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Robinette Stiles
It was definitely stressful while I was writing the second book because of the tight timeline. However, I was happy with the way the story turned out because I was able to revise the first book and put in hints about the second book as well as tweak some of the details to ensure the flow of the story.
I am a physician, speaker, and writer, focusing on the intersections of healthcare, digital innovation, and policy. I completed an M.D./ J.D. dual-degree with distinguished honors. I was previously a strategy consultant for a global consulting firm, where I advised large corporations on enterprise performance and workflow success. I have focused my scholarship and work on how systemic changes to healthcare affect the realities of actual patient care and societal health outcomes. Specifically, I draw upon my clinical training, legal education, and background in strategy to analyze the operational, business, and political frameworks that impact clinical medicine, innovation in healthcare, and health policy. I am an avid reader of non-fiction books, and enjoy writing, public speaking, and biking in my free time.
Women and girls who play video games are often forced through gameplay to see the world as heterosexual men perceive it. As a result of the number of barriers a woman or girl must transgress to play video games, it is not surprising that many women only play games that they are introduced to through a male acquaintance, such as a brother, boyfriend, or male friend. These men and boys act as a bridge for women and girls into the video game space.
Close to 1,000 alumnae returned to Sewanee Oct. 31-Nov. 3 to celebrate the 50th anniversary of the arrival of women as students in the College. Their numbers and enthusiasm showed in a constant flow of hellos and hugs, in standing-room-only panel discussions and receptions, and in a sold-out (and then some) gala celebration.
Conclusions: Transvalvular flow rate determines prognostic value of AVA in AS. AVA measured at low flow rate is not a good prognostic marker and therefore not a good diagnostic marker for truly severe AS. Flow rate assessment should be incorporated into clinical diagnosis, classification, and prognosis of AS.
The Feminist Art Program began at the California Institute of the Arts in 1971 after an experimental year at Fresno State College under the name 'Women's Art Program'. The students in the program were admitted as a group when Chicago and Schapiro were hired at Cal Arts after Chicago found that the Fresno State College Art department was reluctant to embrace her vision of a new kind of female-centered art. It was their intention to teach without the use of authoritarian rules or a unilateral flow of power from teacher to student.[5]
The program utilized a method of teaching that relied on group cooperation. Students would sit in a circle and share their thoughts on a selected topic of discussion. The circular teaching method was intended to provide a "nourishing environment for growth" and to promote a "circular, more womb-like" atmosphere.[5] The goal of these discussions was for each woman to reach a higher level of self-perception, to validate their experiences, as well as the "search for subject matter" to incorporate into artwork and to address their individual aesthetic needs.[7] However, many students fostered resentments towards Chicago and Schapiro, claiming they were suffering from their own power trips. Chicago insisted her students feelings were the result of their own internalized sexism and unconscious manifestations of their difficulties dealing with female authority figures.[8]
The project's goals, as professed by Schapiro and Chicago, were to help students overcome some of the problems associated with being a woman. Many of the issues Chicago believed that the students needed to overcome were centered upon their lack of ability to perform traditionally masculine skills. Chicago pushed students to become familiar using equipment such as various tools, to become comfortable in their ability to be assertive, and to view themselves as a part of the work force not defined by their domestic roles.[9] It was thought that by teaching women to use power tools and proper building techniques, they would gain confidence and subsequently challenge the gendered expectations. Schapiro and Chicago believed that women could achieve more if society did not limit them and expect less from women than men.
The mansion contained a variety feminist installations, sculptures, performances and other forms of art. The artists creating Womanhouse did so, centralizing a white, cisgender, heterosexual and middle-class experience of womanhood in the early 70s.[18] By transforming a "woman's space" (such as a kitchen) into a radical feminist art, the artists truly made a statement.[19] Here they spoke out about women's issues, as well as criticizing the patriarchy. This helped women artists and architects in the pursuit of recognition and acknowledgement on the same level as men. Using a mansion as their chosen setting furthered their statement.[20]
If r'tu is based in blood, then ceremony, with its roots in ceres, cereal, and mony --- one of those "moon" words --- is based in bread. Bread is moon-cereal. Ritual takes place in seclusion and is the creative/decreative act. Ceremony takes place in public and is a display of the effects of ritual. Ceremony is the feast of what ritual provides, the display of what it has taught us. Ritual is the dark moon; ceremony is the full moon. In the ritual, the initiates are raw, naked, and bent low; at the ceremony, they are adorned, finished, and standing. [3] The menstruants emerge, are washed, combed, dressed, and set to cooking. The village arrives, the men in their spirit masks, the women with their overflowing bowls and baskets, the musicians with their flutes, rattles, and drums --- and everybody celebrates. Bad spirits fade into the background. Good spirits dance.
The carrot plants, inedible in our terms when first cultivated, provided dye and an agent of menstrual synchrony and then were selected, watered, and encouraged to produce the big edible red roots horses love, and the varied tender sweet orange roots humans love. Carrot varieties now come in shapes from globular to penile, making them a metaform with some of the properties of Snake, and thoroughly suitable for a yearly festival of exchanges between the genders. That the red roots were equated with menstrual blood of the earth seems logical and congruent with other peoples who saw the red flesh of the yam as woman's blood.
The practice of steaming or "roasting" both menstruants and women in childbirth make it clear that fire is deeply connected to the fundamental blood metaform. Women aided the synchronization of their periods with steam baths, dancing, and massage. [27] In some South American tribes, the menstruant was wrapped in a hammock and hung over a fire to steam for long periods of time, or she might be hung near the fire hole to "fumigate." She fasted during this ordeal as well, emerging in an emaciated state, and sometimes dying of it. [28] Cooking fires were treated carefully during menstruation; in many tribes the menstruant had her own fire, which was extinguished after seclusion. In other tribes, she was not allowed to light a fire, as though its "purifying" nature would interfere with her natural flow, her power. Possibly, she was herself a threat to the vital element of fire. [p.118]
The making of pork sausage in rural Portugal is one such process. According to anthropologist Denise L. Lawrence, menstruating women still retain some of the older customs: they stay out of the sun, drink nothing cold, and do not eat ice cream. [29] They do not bathe or wash their hair during menses. A major event of the year is the preserving of a pig in the form of sausage, an event surrounded with taboo. A menstruating woman cannot enter the house during the procedure, lest a glance, however inadvertent, spoil the meat. Her menstrual gaze "is the means by which contamination is communicated from her body to the meat. But it is not her casual glance that is feared. Rather, it is the fixed gaze (otho fixo), or stare, that is believed to cause the pork to spoil." [30] Since this gaze can be accidental, her menses exerting inexorable control over her, and since no one can know when during her period this power is upon her, it is safer if all menstruating women are banned from the house during the time of sausage making.
The rhyme that accompanied my mother's presentation of the pie, sung in her quavery, off-key voice, was "Can she bake a cherry pie, Billie Boy, Billie Boy, can she bake a cherry pie, charmin' Billie?" This courtship song implies that what makes a woman marriageable, in menarchal terms, is her ability to present an appropriate metaform of her initiation into adulthood. Apple pie, cherry pie, strawberry rhubarb pie --- round shapes with metaformic red interiors, served on special occasions --- a gift women present to the family, a sacred pie. (That isn't how I approached my mother's pie, however; I greedily sneaked in when no one was looking and stole cherries from under the beautifully latticed crust. And I was always caught, and chastized in such a manner as to tell me she was pleased I loved her pie so much.)
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