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The Enlightenment: History, Documents, and Key Questions

The Enlightenment: History, Documents, and Key Questions

Based on the most recent scholarship, this book provides students and interested lay readers with a basic introduction to key facts and current controversies concerning the Enlightenment. Provides the Enlightenment in various formats, thereby enabling students to better understand and fully appreciate its causes and effects Develops critical thinking skills through the interplay of primary and secondary sources Includes argumentative essays that showcase the diversity of informed opinions on the modern Enlightenment Supports NCHS World History content standards for Era 6, Standard 2E

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The Office Sex Forum: Denise – Lust in the Documents Storage Room

The Office Sex Forum: Denise – Lust in the Documents Storage Room

Welcome to the International Insurance Association. At this firm, the associate sales people have built an online portal called the Office Sex Forum. Everyone in the office can use this to gossip about their bosses and to arrange for hot and discrete casual encounters in the office. Fresh out of college, Denise joins the firm and gets an introduction to the naughty secrets of the office. WARNING: Hot and sizzling sex are included in this story. For ages 18+ ONLY.

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Photographer Carolyn L. Sherer Documents ‘Living in Limbo: Lesbian Families in the Deep South’

Carolyn L. Sherer began photographing lesbians and their families in Birmingham, Alabama, in 2011.

Still one year before President Barack Obama even announced his support for same-sex marriage, the risks for these queers in the south — which could (and still can) range from intimidation to physical violence — were high. In fact, many of the subjects chose not to reveal their faces in Sherer’s photos.

Now, “Living in Limbo: Lesbian Families in the Deep South” has become an important historical document that shows the public LGBT families exist and thrive in all parts of America — even its most conservative pockets.

The Huffington Post spoke with Sherer this week about the legacy of the project and what she was trying to accomplish by bringing visibility to these experiences. Check out photos from “Living in Limbo: Lesbian Families in the Deep South” along with Sherer’s interview below.


What was your overarching vision for this “Lesbians Living In The Deep South”?
In terms of content, my work is about authenticity and a search for common humanity in marginalized groups. I am interested in exploring issues of identity and always work in series to document individual stories to create a composite portrait of a community.

In this case, a specific incident inspired me to put a face on my previously invisible lesbian community in Birmingham, Alabama. When my friend was keeping vigil by her partner’s hospital deathbed, the brother of her beloved locked Kay out of their home. The police had to let her into the house to get a change of clothes to wear to the funeral. Worse, at the memorial service their close heterosexual friends said they did not know the couple was gay — or that gay people could be treated that way in Alabama. I realized that the distinctly southern “don’t’ ask, don’t tell” culture had to end.

ilian andrienne
Ileana and Adrienne

Conceptually, I fretted about how to make the work in a way that the participants could feel safe. I departed from my tradition of environmental portraits to make studio shots. Yes, the format provides the viewer the opportunity to focus on intimacy and relationships, but it was also a practical decision in terms of protecting participant privacy. It’s important to understand that this work was created in 2011 in a deeply conservative southern state. I did not know the potential for consequences, and at the time it felt quite risky to many of the women I approached. Each family decided to face the camera or not, and whether to include any children in the family. They were given complete control of their environment, choosing what to wear and how to stand. While being photographed, participants were asked to focus on their feelings about three words delivered in series: Lesbian, Pride and Prejudice.


kate claire
Katie and Claire

Who are the individuals featured in these photographs?
40 lesbian families with diverse racial and socioeconomic backgrounds — all with roots in the Birmingham, Alabama area. The act of participation in most cases was a decision to come out of the closet — at least in more public circles.

It was my coming out story too.

kay barbara
Kay and Barbara

kc diedra
KC, Deidra and Christian-Taylor

Did these families have any hesitation or worries about taking part in this series?
Initially, yes, many of my friends refused to participate due to fear of consequences. After the Birmingham Civil Rights Institute (BCRI) agreed to show the work and I got public endorsements from the Birmingham Museum of Art and Southern Poverty Law Center, things loosened up considerably. The value of the early support of BCRI can’t be underestimated. Remarkably, this work was already on the walls in 2012 when President Obama and the NAACP endorsed gay marriage. It attracted nearly 17,000 visitors in a two-month run and prompted much private and public dialogue about who is entitled to equality.

marge shirley
Marge and Shirley

mary polly
Mary and Polly

Why is visibility such as this important for LGBT people living in the south?
The Birmingham Civil Rights Institute is hosting travel of “Living in Limbo: Lesbian Families in the Deep South” as part of its mission to advocate for human and civil rights. In spite of the fact that they live in the heart of the Civil Rights Movement, the LGBTQ community in Alabama lacks a single law protecting them from discrimination. People do still lose jobs and child custody because of their sexual or gender identity. I hope that individuals living in liberal areas of the country can remain aware of the implications of making equality a state’s rights issue.

I want the viewer to feel a quiet intimacy, and wonder about the reality of the lives of the people they see.

mary rebecca
Mary and Rebecca

Hassan, Cadesia, Lee, Joette and Tony

Want to see more from Carolyn L. Sherer and her series “Living in Limbo: Lesbian Families in the Deep South”? Head here.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Arts – The Huffington Post
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‘Inside Out: Portraits Of Cross-Gender Children’ Beautifully Documents Transgender Kids

For the past 12 years, Dutch photographer Sarah Wong has documented the lives and experiences of a group of children who have transitioned — or are in the process of transitioning — to live as their authentic selves.

Wong captured these images of children involved with VU University in Amsterdam, where they engaged in a type of therapy that aimed to support children who experience gender dysphoria. A number of these kids took or have taken puberty blockers in order to delay the effects of puberty until they decide how they want to live their lives. However, the photos were taken at the kids’ homes, schools, ballet classes — spaces where they felt most comfortable.

Wong shared the images with the world through a book called Inside Out: Portraits Of Cross-Gender Children, published in 2011. A medical research journalist from the Dutch Volkskrant newspaper, Ellen de Visser, wrote the book’s text.

The Huffington Post chatted with Wong this week about the children in these photos, as well as her own experiences documenting the lives of these kids.

ballet girl 2005
Ballet Girl, 2005

The Huffington Post: Who are the children captured in these photographs?
Sarah Wong: These are Dutch, cross-gender children aged 5 up to 17. I photographed them since 2003 by request of their parents. I worked as a photographer in health care and had just finished a photo book about a children’s hospital. We met, and the cross-gender children immediately touched my heart.

balletgirl 2010
Ballet Girl, 2010

boy with swimming suit 2009
Boy with swimming suit, 2009

“At the end we’re all the same — souls who want to be happy and live compassionately.”

What was your goal/intention with photographing these children?
My goal was to help them to find happiness. With their portraits I wanted to empower them — no sensational journalistic approach. Not a boy in a dress or a girl with a football. When people saw the portraits they said, “lovely children, but who are they?”

The photographs showed lovely children, with a strong consciousness: this is who I truly am. At the end we’re all the same — souls who want to be happy and live compassionately.

boy with swimming suit 2010
Boy with boxing trainer, 2010

girl 2003
Girl, 2003

boy 3 2007
Boy, 2007

What were the experiences of these children like at this European clinic?
The children had very good experiences at the VUmc because of the puberty blockers. The greatest nightmare from a cross-gender child is your body growing the wrong direction. A boy doesn’t want breasts and girls don’t want to have a beard. The puberty-blockers gave relief and thinking time, and they could grow up like “normal” teenagers.

boy3 2009
Boy, 2009

girl 2015
Girl, 2015

Why, as a photographer, is providing these stories and experiences visibility so important?
As an artist your work can have a great impact on public opinion. I was always very interested in identity and compassion and felt sometimes more like a psychologist or detective-profiler, than a photographer.

I realized very young, at age 21 in art school, that as an artist, your photographs can have a great impact on the public opinion. I was very much inspired by Robert Capa and Henry Cartier Bresson, Magnum photographers.

It’s very important for society to see these images — theres nothing sensational about transgender kids. Again, at the end we’re pretty much the same: we’re all souls who want to live happy and give meaning to our life and others.

It was during the project that I suddenly understood why these photos were incredibly important for the kids. They showed who they really were. The photographs were almost forensic proof for them.

Mostly, photography is about the emotions and ego from the artist. Well, during this project my ego shrunk every photoshoot because I was in service of them. And I liked very much the idea that the photographs we made were for a greater purpose. Unfortunately, I could never expose them in a museum because of the integrity of the children. Now that they’re older I’m looking for a great spot. Society and public opinion has changed.

girl 2003
Girl, 2003

girl 2009
Girl, 2009

princess on white horse 2012
Princess on white horse, 2012

What do you hope viewers take away from these images?
I truly hope The Huffington Post audience will take the compassionate way of looking. This means a way of looking with the heart — free from personal emotions.

If you get emotional with someone’s suffering you are not in a position of empowering someone. The very first doctor who helped these children was a pioneer as well. During the weekend he was a deacon in a church. The reason he wanted to help transgender gender people was because of this compassionate way of looking at them — not as a doctor but as a human being.

butterfly tableau 2010
Butterfly tableau, 2010

butterfly tableau 2012
Butterfly tableau, 2012

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Arts – The Huffington Post
ENTERTAINMENT NEWS-Visit Adults Playland today for the hottest adult entertainment online!

Understanding Adventures of Huckleberry Finn: A Student Casebook to Issues, Sources, and Historical Documents

Understanding Adventures of Huckleberry Finn: A Student Casebook to Issues, Sources, and Historical Documents

Since the time of its publication in 1884, "Adventures of Huckleberry Finn" has generated heated controversy. One of the most frequently banned books in the history of literature, it raises issues of race relations, censorship, civil disobedience, and adolescent group psychology as relevant today as they were in the 1880s. This collection of historical documents, collateral readings, and commentary captures the stormy character of the slave-holding frontier on the eve of war and highlights the legacy of past conflicts in contemporary society. Among the source materials presented are: memoirs of fugitive slaves, a river gambler, a gunman, and Mississippi Valley settlers; the Southern Code of Honor; rules of dueling; and an interview with a 1990s gang member. These materials will promote interdisciplinary study of the novel and enrich the student’s understanding of the issues raised. The work begins with a literary analysis of the novel’s structure, language, and major themes and examines its censorship history, including recent cases linked to questions of race and language. A chapter on censorship and race offers a variety of opposing contemporary views on these issues as depicted in the novel. The memoirs in the chapter Mark Twain’s Mississippi Valley illuminate the novel’s pastoral view of nature in conflict with a violent civilization resting on the institution of slavery and shaped by the genteel code of honor. Slavery, Its Legacy, and Huck Finn features 19th-century pro-slavery arguments, firsthand accounts of slavery, the text of the Missouri Compromise of 1820 and the Fugitive Slave Law of 1850, and opposing views on civil disobedience from such 19th- and 20th-century Americans as Ralph Waldo Emerson, Stephen A. Douglas, and William Sloane Coffin. Nineteenth-century commentators on the Southern Code of Honor and Twain’s sentimental cultural satire directly relate the novel to the social and cultural milieu in which it was written. Each chapter closes with study questions, student project ideas, and sources for further reading on the topic. This is an ideal companion for teacher use and student research in English and American history courses.
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