How do we make sense of the ways in which Buddhist texts describe both birth and

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How do we make sense of the ways in which Buddhist texts describe both birth and death as both obstacle and opportunity? In what context is birth described as an obstacle? as an opportunity? And what about the case of death? Drawing upon Garrett’s account of Tibetan embryological narratives and the accounts of the death process by contemporary Buddhist lamas Choky Nyima and Sogyal Rinpoche, provide and interpret at least one example of each of the following in your response:
-representation of birth as an obstacle
-representation of birth as an opportunity
-representation of death as an obstacle
-representation of death as an opportunity

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For this assignment, you will examine women’s contributions to the creation of c

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For this assignment, you will examine women’s contributions to the creation of culture in western society through a discussion of three key figures (artists, poets, writers, dancers, performers, composers, etc.) from our required or recommended resources. In your paper, you will also analyze how western society has shaped these women’s lives and their creativity.
Begin by selecting three key figures from different time periods and different genres who have made artistic contributions to our culture. You may either consider these elements separately as explained below or weave the ideas together as you discuss each of your key figures. Having selected your three key figures, analyze how their creativity made important contributions to culture in their own era and in some cases, how their contributions reverberated to different disciplines and different eras and time periods, perhaps even being felt today. You should provide detailed discussion of examples from their creative work (paintings, poetry, performance, methods of dance, music, etc.) to support your claim on the importance of their contributions. This section must be three to four pages in length.
Next, as you examine how society has shaped these women’s lives and creativity, consider some of the following questions.
How did prescribed gender roles for women impact their creativity?
What images defined women (seductress, mother, virgin, etc.)?
Which images and roles were acceptable and which were outside the norm?
How did these narrowly-defined gender roles and images (such as the “nature of women”) shape the lives and work of your three key figures?
Some women may have outwardly conformed to these expectations while their work challenged the roles/images in subversive and creative ways while others openly rebelled. As you delve deeper into these issues, consider the dynamics of gender and power in creative expression. For example, how does the subject matter in paintings and texts (or performance) reflect the dynamics of gender and power? Who has privilege? Who has power? How do these creative women sometimes deconstruct (break down) dominant male patterns while reconstructing female experience?
As you discuss how society has impacted women’s creativity, remember to consider the significance of race, class, and/or ethnicity of the three key figures. How does the artist’s class, for example, impact both the importance of her contributions and the ways society shaped her life and work? Does her ethnicity or race determine what subjects she writes about or paints or how she performs? Again, provide detailed examples from the creative women’s work (compositions, performances, sculpture, paintings, writings, etc.) to support your discussion (three to four pages).
In Summary, be sure that your Women Creating Culture Paper:
Identifies Three Key Figures from Different Time Periods and Genres, and Discusses Their Artistic Contributions to Culture
Discusses How the Identified Key Figures’ Made Important Creative Contributions to Culture in Their Own Area, and Provides Detailed Illustrations from Their Work
Analyzes How Western Society Has Shaped the Lives and Creativity of the Identified Key Creative Women
Analyzes the Impact of Race, Class, and/or Ethnicity of the Three Identified Key Creative Women’s Lives and Work
The Women Creating Culture paper
Must be six to eight double-spaced pages in length (not including title and references pages) and formatted according to APA Style as outlined in the Ashford Writing Center’s APA Style (Links to an external site.) resource.
Must include a separate title page with the following:
Title of paper
Student’s name
Course name and number
Instructor’s name
Date submitted
For further assistance with the formatting and the title page, refer to APA Formatting for Word 2013 (Links to an external site.).
Must utilize academic voice. See the Academic Voice (Links to an external site.) resource for additional guidance.
Must include an introduction and conclusion paragraph. Your introduction paragraph needs to end with a clear thesis statement that indicates the purpose of your paper.
For assistance on writing Introductions & Conclusions (Links to an external site.) as well as Writing a Thesis Statement (Links to an external site.), refer to the Ashford Writing Center resources.
Must use at least two scholarly sources (from the Ashford University Library, or the Week 1 required articles by L. Nochlin and/or J. Kelly-Gadol) in addition to five of the required or recommended resources from Week 5 and previous weeks for a total of seven sources.
The Scholarly, Peer-Reviewed, and Other Credible Sources (Links to an external site.) table offers additional guidance on appropriate source types. If you have questions about whether a specific source is appropriate for this assignment, please contact your instructor. Your instructor has the final say about the appropriateness of a specific source for a particular assignment.
To assist you in completing the research required for this assignment, view this Ashford University Library Quick ‘n’ Dirty (Links to an external site.) tutorial, which introduces the Ashford University Library and the research process, and provides some library search tips.
Must document any information used from sources in APA Style as outlined in the Ashford Writing Center’s Citing Within Your Paper (Links to an external site.) guide.
Must include a separate references page that is formatted according to APA Style as outlined in the Ashford Writing Center. See the Formatting Your References List (Links to an external site.) resource in the Ashford Writing Center for specifications.
Resources:
Kelly-Gadol, J. (1977). Did women have a Renaissance? (Links to an external site.) In R. Bridenthal & C. Koonz (Eds.), Becoming visible: Women in European history (pp. 175–201). Retrieved from https://content.bridgepointeducation.com/curriculum/file/a493a4d6-65ae-4a45-b747-e5e9ab391fcd/1/Kelly_Did_Women_Have_a_Renaissanace.pdf
Nochlin, L. (2015, May 30). From 1971: Why have there been no great women artists? (Links to an external site.) ARTnews. Retrieved from http://www.artnews.com/2015/05/30/why-have-there-been-no-great-women-artists/
Vickery, A. (Writer), & Hodgson, J. (Director & Producer). (2014). The Story of Women and Art: Episode 3 (Links to an external site.) [Episode in series]. In R. Wilson & L. Hartford (Executive producers), The story of women and art. Retrieved from https://fod.infobase.com/OnDemandEmbed.aspx?token=86590&wID=100753&plt=FOD&loid=0&w=640&h=360&fWidth=660&fHeight=410
Reilly, M. (2015, May 26). Taking the measure of sexism: Facts, figures, and fixes (Links to an external site.). ARTnews. Retrieved from http://www.artnews.com/2015/05/26/taking-the-measure-of-sexism-facts-figures-and-fixes/
Guerrilla Girls. (2015, August 29). Guerrilla girls 30th birthday exhibition introduction video (Links to an external site.) [Video file]. Retrieved from https://youtu.be/ebYiHRWNdC8
Joy Harjo (2019). Poetry Foundation (Links to an external site.). Retrieved from https://www.poetryfoundation.org/poets/joy-harjo
VIDA: Women in literary arts (Links to an external site.). (http://www.vidaweb.org/)
Simons, M. A., Benjamin, J., & de Beauvoir, S. (1979). Simone de Beauvoir: An interview. Feminist Studies, 5(2), 330-345. Retrieved from http://www.feministstudies.org/home.html
Chicago, J. [Judy Chicago]. (2012, October 3). The dinner party a tour of the exhibition (Links to an external site.) [Video file]. Retrieved from https://youtu.be/9yMtdWxAc60
Brooklyn Museum. (n.d.). Components of the dinner party (Links to an external site.). Retrieved from https://www.brooklynmuseum.org/eascfa/dinner_party/home/
Carrie Mae Weems (Links to an external site.). (http://carriemaeweems.net/)
Joy Harjo (Links to an external site.). (http://joyharjo.com/)
Maya Lin Studio (Links to an external site.). (http://www.mayalin.com/)
Gilman, Charlotte Perkins, 1860-1935, Herland (Links to an external site.). (n.d.). Retrieved from http://web.archive.org/web/20080517102519/http://etext.lib.virginia.edu/toc/modeng/public/GilHerl.html
Smithsonian American Art Museum. (n.d.). Edmonia Lewis (Links to an external site.). Retrieved from https://americanart.si.edu/artist/edmonia-lewis-2914
Edmonia Lewis (Links to an external site.). (https://www.edmonialewis.com/)
Zora Neale Hurston Digital Archive (Links to an external site.). (http://chdr.cah.ucf.edu/hurstonarchive/)
Isadora Duncan International Institute. (n.d.). Biography of Isadora Duncan (Links to an external site.). Retrieved from http://www.idii.org/isadora/
The Library of Congress. (n.d.). Special presentation: Katherine Dunham timeline (Links to an external site.). Retrieved from http://memory.loc.gov/diglib/ihas/html/dunham/dunham-timeline.html
The Art History Archive. (n.d.). Atremisia Gentileschi (Links to an external site.). Retrieved from http://www.arthistoryarchive.com/arthistory/baroque/Artemisia-Gentileschi.html
All Poetry. (n.d.). Gaspara Stampa (1523-1554) (Links to an external site.). Retrieved from http://allpoetry.com/Gaspara-Stampa
Amaro Lagrimar, XVII, on refusing to remarry (Links to an external site.). (n.d.). Retrieved from http://www.jimandellen.org/justifying.refusal.html
Amaro Lagrimar, XXIV, to Mary Magdalene (Links to an external site.). (n. d.). Retrieved from https://davidandalicepark.wordpress.com/home-2/poetry/the-sonnets-of-louise-labe/
David and Alice Park Science and Humanity: One Culture. (n.d.). The sonnets of Louise Labé (Links to an external site.) [Blog post]. Retrieved from https://davidandalicepark.wordpress.com/home-2/poetry/the-sonnets-of-louise-labe/
Brundin, A. (2005). Colonna, Vittoria (1490-1547) (Links to an external site.). Retrieved from the University of Chicago Library, Italian Women Writers website: http://www.lib.uchicago.edu/efts/IWW/BIOS/A0011.html
National Museum of Women in the Arts, Clara Database of Women Artists. (2018, November 14). Sofonisba Anguissola (Links to an external site.). Retrieved from http://clara.nmwa.org/index.php?g=entity_detail&entity_id=116
Poetry Foundation. (n.d.). Gaspara Stampa (Links to an external site.). Retrieved from http://www.poetryfoundation.org/bio/gaspara-stampa#about

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After reading the first three chapters of Herland, write three to four pages in

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After reading the first three chapters of Herland, write three to four pages in which you answer one or more of the following questions about gender and society that Gilman embedded within the Herland narrative:
How do the status of and attitudes toward women during Gilman’s time compare to the lifestyle of women in Herland?
How does Gilman challenge widely held views about women’s nature, which began as early as the Renaissance lady, reappeared as the Victorian ideal, and were still present in 1915 when Herland was published?
Remember that in 1915, women in America still did not have the right to vote even while the “new woman” was emerging with modernism and innovations.
Be sure to provide page-referenced examples from the assigned chapters from Herland to illustrate your view.
Finally, what attitudes about women (gender ideology) and limitations on women’s lives do you see in your own lifetime?
What changes have occurred compared to Gilman’s lifetime (1860–1935)?
Gilman, Charlotte Perkins, 1860-1935, Herland (Links to an external site.). (n.d.). Retrieved from http://web.archive.org/web/20080517102519/http://etext.lib.virginia.edu/toc/modeng/public/GilHerl.html

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For this journal assignment, analyze how the dynamics of privilege and power pla

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For this journal assignment, analyze how the dynamics of privilege and power played a part in woman’s creative expression during the 1600s and 1700s (sometimes called the Baroque era). In your discussion of power and privilege, address at least one of the following categories in addition to gender: race, class, or ethnicity. As you reflect on this topic, consider some of the following relevant questions:
Did the creative woman benefit from family support or professional networks or was she excluded from them?
Were training, education, and networking available to her?
If she did challenge existing power structures (for example, religion, social custom, laws, etc.), how successful was she in doing so?
Use supporting examples from at least two creative women from different genres (for example, music and sculpture) of this era from our required or recommended resources. Be sure to provide examples from their work (poems, paintings, sculpture, music, excerpts from larger writings, etc.) to support your discussion.
Resources:
Buja, M. (2015, April 20). Women in Baroque music (Links to an external site.) [Blog post]. Retrieved from http://www.interlude.hk/front/women-baroque-music-blog/
Gotoh, N. (2017, March 8). Top six women Baroque composers (Links to an external site.). Retrieved from https://bachtrack.com/baroque-month-top-six-women-composers-march-2017
Longdon, V. (2019, January 4). This is the amazing story of Baroque composer Barbara Strozzi (Links to an external site.). Retrieved from https://www.classicfm.com/discover-music/barbara-strozzi/
Nishinaga, M. (2015, March ) A pioneering French composer (Links to an external site.). Retrieved from http://journal.juilliard.edu/journal/1503/elisabeth-jacquet-de-la-guerre
Vickery, A. (Writer), & Hodgson, J. (Director & Producer). (2014). The story of women and art: Episode 2 (Links to an external site.) [Episode in series]. In R. Wilson & L. Hartford (Executive producers), The story of women and art. Retrieved from https://fod.infobase.com/OnDemandEmbed.aspx?token=86589&wID=100753&plt=FOD&loid=0&w=640&h=360&fWidth=660&fHeight=410

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