After watching the TED talk by Johnathan Katz and doing additional research. address the following questions.
Given the way that sexuality of women is depicted in advertisements. is it possible to change cultural values and myths around sexual violence? What is the responsibility of boys and men in reducing rape and violence against women? What can women do to change the culture?
'Without Her' – Dante Gabriel Rossetti Framed in 1848, the Pre-Raphaelite Brotherhood comprised of a gathering of youthful craftsmen who wished to divert from the traditions of the workmanship foundation and found another development that took its motivation from the more 'crude' specialty of the medieval and early Renaissance period. Dante Gabriel Rossetti was one of the establishing individuals from the gathering and went about as a stimulating power to alternate craftsmen. Rossetti himself, however, was never solely given to painting. Isolating his time among painting and verse, he was to a limited extent in charge of the gathering's utilization of scholarly subjects and images in their work and also for the printing of the gathering's fleeting artistic diary, The Germ. A critical number of his ballads were composed to enhance painted subjects and his philosophical thoughts regarding painting were likewise contended in his lyrics. Following the passing of his significant other, Elizabeth Siddal, huge numbers of his lyrics were engrossed with affection and demise. It is trusted that his conjugal betrayals, together with his experience of becoming hopelessly enamored with the spouse of his companion, William Morris, prompted sentiments of blame and regret and impacted the negative tone of his later ballads (Wilmer, 1991, 7-21). Walter Pater (1889, 230) remarks upon the 'definiteness of sensible symbolism' and the 'minute and distinct' regard for visual detail in Rossetti's work and it is absolutely the situation that the imagery of 'Without Her' is grounded specifically physical articles which are depicted with a painterly eye and with the commonplace Pre-Raphaelite thoughtfulness regarding the detail of nature. However Rossetti is additionally worried about the sound and rhythms of verse. He made an interpretation of Italian section into English and his poem grouping, The House of Life, demonstrates that impact, especially in his utilization of Petrarch's model of the work cycle. The poem 'Without Her' is composed in the Petrarchan frame, its fourteen lines of predictable rhyming organized as an octet pursued by a sestet. The rhyme plot, abbaabba cddccd likewise pursues this tradition. Be that as it may, inside this system, Rossetti every now and again subverts the frame, particularly in unpredictable examples of mood and worry, with the end goal to pass on the weight of feeling. This anomaly of mood is available in the opening line, which breaks in the center and afterward keeps running on to the second line. Rossetti rejects the typical rhyming mood, starting the line with the focused on word 'What' and finishing with two focused on words 'clear dark'. The second line has a comparable example, differed in the center, however again starting with a focused on word, 'There' and finishing with the twofold worry of 'moon's face'. To include more noteworthy accentuation, he makes utilization of similar sounding word usage in the hard g of 'glass' and 'dim' in the clench hand line and the sound similarity of 'pool' and 'moon', 'there' and 'where' in the second. Straddling these two lines, the similar sounding word usage of 'clear' and 'visually impaired' additionally echoes the consonant 'l' from 'glass' and 'pool'. The phrasing of these lines is misleadingly basic, made up all things considered of single-syllable words. In any case, these pictures work emblematically, rehashing pictures, for example, the mirror, the pool and the moon that have happened somewhere else in The House of Life (for instance, in XLI, 'Through Death to Love' and in the 'Willowwood' succession, XLIX-LII). His lost sweetheart is connected with the moon – a regular image of gentility – and the mirror that had recently mirrored her essence is currently vacant. In the second match of lines, Rossetti proceeds with this example of unpredictable burdens. Similarly as the lose faith in regards to the principal lines is underlined by the twofold worry of 'clear dim', so the third line contains the expression 'hurled void space'. The 's' sound in 'dress' in taken up by 'hurled', 'space', 'whence' and 'passed' and the nonattendance of the moon is repeated. In the second quatrain, Rossetti subverts the desire that he will make sets of lines that break amidst the first and keep running on to the second's end; rather, three continuous lines are broken in the center and keep running on to the following. Just the last line of this quatrain is a finished. In this more noteworthy metric inconsistency, Rossetti demonstrates a more prominent passionate fomentation, particularly in the shout 'Tears, ah me!', trailed by the triple worry of 'affection's great beauty', with its alliterative 'g' sounds adding weight to the inclination. Once more, he utilizes similar sounding word usage for accentuation, particularly when alluding to the bed from which she is missing as 'her cushioned place', which gets the 'p' sound from 'ways' and 'designated' in the past line. While the octet utilizes four solid occasions from the outward physical world to speak to the nonappearance of the adored, the sestet swings internal to the core of the writer. With the inquiry 'What of the heart without her?', the ballad ends up self-reflexive in its tone and these six lines additionally start to have a more standard metrical musicality. The abrogating picture is of the 'wayfarer' who is 'exhausted' and 'working'. The vacancy of his reality is consequently stressed by a more settled musicality, which speaks to the dull give up all hope of a desolate voyage through life. Especially viable are the last four lines, in which the style is ruled by words, for example, 'infertile', 'chill', 'soak', 'exhausted', 'murkiness' and 'working'. The redundancy of the match of words 'the long' in the penultimate line demonstrates that the writer sees his life as a progression of monotonous reiterations without his adoration. Moreover, this redundancy is taken up in the last line with the alliterative expression 'multiplied haziness', where the cloud and the wood wind up severe to the artist, feeling as he does that his life comprises of 'working' up a lofty slope. All through the poem, the expression 'without her' has repeated multiple times thus the last pictures of 'multiplied obscurity's takes up this feeling the artist feels pain as a sort of consistent reiteration of vacancy and murkiness which is reflected in the redundancies that he finds in the common world around him. In the utilization of such visual symbolism, Rossetti has along these lines composed a piece where his painterly eye supplements his artist's ear to make a combination of the two works of art to which he committed his life. List of sources Essential sources Rossetti, Dante Gabriel, 1928. The House of Life: A Sonnet-Sequence, Paul Franklin Baum, ed., Cambridge: Harvard University Press. Rossetti, Dante Gabriel, 'Without Her' (with printed notes) got to at http://www.rossettiarchive.org/docs/26-1871.raw.html Optional Sources Pater, Walter, 1889. 'Dante Gabriel Rossetti', in Appreciations, with an Essay on Style, got to at http://www.rossettiarchive.org/docs/pr99.p32.rad.html Wilmer, Clive, 1991 'Presentation', in Rossetti, Dante Gabriel, Selected Poems and Translations, Manchester: Carcanet.>GET ANSWER