most of the positions of power and controlled the flow of information. The rock ?n roll establishment created a culture that reflected this male domination (McLeod 2002). Before she was a pioneering woman in rock, Patti Smith commented that rock ?n roll is for men. Real rock ?n roll is a mans job. I dont want to see no chicks tit banging against a bass (Smith in Janowitz 1987). For that Smith went on to achieve, in hindsight we can view this statement as somewhat tongue-in-cheek. It does, however, reflect a commonly held belief that serious pop music is the domain of men (Davies 2001). The success of Patti Smith and others, like Aretha Franklin and Tina Turner, suggest that women arent necessarily excluded from pop and rock music, were just not sure exactly where they fit in. The study falls heavily on gender role theory and asks the question, where do women fit into popular music? Using content analysis, the research looks at a selection of Rolling Stone magazine Greatest of All-Time lists and aims to compare the way in which men and women are represented by these lists. The research is to help fill a gap in scholarly work that looks at gender roles, music and journalism at the same time. Also in order to find womens place in rock n roll, we need to make a link between the music created by women, the medias representation of this music and how this differs from men. How does Rolling Stone magazine, as media and as part of the rock ?n roll establishment, construct gender roles in music, and what is the female role? Much of this tends to focus on the notion that pop music journalism is dominated by men (McLeod 2002). Kembrew McLeod makes an serious connection between the masculine culture and the fact that only a few women occupy positions of power within the rock journalism establishment. For McLeod, this establishment was very much established. McLeod argues that this culture remains dominant: Who works as a rock critic in large parts depends on ones immersion in the social sphere that rock critics inhabit, which in many ways resembles the old boy networks that for years dominated most businesses (2002). Stories about women in music magazines are often included because of and or focused on, the womans appearance. One person only has to look at covers of Rolling Stone in order for this to be apparent. Cover stories about men are mostly concerned with career or musical contribution to the world. Those about women on the other hand are often featured a scantily clad artist, model or pop starlet on the cover, and a suggestive headline. Women are less likely than men to learn a rock instrument like guitar, bass and drums at an early age because society dictates what young boys and girls are supposed to do and there is also a lack of female musical role models for young girls to emulate. Girls are less likely to be included in the formation of an adolescent band because these are more often than not based on friendship rather than musicianship and boys, being boys, will pick their ?buddy over some girls as well as the fact early adolescent social life is gendered. The study looks at a selection of Rolling Stone magazine Greatest of All-Time lists, which can be found on the Rolling Stone website. Five lists have been chosen for the sample. They are: the 100 Greatest Singers of All-Time; 100 Greatest Guitarists of All-Time; 100 Greatest Artists of All-Time; the top 100 of the 500 Greatest Albums of All-Time; and the top 100 of the 500 Greatest Songs of All-Time. The included lists were published in print between 2003 and 2008. Subsequent updates have appeared on the Rolling Stone website. Rolling Stone magazine lists were chosen over other similar lists, such as Billboard, thebest100lists.com and thetoptens.com, because of its longevity and standing within both the mus ic and journalism worlds. Since the 1970s Rolling Stone has been thought of as a credible and reliable source of music and political news (Brady 2009) .Upon undertaking the preliminary research, it became apparent that it was necessary to document the instances where a female appears more than once in the sample. Many of the men and women, who are listed in the top half of one of the lists, appear in one or more other lists. For example, the 18 men and 2 women who appear in the top 20 of the Top 100 Singers of All-Time list, all feature in the top 70 of the 100 Greatest Artists of All-Time. Johnson-Grau, in Sweet Nothings, points to the idea that women artist and musicians must be extraordinary in order to warrant recognition in the company of men (2002, p. 210). The decision to exclude vocalists is based on the view that ensemble instrument playing is both the principal site of musical authority in rock music and the activity from which women have been most fully excluded (1999, p. 99). the total female entr ies over the entire sample. Looking at these numbers its not hard to view these women as ?extraordinary. Not because they are rated alongside men, but because all of them have been considered, by their contemporaries and music experts, to be amongst the greatest contributors to music in more than one category. While they are few, at least in relation to men, these women whove left their indelible mark on popular musics history are regarded extremely highly by the rock ?n roll establishment, of which Rolling Stone magazine is an important part. Aretha Franklin, Tina Turner, Janis Joplin, Dusty Springfield, Joni Mitchell, Patsy Cline, Bonnie Raitt, Ronnie Spector, Patti Smith and Stevie Nicks are the exception to the rule that rock critics and historians of pop music have a tendency to forget things that they dislike or that do not fit their particular version of rock ?n roll authenticity (Johnson-Grau 2002, p. 203). The sexualisation of women in the media is a hotly debated topic. Countless studies have looked a t the way in which the media portray women, and thus help create gender roles (see Belkaoui 1976; Tuchman 1979; and Carter Steiner 2003). Two main theories stand out. The first is that most women are portrayed in traditional gender roles, that is mother, wife, sister etc.; and the second is that most media focus on a womans aesthetic qualities rather than their ideas and achievements (see Tuchman 1978; Bahr 1980; Macdonald 1995; and Allen, Rush Kaufman 1996). Both of these are substantiated by the data. Rolling Stone presents the sexy, sassy, elegant powerhouse Tina (Jackson for Rolling Stone 2004); the confident, Gospel-singing, passionate Aretha (Rolling Stone 2004 [A]); and the sweet, delicate, naked within a song Dusty (Rolling Stone 2008). All of these depictions fit into what is culturally normal for women. Furthermore, they all suggest an element of sex, or imply the artist embodies a certain image. While its not difficult to argue that sex and fashion are an intrinsic part of the music industry, Phil Dwyer argues that music is actually a part of the fashion industry (Dwyer 2003) . Johnson-Grau puts forward the notion that women in the music industry are almost exclusively compared with other women (2002, p. 210). The data collected doesnt refute this. Furthermore, the data indicates that female musicians are more likely than men to be likened to anyone else, regardless of sex. Over the modified sample of 98 articles, there were 24 comparisons between artists made. On 15 of these occasions, the artist being compared to somebody else was female. Expressions such as: created possibilities for; set the road map for the success of; set the stage for; or influenced everyone from were found to be far more common in the descriptions of women, than they were in the descriptions of men. The notion that women need to be extraordinary, courageous and inspirational in order to succeed in the music business has been thoroughly examined in this discussion. Perhaps one more ingredient is also needed. The above data seems to suggest that the rock ?n roll establishment likes to be able to trace the lineage of female musicianship, by comparing each generation of women in music to the previous one. Frith believes the misogynist culture of rock music forms a symbolic barrier to womens participation in rock ?n roll (1981, p. 228) . The sexualisation of women in the media is a hotly debated topic. Countless studies have looked at the way in which the media portray women, and thus help create gender roles (see Belkaoui 1976; Tuchman 1979; and Carter Steiner 2003). Two main theories stand out. The first is that most women are portrayed in traditional gender roles, that is mother, wife, sister etc.; and the second is that most media focus on a womans aesthetic qualities rather than their ideas and achievements (see Tuchman 1978; Bahr 1980; Macdonald 1995; and Allen, Rush Kaufman 1996).

Analysis of “The Yellow Wallpaper” Free Essays

string(31) " was and is extremely popular\." CHARLOTEE PERKINS GILLMAN THE YELLOW WALLPAPER (1892) The cult of true womanhood defined women as â€Å"ladies†(pure, diligent). When we talk about American woman, we have to specify their religion, sexual orientation, race, social class (it is therefore essentialist to talk about â€Å"women† in general. Depending on the group which they are in, certain coordinates are applicable. We will write a custom essay sample on Analysis of â€Å"The Yellow Wallpaper† or any similar topic only for you Order Now The Yellow Wallpaper is about a white, protestant, heterosexual woman at the end of the 19th century in the higher middle class. Gilman wanted to obtain more freedom and in order to do so, she had to rebel against the most important institution oppressing her: MARRIAGE. 1) Nowadays, the typical happy family is outdated and doesn’t exist. Gilman lived at a time when the perfect family was imposed on women (spinsters and bachelors were frowned upon in protestant society). The upper class women were brought up with the sole aim of being good housewives and mothers. The idea of a woman reading a book was frowned upon in society and they were only encouraged to read moralising and exemplary tales (eg. The angel in the house). Young girls were accompanied by a â€Å"chaperone†, who had the role of looking after and policy them. The Yellow Wallpaper takes place in a Victorian house and attic which used to be a nursery. Spaces in the house were GENDERED (some spaces were meant for men and some for women: kitchen, sitting room for women and library for men. The upper stories of the house become a gothic territory: THE ATTIC = discarded things This space is exploited from a literary point of view, whereby women who don’t fit into the cult of true womanhood are enclosed /imprisoned (= old object that doesn’t work). The most important example of this is JANE EYRE (Mrs. Rochester is locked in the attic and dies in a fire so Mr. Rochester could Marry Jane, even though he became blind/She is imprisoned due to the colour of her skin. The husband can? t show her). This is a literary image and symbol to represent the fact that women become part of the trash in the attic, not valid for anything. In the Yellow Wallpaper, the fact that the attic used to be a nursery is significant. Her husband is a doctor. The story is written in the 1st person: apparent diary, which depicts/reports the protagonist? s descent into madness. Language tries to recreate her mental breakdown. Any woman in 19th century who might have shown a rebellious attitude to the patriarchal culture was considered to be mad). The Yellow Wallpaper is a short story. The woman in the ex-nursery is †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. . Everything that happens in the story must be understood figuratively. The doctrines (cult of true womanhood) that constructed what a woman was at the time are â€Å"cultural constructs†. Even children are culturally constructed . Our identity is changeable and flexible according to our context. Marriage is another social construct/fought against feminists. The nursery becomes a symbol of the attic (madwoman in the attic), in which women become invisible. ____________________________________________________________ ___________________________ *BOSTON MARRIAGES†two women lived together all of their lives, but were not considered as lesbians (society simply recognised the fact that women could live together and help each other). Homosexuality wasn’t recognised officially and would only be at the end of the 19th century. Oscar Wild was the 1st homosexual who was openly out. (1) Marriage is not an imprisonment for everybody. For white middle-class women in US it was a chance to legitimise them in society, while black women weren’t allowed to get married. How can she find a way to express herself? She writes on the wallpaper, because that? s the only paper left. Fashion the way we dress tells others about who we are: we are who we dress. We are guided by people who tell us what is in fashion and in the 19th century high class women were advised to wear certain outfits: corsets were controversial at the time because they deformed the female body. Women? s bodies were constructed by fashion. Bicycles gave women new freedom and so did â€Å"bloomers† – a way of giving women more freedom of movement. Catherine E. Beecher (1842) wrote novels and believed in the cult of true womanhood. She wrote about domestic economy. Feminism: a) of difference b) of equality Feminism of DIFFERENCE: Men and women are not the same (men-public sphere/ women – private sphere). Women are not inferior to men, they can achieve the same thing in different ways. Women are morally superior to men and take control of the house: Beecher? s ideas. Feminism of EQUALITY: Men and women should be equal in front of the law: suffrage movement. Feminism of difference was conservative but stated that women should be educated as their role would influence future generations (children). â€Å"American woman? s home†, â€Å"Art of cookery†. Women were taught to be good housewives. The family state and home was a heavenly kingdom on earth. Mothers were supposed to be self-sacrificing (mission: self-denial). Until the end of the 18th century women didn’t exist in terms of sex. Women were â€Å"deformed man† (clitoris=small penis, womb=2 aborted balls). Scientific discourse created sex and indoctrinated the world against women? s capacity. If women were â€Å"aborted men†, this meant that they would never have the intellectual capacity of men either. In the Yellow Wallpaper, the man is a doctor because they had the capacity to define women. The protagonist is defined by her husband? s scientific discourse. He has the power to identify what is happening to her and tell her what she is (nothing exists until doctors name it. ) We always find dichotomy: man-woman/night-day. If we believe that all women are feminist, this is an example of ESSENTIALISM. Not all women are the same: gender is a cultural construct and women are indoctrinated into behaving in a certain way. The author fights against MARRIAGE. She is a pre-feminist (feminism of difference). For a long time, the story has been considered as autobiographical (= confessional mode), as these sold books. In Protestant society, public confession was and is extremely popular. You read "Analysis of â€Å"The Yellow Wallpaper†" in category "Papers" Confessional literature has always been sold well in the US and this is the reason that Perkins wrote† Why I wrote The Yellow Wallpaper†. Originally, the world â€Å"wallpaper† was hyphenated†wall† covered by â€Å"paper† (important connotations): 1st footnote. In short stories, everything is relevant. At the time of writing, women were considered as side of â€Å"hysteria†: that the womb was irritated/inflamed. People believed that when women behaved in a way that they weren’t expected to, they were sick (hysteria). Women were expected to fulfil some roles. This â€Å"irritation or the womb† made people believe that a woman? s reproductive system was at threat and might stop working. Because of this, reading was â€Å"dangerous† for women because it excited the mind and therefore the womb. At the time of writing, there was a physician who said that high-class women should have a REST CURE to relax. He forbade any kind of intellectual work(reading and writing), to go into a kind of lethargic state. The confessional tome of her introduction makes readers automatically believe her. Women found it hard to get credibility and a doctor told them nothing was wrong with them. They were expected to get married and have babies (live a life as domestic as possible). Gilman wanted to show people how important it was for white and high-class women to work. (white women were fighting against marriage as a bourgeoisie ethos at the same time , black women wanted to fight to be able to get married and embrace the ethos. In her introduction, all of the autobiographical information is false (she never was at the brink of insanity because of a physician? s advice. She also states that her literature is therapy, as it â€Å"saved† a woman after she read it. This is also false. ANALYSIS OF THE YELLOW WALLPAPER Title yellow: connotation of sickness – tuberculosis (yellowish: blood doesn ’t flow through your veins. ) Some people have interpreted the text as a criticism of Asian immigrants arriving on the shores of the west Pacific to work as railroad workers (S. fran. Bay – Angel Islan) Chinese â€Å"carved poems† about the clash between their expectations about the American dream and their reality. wall-paper: women enclosed by the paper 1st person narrator who tells the reader what she is feeling from the start to the end of the piece. Syntax becomes increasingly repetitive and we see a stream of consciousness, a non-mediated representation of thoughts. Progression in the story reflects mental breakdown of main character. (syntax, story) Biologism, essentialism way women are indoctrinated into patriarchal culture – brain washing). one expects that in marriage† she starts her role (perverted by patriarchal society). Later, she tries to fight against it, but there is no way to escape, so she goes mad. John doctor/scientist (against superstition) *scientific world has the power to define her: enemy (discourse) Surrounded by a male text who defines what is happening to her (hysterical tendency) (dead paper written and lost ). Sometimes it is easier for men to find a reason that they know (= prescribe a solution) than to find out the reason behind the problem and question their beliefs (doubt their own knowledge). She has 2 possibilities: to believe what they say or go against it (when problems arise) Forbidden to work not house work (upper-class) Contradictions expresses desire and says she is not permitted to do so. Anything she does, feels, wants, etc. Will be questioned by John and explained by science and rationality. John: logic, coherence, science, etc. Her: opposite Control in American society, the only way to rule is to control one? s desires. When we are out of control, we became responsible for our failures. If we are not successful, we lack self-control. Everything in society falls onto the shoulders of the individual. American dream: whatever you want, you will achieve. (worst possible thing: to be a loser) Our protagonist cannot understand that there are some things that are out of control. Clash between what she wants and the burdens of society. On the one hand, she cannot recognize that there are 2 confronting Johns: nice and loving/ controlling. To make us blame ourselves for the blame of others in the worst situation that we can find ourselves in. Nursery he infantalises her and deprives her of all responsibilities. At the top of the house mad oman in the attic (to hide her). Writing = LIBERATION Baby: John doesn’t allow her to be a wife or mother. Little by little, the paper becomes a protagonist and a reflection of the protagonist? s mind. As she is forbidden to write, she has to project her thoughts through the paper. * Page 652 She is projecting her fears, her deepest feelings, obsessions, repressions: a gothic story comes out using monsters, horrendous monsters. That creature is herself. She? s projecting herself on the paper. The paper becomes the text and the room is the symbol of her min, everything is torn (rascado/roto). There comes John? s sister†¦ : everything we? ve talked about (white, high class women), a very few women. Here we have the example that all women don’t think they have to rebel against this patriarchal system. John? s sister is like many other women, she is happy being indoctrinated in this patriarchal system. A woman against woman. The text makes it clear. The protagonist is the rebellious while the other is happy with the system. We can? t universalise. Enthusiastic housekeeper: maybe she? s single. She? s backing up her brother and she is not helping the protagonist. As we can see, not all the women were rebelling against that repression. * Page 653 John? s sister – Tennice : patriarchal –minded woman (cult of true womanhood). Conspires with other 2 male characters against protagonist (also believes her creativity and writing is making herself sick). no possibility of sisterhood or gender – solidarity because John? s sister condemns writing and is also the protagonist? s enemy. The challenge to break out of patriarchal society and not feel guilty is what drives her mad. Contrast between rationality that ruled society (=logic, symmetry, etc. and the female body (curves, illogical) Little by little, her syntax becomes more shortened, to represent what is going on in her mind. The protagonist is not strong enough to break through the layers that John has suppressed her in. She has to die within herself. She puts all of the burden on herself and is unable to escape from John. Rationally, she accepts what is happening, but physica lly, she cannot: clash. * Page 655 1st time she sees a woman in the paper. Bit by bit she feels more identified with the woman in the paper (journey of self-identification). The paper is a projection of her madness. In imagining things, we project our fears. The woman on the paper wants to escape and as the protagonist couldn? t get divorced (social class problems), madness was her only way to â€Å"free† herself. And it is like a woman: she says freely that the wallpaper is a woman. From now onwards: a progressive journey to self-identification and that means madness. The crazier she gets the more self-aware she becomes. Moon: signifies femininity Parallel movement: husband and sister-in-law look at her differently because she is losing ground and her stability (1st p. narrative). At the same time, she starts to distrust them. Process in crescendo. Pattern: patriarchal society In the end, she pulls down the patriarchal paper and is free but mad. * Page 660 The woman in the pattern was creeping and now she creeps. She? s narrating what the husband is doing. John is desperate. In the end: the door locked, he opens it later and he stops short: that is John? s vision. She is no longer a woman, she identifies with the projection of herself, woman escaping and creeping in the wallpaper. However, she has changed the meaning of that paper, she has achieved freedom. The paper is a way she got liberation – she is mad. How to cite Analysis of â€Å"The Yellow Wallpaper†, Papers

Psyched out Essay Example For Students

Psyched out Essay Seattles Alice B. calls itself a gay and lesbian theatre for all people. Nothing the group has produced in its nine-year history better exemplifies what that phrase might mean than Sub Rosa. Sub Rosa started out with writer-director Nikki Appinos desire to explore the material and atmosphere of German cabaret between the World Wars, and the show that closed Alice B.s 1992-93 season in June still exhibited faint suggestions of that notion: The shabby interior of the Pioneer Square Theater was got up like a grotty basement after-hours club, and there was enough eye-shadow and leather on the boys and girls strolling among the cafe tables to satisfy a Bob Fosse, if not a Reza Abdoh. But from the first slashing notes of Jim Raglands score and the first blizzard of projected images and texts across Dan Corsons constructivist set, Sub Rosa all but abandoned the much-trodden ground of 20s Weimar for a far deeper dig: down to the very roots of Western secular mysticism. The tale of the love of Cupid and Psychethe narrative to which Sub Rosa anchored its excavationfirst turns up embedded in the florid second-century Latin of Apuleius Golden Ass. Anthropologists say that the story of the three princess sisters, a mysterious nocturnal bridegroom and terrible trials leading to a happy ending is the oldest example of pure folktale in the Indo-European tradition. By Apuleius time, the fable had accumulated five centuries worth of philosophical baggage, with the final wedding of Cupid (Eros) and Psyche (Soul) representing the mystical union of spirit and flesh as envisioned by the later followers of Plato. Neo-Platonism pervades the Jewish Cabbala, the musings of medieval Muslim clerics, the output of Renaissance thinkers like Pico della Mirandola and Renaissance painters like Botticelli (his Primavera is neo-Platonist allegory throughout). But when Latin ceased to be the universal language of the West, the West lost access to its native non-Christian mystical tradition. In Sub Rosa, Nikki Appino and co-writer-director Kristen Newbom put us back directly in touch with these lost mythic roots, and the sizzle of understanding is immediate and electric. Amphetamine vaudeville At first it seems there must be some point to the role of Venus (Cupids mom) being played in slenderly sinuous beaded-scarlet drag by Christopher Johnson, while spunky, randy Cupid is rendered by a boyish but unmistakably feminine Alyce LaTourelle. Only when the shows over does ones spinning brain have leisure to realize that the cross-gender casting doesnt matteror rather that it matters only because it doesnt matter. The searching soul at the center of this story may be embodied by the amply feminine Amy Perry, but it doesnt have a gender. Stage evocations of deep myth tend to be solemn even when not somnolent. But Sub Rosa moves like an amphetamine vaudeville, keeping the surface playful and trusting its audience to make the deep connections. Perry plays Psyche (Kitty in this version) as Marilyn-through-the-looking-glass. As both her wicked sisters simultaneously, Sarah Harlet turns raging schizophrenia to theatrical account. Bodies fly from high platforms to flop on mattresses in the audiences lap, turn to shadow puppets shriveling and inflating on a moving screen, clamber, gallop, mince, strut. Seashells turn telephone, a fish-tank bursts into flame: Hellzapoppin with a higher purpose. The narrative rush is relieved from time to time by meditative episodes that seem almost overheard, messages from altogether elsewhere. In form theyre letters, between one Miss Spoon (Johnson again) and a Mr. Knife (John Holyoke, who also plays the the General, Miss Kittys Zeust-the-Thunder father). In contrast to the bulk of the show, on-the-razzle and in-your-face, these letters are almost repressed in tone, and all the more passionately felt for that fact. Its as if two wartime lovers, divided by half the world and the censor, are trying to convey all their carnal longing through the dry medium of everyday words. In the last moments of the play, the two worlds, of Knife and Spoon, of soul and flesh, come together in a shadow image of a power far beyond words. .udb8c1a3469e41e7ad74e25f4017f49a2 , .udb8c1a3469e41e7ad74e25f4017f49a2 .postImageUrl , .udb8c1a3469e41e7ad74e25f4017f49a2 .centered-text-area { min-height: 80px; position: relative; } .udb8c1a3469e41e7ad74e25f4017f49a2 , .udb8c1a3469e41e7ad74e25f4017f49a2:hover , .udb8c1a3469e41e7ad74e25f4017f49a2:visited , .udb8c1a3469e41e7ad74e25f4017f49a2:active { border:0!important; } .udb8c1a3469e41e7ad74e25f4017f49a2 .clearfix:after { content: ""; display: table; clear: both; } .udb8c1a3469e41e7ad74e25f4017f49a2 { 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; } .udb8c1a3469e41e7ad74e25f4017f49a2:active , .udb8c1a3469e41e7ad74e25f4017f49a2:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .udb8c1a3469e41e7ad74e25f4017f49a2 .centered-text-area { width: 100%; position: relative ; } .udb8c1a3469e41e7ad74e25f4017f49a2 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .udb8c1a3469e41e7ad74e25f4017f49a2 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .udb8c1a3469e41e7ad74e25f4017f49a2 .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; } .udb8c1a3469e41e7ad74e25f4017f49a2:hover .ctaButton { background-color: #34495E!important; } .udb8c1a3469e41e7ad74e25f4017f49a2 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .udb8c1a3469e41e7ad74e25f4017f49a2 .udb8c1a3469e41e7ad74e25f4017f49a2-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .udb8c1a3469e41e7ad74e25f4017f49a2:after { content: ""; display: block; clear: both; } READ: Not in Front of the Audience: Homosexuality on Stage EssayMounted on a vestigial budget, Sub Rosa looked like a million. It came together almost entirely in the rehearsal hall, with its technical and visual overlay created to fit what came out of workshop, not, as usual, the other way around. Irreverent and breathless There have been precedents for this kind of theatrically adventurous work at Alice B.: Rick Rankins deconstruction of American history Louisiana Purchase in 1988, and the plotless exploration of the links between the sexual dominance and political violence in Governing Bodies of 1989, both directed by Rankins Alice B. co-founder Susan Finque. But the most inspiring thing about Sub Rosa was the way it transcended the usual boundaries of gay theatre without compromising the companys essential mission. In its wild, irreverent and breathless way, Sub Rosa sprang from the same impulses as Platos Symposium. And perhaps the comparison is less far-fetched than it appears: After all, Plato disguised his profound exploration of the multivalent mystery of love as a record of a drunken dinner-party.