Fairfax High School (Fairfax, Virginia)

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Fairfax High School is a public high school in the eastern United States, located in Fairfax, Virginia, a suburb west of Washington, D.C. The school is owned by the City of Fairfax, but is operated by Fairfax County Public Schools as part of a contractual agreement.

The school building, opened 46 years ago in 1972, is located on Old Lee Highway in eastern Fairfax City. In 2007, FHS underwent a $54 million renovation designed by architectural firm BeeryRio7. Renovations began in March 2005 and added 86,500 sq ft (8,040 m²). of classroom space. Student size has increased at such a high rate that three trailers have been installed.

The previous campus (1936-72) on Fairfax Boulevard is now Paul VI Catholic High School.

Video Fairfax High School (Fairfax, Virginia)

Demographics

For the 2013-2014 school year, Fairfax High School's student body was 41% White, 25% Asian, 20% Hispanic, 9% Black, 0.2% Native American, 5% Other.

Maps Fairfax High School (Fairfax, Virginia)

Principals

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Known for

Fairfax High is known for having high AP exam scores and SAT scores annually. Fairfax High has a large White and Asian population, these two ethnic groups make-up 65% of the school.

The school is especially known for their marching band, state champion cheerleading team, state champion girls' swim and dive team, 7th consecutive district champion field hockey team, high school academy, AVID program, yearly AP Boot Camp, City of Fairfax-sponsored annual performing arts program in April Spotlight on the Arts, Math Creative Classrooms Program, New Chinese Language Program, Pride Time, Professional Learning Communities, Marimba program, Rewards and Remediation Program, College Success Program, and the best DECA chapter in the State of Virginia which is also ranked top 10 in the world.

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Test scores

Fairfax High School is a fully accredited high school based on the Standards of Learning tests in Virginia. The average SAT score in 2009-2010 for FHS was 1657.

Rankings

In 2010-2011, Fairfax High School was ranked the nation's 201st best high school.

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Athletics

Fairfax's nickname is the Rebels, and the athletic teams currently compete in the AAA Liberty District and Northern Region. The closest high schools to Fairfax are Oakton (1.9 miles (3 km) north) and W.T. Woodson (2.4 miles (4 km) south). The Northern Region was realigned for the 1994-95 school year, with Fairfax moved to the Liberty District, and Annandale to the Patriot District. Without district competition, the rivalry with Annandale has lessened, and Fairfax's main rival is now nearby W.T. Woodson.

In athletics, Fairfax is probably best known for the strong football teams that it fielded under the guidance of three successful head coaches. The first was Dick Claypool (1961-78), with the most wins at Fairfax. He left after the 1978 season and the football program languished until the fall of 1983.

Francis Dall was hired by Athletic Director Pat Laing as Head Coach in 1983 and led the Rebels from 1983-88. Pat Laing also hired long time Wrestling Coach Mitch Sutterfield in the early 1980s as well as long time Basketball Coach Steve Henry & Field Hockey Coach Starr Karl. Coach Dall's arrival changed the culture at FHS and helped propel Fairfax High School Altheltic teams for the next 15 years. Dall turned FHS sports from losing programs into winning programs. Dall hired friend & UVA roommate Tom Verbanic who would succeed Dall as Head Coach & lead the FHS Baseball successfully from 1986-1999. Dall hired two coaches from West Springfield High School former West Springfield Head coach Bill Hanley (FHS Softball Head Coach) & Pete Gallagher. Dall hired assistants Mike Kowalski, Mike Campbell, Clevland Lott, Dan Keating & kept holdovers Mitch Sutterfield & Lyndsey Ott. Fairfax football teams under Dall made the VHSL Northern Region playoffs for the 1st time under Dall with the 1987 was 7-3 reaching the Division 5 Northern Region Final to Marshall High School. In Dall's final season Fairfax went undefeated for the first time going 10-0. The 1988 team defeated 70's & 80's rival and powerhouse Annandale High School for the first time since 1973. The 1988 season ended poorly as the team suffered a shocking first round loss to West Potomac High School 20-13. In early January 1989 Coach Dall stunned everyone and stepped down as Head Coach of Fairfax to take a similar position at Lake Braddock High School.

In 1989 Tom Verbanic succeeded his friend Francis Dall. Verbanic only elevated the Fairfax High School football program which Dall had transformed starting in 1983. His teams achieved perfect 10-0 regular seasons in 1991, 1998, and 1999, but the team's greatest success came in 1994. That team was 9-1 in the regular season, with the only loss being a 17-0 drubbing to rival Annandale in Week 2. Before losing in the state semifinals, the team captured the school's only Northern Region football title, by way of a closely contested 15-14 win over West Potomac. Fairfax's record in 1994 was 11-2, with the only losses being to teams that won state titles in the largest classifications - Patrick Henry-Ashland (AAA Division 5 and Annandale (AAA Division 6)).

Following the 1999 season, Coach Verbanic left Fairfax to start the football program at the newly opened Westfield High School. Westfield's Director of Student Activities was Francis Dall, Verbanic's college roommate at the University of Virginia. Prior to his current role, Dall was an extremely successful head football coach in his own right at Lake Braddock, which had the most wins of any high school in the Northern Region in the 1990s.

Following Coach Verbanic's departure, Fairfax has returned to the playoffs twice; in 2009 and 2010. To understand how far the program has fallen, one only has to look at the 2007 season, which resulted in a second straight 1-9 record, including being shut out six times and allowing 322 points. By comparison, the 1994 team only allowed 90 points during the regular season, and 153 points including the three playoff games. The 2016 season was by far one of the worst seasons in recent memory as the team finished 0-10.

Most recently the Rebel Pride brought home the state title for ceerleading (2009, 2013), the school's second and third atate titles (first being in Swim & Dive). The Fairfax HS Cheer Program is under the direction of Head Coach Wes Vaughan.

Fairfax athletes who have been first team All-Met selections by the Washington Post, since the 1990-91 school year:
2014-15:Rachel Barborek (Gymnastics),
2013-14: Nick Scott (Football), Kiana Sherlund (Softball), Joe Rice (Soccer)
2010-11: Samantha Cormode (Soccer)
2009-10: Kevin Dowd (Boys Cross Country), Joey Kelly (Boys Swimming), Kelli Stockton (Girls Swimming)
2008-09: Sidarth Balaji & Jason Luu (Tennis)
2007-08: Emily Ferguson (Swimming), Coach Matt Salerno (Girls Swimming), Sidarth Balaji (Tennis), Lauren Palmucci (Tennis)
2006-07: Gina Winters (Soccer), Sidarth Balaji (Tennis)
2005-06: Gina Winters (Soccer)
2001-02: Sean Doolan (Gymnastics, Gymnast of the Year), Ray Hacker (Gymnastics)
2000-01: Matt Johnson (Golf), Coach Mike Personick, Sean Doolan & Ray Hacker (Gymnastics), Adam Jelinek (Soccer)
1999-2000: Brandon Royster (Football), Matt Johnson (Golf), Sean Doolan & Ray Hacker (Gymnastics)
1998-99: Brad Thomas (Football), Coach Milt Papke (Golf), Sean Doolan & Ray Hacker (Gymnastics)
1997-98: Katie Silverthorne (Field Hockey), John Eastman (Wrestling, Co-Wrestler of the Year)& Justin Potter (Wrestling), Inhar Chong (Outdoor Track)
1996-97: John Eastman (Wrestling), Melanie Brophy (Softball), Inhar Chong (Outdoor Track)
1995-96: Chuck Freeman (Baseball), Linda Young (Softball)
1993-94: Coach Lisa Burner (Field Hockey), Heather Schnelzer (Gymnastics)
1992-93: Tina Boyce (Field Hockey), Heather Schnelzer (Gymnastics)
1991-92: Britta Connolly, Amber Moshos (Field Hockey), Heather Schnelzer (Gymnastics), Earl Smith (Indoor & Outdoor Track)
1990-91: Carrie Hartley (Field Hockey), Katie Gultnieks (Tennis), Mara Cunningham (Basketball), Jamie Dykes (Girls Soccer), Bill Pulsipher (Baseball, Player of the Year) , Brian Buchanan (Baseball)

Johnny Reb Controversy

The previous mascot of Fairfax High School was a caricature of a Confederate soldier known as "Johnny Reb" (see picture at left). Due to complaints from students and parents, and at the suggestion of the school's Minority Achievement Task Force, the principal (Harry Holsinger) removed the Johnny Reb symbol in 1985. Student protests, rallies, and a lawsuit followed, which challenged the principal's actions as violating the First Amendment guarantees of free speech. In Crosby v. Holsinger, 852 F.2d 801 (4th Cir. 1988), the 4th Circuit Court of Appeals affirmed the federal district court decision in favor of the principal. After Johnny Reb was removed, the mascot was a set of crossed swords, and an unusual mascot, that resembled a ball of lint, called the Rebel Rouser. Though the school maintains its nickname of the Rebels, the mascot for Fairfax High is now a lion.

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Curriculum

Fairfax High School currently follows the Virginia Department of Education curriculum. The school also hosts Fairfax Academy: School for the Arts, which includes classes such as graphic design and photography. The Academy also features Korean and Chinese. The school has a strong AVID Program, a Reward and Remediation Program, and Honors programs in all areas.

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Extracurricular activities

Clubs

Find out more about clubs: http://www.fcps.edu/FairfaxHS/clubs/newclub.htm

Chorus

The Fairfax High School Choral Department is currently under the direction of Luke Frels and consists of five ensembles divided by skill level, as well as by the requirement of audition. A beginning group, Women's Concert Choir which is available to freshman women only. Intermediate groups, Men's Ensemble and Select Women's Choir which are made available to men in grades 9-12 and women in grades 10-12. Finally, the two auditioned advanced choral groups, Bel Canto, a group of select women in grades 10-12 and Voce, a selective mixed ensemble for students in 10-12th grades. The choral department also has two extracurricular groups the Show Choir, Fairfax Fame, and Rebel Treble, an auditioned student-led mixed a Cappella ensemble. Approximately 110 students participate in the Fairfax choirs.

Fairfax choral students also participate in District Chorus, Virginia Honors Choir and All-State Chorus, as well as a regional competition trip in the spring. Choral groups perform music of many periods and styles and develop musicianship through vocal technique, sight-reading, and music theory. The choir program holds several concerts over the course of the year, the largest, Spring Show is held in early May and a Cabaret is held in the early winter. In addition to the choral concerts held at FHS, students have performed in the Fairfax musicals, at the Fairfax Festival of Lights, George Mason basketball games, corporate parties, Fairfax Corner, the New York City Festivals of Music, Heritage Festival in Atlanta, Georgia, the Smoky Mountain Music Festival in Gatlinburg, Tennessee and Festival Disney.

Band

Fairfax has a strong band program, including a marching band which has won numerous championships. Included in the Rebel Band is the Fairfax High School Drumline, which placed third in the Atlantic Indoor Association (AIA) championships in North Carolina in 2006, third in 2010, and second in 2011. In 2009, they performed in Dayton, Ohio for Winter Guard International and received 4th place in their preliminary group and 18th in semifinals. Overall, they placed 18th out of 60 groups. Other teams that accompany the Band program are the Fall Guard (competes with the marching band) and the Winterguard (competes separately). The Fairfax High School Band was under the direction of Ms. Meghan Benson, and won second place at a band competition at the Smoky Mountain Music Festival, in Gatlinburg, Tennessee in the spring of 2008. The Marching Band won third place in the local 4 July Parade independence Day celebration, and was awarded $2000 in 2008. At the end of the 2008 Marching Rebel season the band received a 1- Superior rating at the VBODA Championships. The Fairfax High School Band Program received a superior rating at both Marching and Symphonic Band festivals making it eligible to receive the award of Virginia State Honor Band for the first time in the school's 75-year history. The band has repeated the feat every year since. Because of the work of the Marching Band and Symphonic Band along with the work of the orchestral and choral departments, Fairfax was able to earn the title of Blue Ribbon School for the performing arts, which is achieved by Superior ratings at VBODA state marching festival, and a Superior rating for each of the top performing groups at District Festival. At the competition on their spring trip in the year 2009 to Orlando, Florida, the Rebel band placed second in its class by a margin of less than one point and received the Silver Award Overall in Festival Disney.

Marching Rebels

In its 2009 season, the Marching Rebels won all of the competitions they competed in and got awards for quality music and general effect. They performed the show called Heroes, Gods and Mythical Creatures and performed at the Herndon USSBA Regionals, the Oakton Classic, and the James Madison University Parade of Champions. The Rebels placed first in Class 3A in the Herndon Showcase of Bands without proper uniforms which were destroyed in a flood due to a heating malfunction, also received first at the Oakton Classic. At the final major competition, the band placed 1st in Class 3A with a score of 84.75. At the VBODA state marching festival the rebels received a superior rating and got straight 1s from all of the judges. The symphonic band received straight 1s the following spring to complete the Virginia Honor Band title.

The 2010 season was also a great success with the show "Nautilus", with the Marching Rebels winning 2nd place in class 3A at the Herndon USSBA regionals (short to Thomas Jefferson by a fraction of a point), 1st place at the Oakton Classic, 1st place at the JMU parade of Champions, and straight 1s from all of the judges at the VBODA state marching festival. The symphonic band received straight 1s the following spring to complete the Virginia Honor Band title.

The band has quickly become one of the best bands in the state and has become widely renowned for its fantastic sound and quick rise to success.

The new band director was welcomed to Fairfax Band in the year of 2011-2012. The new director, Alan P. Johnson led the Marching Rebels into MANY championships. The Fairfax Marching Rebels got 1st place in all competitions and even won the Esprit de Corps award by the Navy. It is awarded to the band with the most professionalism and patriotism etc. The 2011 season was also a great success with the show "The Struggle Within".

In the 2012 season of the Fairfax Marching Rebels, the band went to numerous competitions and won 1st place in almost all they performed in. The show, "Metamorphosis", was performed at James Madison University Parade of Champions and won them 1st place with a score of over 90 points. Also, the Fairfax Marching Band went to two Bands of America competitions and respectively won 4th and 6th place in the finals round of the competitions. Furthermore, they have won the VBODA state marching festival with a superior rating and straight 1s from all the judges.

Orchestra

The Fairfax High School Orchestra Department is currently directed by Gerald Fowkes. The Orchestra consists of three different levels; Beginning, Intermediate, and Advanced. Starting the 2010-2011 school year, Fairfax HS has added another orchestra group. The Beginning Orchestra focuses on basic elements of music education and teaches the student fundamentals to prepare them and educate them on music. Intermediate are 2 different orchestras designed to test and challenge the musicians at a higher level (VBODA pieces grade 4 and 5). And the Advanced Orchestra (playing grade 6 pieces) is the highest level in the Orchestra Department. There are approximately 100 students in the Orchestra program for the enrollment of the 2009-2010 school year. The Orchestra annually participates in District Festival in which the orchestra plays a series of pieces and is graded on them. Often it is believed that the experience is a competition between schools, but it is highly encouraged that the competition be amongst and within the students. The Orchestra also attends a Spring trip annually to various places in America. Some examples include Atlanta, Orlando, New York, and Gatlinburg. The past school year of 2009-2010, the Fairfax High School Orchestra went to Myrtle Beach, South Carolina for the annual Spring Trip. The Orchestra is also known for their pit appearances in school plays such as Beauty & the Beast and A Funny Thing Happened on the Way to the Forum.

In 2008-2009, The Fairfax High School Orchestra, along with the Chorus and Band Department earned the Blue Ribbon Award, which is awarded to a school in which the highest section of each music department receives Superiors at District Festival.

Theatre

The FX Players is the Drama Club at Fairfax High School. They are dedicated toward the promotion of theatre in every aspect. The current director is Erich DiCenzo.

Fairfax Theatre was honored by the Cappies organization with seven nominations, including Best Musical, for the 2009 performance of A Funny Thing Happened on the Way to the Forum, and was invited to perform the opening number at the Cappies Gala at the Kennedy Center in Washington, D.C. In Mr. DiCenzo's first year at the helm, Fairfax theatre achieved major success in 2014 with 13 nominations, including Best Musical, for its production of "9 to 5: the Musical". Fairfax continued its success in 2015 with nine nominations, again including Best Musical, for its production of "Big: the musical".

Fairfax has an orchestra pit that can be covered and uncovered, but it is normally kept in the house floor position due to safety concerns. For the run of The King and I in 2007, however, the pit was opened. It was then closed again, and the orchestra has played at house level since. The members of the pit orchestra are some of the only musicians in Fairfax County to have ever played a musical in an actual orchestra pit (Hayfield Secondary School also has a working orchestra pit). The pit sinks six feet below the stage.

The FX Players won the State Title at the VHSL One-Act Competition in 2008. They placed second at Districts in 2009.

It's Academic

The "It's Academic" team participates in quiz bowl tournaments throughout Virginia, Maryland, and DC, most notably NBC 4's "It's Academic" game show hosted by Mac McGarry.

The team competes well in tournaments. In January 2009, Fairfax placed second in the Concorde District at the VHSL AAA District Tournament. The team advanced to the regional tournament for the first time in several years. Overall, Fairfax placed third in the Northern Region tying with Langley High School.

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Feeder Patterns

Daniels Run Elementary School, Willow Springs Elementary School, Eagle View Elementary School, Providence Elementary School, and Mosby Woods Elementary School all feed into Lanier Middle School and Rocky Run Middle School, which feed into Fairfax High School.

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Notable alumni

• Tiana Alexandra, Vietnamese-American movie actress and wife of screenwriter Stirling Silliphant
• Simone Askew, First Captain of the Corps of Cadets, United States Military Academy (2017-2018). Rhodes Scholar. Class of 2014.
• Brian Buchanan, Former MLB player (Minnesota Twins, San Diego Padres, New York Mets)
• Sam Champion - ABC's Good Morning America weather man. Class of 1979.
• Laura M. Elliott - Author of Under a War-Torn Sky
• Christina Hendricks - Actress who plays the character of Joan Holloway on the hit show "Mad Men".
• Jeremy Jeffress - Professional baseball player.
• Chevaughn Molden - Poet, Author, Screenwriter and emerging Artist.
• Craig Mello - Recipient of the 2006 Nobel Prize for Physiology or Medicine. Class of 1978.
• Jason C. Miller - Vocalist/guitarist of Godhead (band)
• Chap Petersen - Virginia State Senator, 34th district. Class of 1986.
• Harold A. "Red" Polling - Chairman & CEO of Ford Motor Corp. 1990-1994. Class of 1942.
• Bill Pulsipher - The 1991 Washington Post All-Met Player of the Year in baseball. Drafted by the New York Mets in the second round of the 1991 Major League Baseball Draft. Went on to pitch for 4 additional teams, including the Milwaukee Brewers, Boston Red Sox, Chicago White Sox and St. Louis Cardinals.
• Nicholas Rasmussen - Director, National Counterterrorism Center. Class of 1983.
• Owen Schmitt - A fullback in the National Football League for the Philadelphia Eagles and former West Virginia University fullback who was on the cover of Sports Illustrated with Pat White and Steve Slaton in 2006.
• Fred Talbot - 1960s Major League Baseball - Chicago White Sox, Kansas City Athletics, and New York Yankees player.
• Pierre J. Thuot - NASA astronaut.
• OXVT - - OXVT of Techsideline.com
• William J. Howell - 54th Speaker of the Virginia House of Delegates

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References

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External links

• Fairfax High School Official Web Site
• Fairfax High Sports
• Fairfax Academy - For Communications and the Arts
• Fairfax High School Profile
• Fairfax High School Band Department
• Fairfax High School Drama Department
• Fairfax High School Choral Department
• VHSL-Reference website

Source of the article : Wikipedia

Barbizon school

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The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of this school are its tonal qualities, color, loose brushwork, and softness of form.

Video Barbizon school

History

In 1824 the Salon de Paris exhibited works of John Constable, an English painter. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. The French landscape became a major theme of the Barbizon painters.

The leaders of the Barbizon school were Théodore Rousseau, Jean-François Millet, and Charles-François Daubigny; other members included Jules Dupré, Constant Troyon, Charles Jacque, Narcisse Virgilio Díaz, Pierre Emmanuel Damoye, Charles Olivier de Penne, Henri Harpignies, Paul-Emmanuel Péraire, Gabriel-Hippolyte Lebas, Albert Charpin, Félix Ziem, François-Louis Français, Émile van Marcke, and Alexandre Defaux.

Millet extended the idea from landscape to figures -- peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the field complete the main harvest. The owners (portrayed as wealthy) and their laborers are seen in the back of the painting. Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces. The women's bowed bodies represent their everyday hard work.

In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He returned to Barbizon in the autumn of 1830 and in the summer of 1831, where he made drawings and oil studies, from which he made a painting intended for the Salon of 1830; "View of the Forest of Fontainebleau'" (now in the National Gallery in Washington) and, for the salon of 1831, another "View of the Forest of Fontainebleau"'. While there he met the members of the Barbizon school; Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny.

During the late 1860s, the Barbizon painters attracted the attention of a younger generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Frédéric Bazille. In the 1870s those artists, among others, developed the art movement called Impressionism and practiced plein air painting.

Both Théodore Rousseau (1867) and Jean-François Millet (1875) died at Barbizon.

Maps Barbizon school

Influence in Europe

Painters in other countries were also influenced by this art. Beginning in the late nineteenth century, many artists came to Paris from Austria-Hungary to study the new movements. For instance, the Hungarian painter János Thorma studied in Paris as a young man. In 1896 he was one of the founders of the Nagybánya artists' colony in what is now Baia Mare, Romania, which brought impressionism to Hungary. In 2013 the Hungarian National Gallery opens a major retrospective of his work, entitled, ''János Thorma, the Painter of the Hungarian Barbizon, 8 February - 19 May 2013, Hungarian National Gallery

src: barbizon.besharatgallery.com

Gallery

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Related artists

• Gustave Courbet
• Karl Bodmer
• Hippolyte Boulenger
• Nicolae Grigorescu
• H. I. Marlatt
• Adolphe Joseph Thomas Monticelli
• Eugène Boudin
• Antonio Fontanesi

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See also

• American Barbizon school
• Art colony
• Naturalism (art)
• landscape art
• Macchiaioli

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References

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Suggested sources

• Catalogues des Collections des Musees de France. Ministère de la culture. (Catalogs of Collections of Museums of France. Ministry of Culture.)

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External links

• Media related to Barbizon School at Wikimedia Commons
• Hecht Museum
• Cambridge Art Gallery

Source of the article : Wikipedia

Riverland Community College

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Riverland Community College is a public two-year college with three campuses located in southeastern Minnesota: Albert Lea, Austin, and Owatonna. Founded in 1940, Riverland Community College serves a variety of educational programs and courses to over 4,900 students annually through traditional, hybrid, and online delivery systems.

The college offers an array of academic degrees including bachelor's degrees through partner institutions, Associate in Arts (two-year transfer degrees), Associate in Arts with Emphasis, Associate in Fine Arts, diplomas, and certificates.

Riverland Community College is accredited by the Higher Learning Commission of the North Central Association and is one of 31 institutions in the Minnesota State Colleges and Universities (now Minnesota State) system, the largest single provider of higher education in the state of Minnesota.

Video Riverland Community College

Academic programs of study

Liberal Arts

• Applied Technology
• Art
• Associate in Arts
• Global Studies
• Global Studies Emphasis
• Music Emphasis
• Physical Education/Coaching Concentration
• Theatre Emphasis

Career and Technical Education

AGRICULTURE AND FOOD SCIENCE

• Agribusiness
• Agricultural Commodities Marketing
• Agricultural Sciences
• Biotechnology
• Farm Business Management
• Farm Business Management - Advanced Management
• Food Science
• Food Science Technology
• Precision Agriculture

BUSINESS AND FINANCIAL

• Accounting
• Accounting Clerk
• Bookkeeper
• Business
• Tax Preparer

COMMUNITY AND SOCIAL SERVICE

• Human Services
• Social Work

CONSTRUCTION

• Carpentry, Commercial
• Carpentry, Residential
• Electrician - Construction

EDUCATION

• Elementary Education
• Coaching

HEALTHCARE

• Computed Tomography
• Emergency Medical Care
• Health Sciences Broad Field
• Magnetic Resonance Imaging
• MANE Nursing
• Medical Assistant
• Nursing Assistant/Home Health Aide
• Nursing Program - Practical Nursing
• Personal Trainer and Athletic Coaching
• Phlebotomy Technician
• Radiography
• Surgical Technology

INFORMATION TECHNOLOGY

• Cisco Certified Network Associate
• Computer Technology
• Fundamentals of Network Security
• Fundamentals of Voice Over IP
• Microsoft Systems Engineer
• Network Security
• Social Media Marketing
• Web Developer
• Web Developer Game Design
• Web Page Design

MANAGEMENT

• Supervisory Management
• Supervisory Management - Human Resource Development
• Supervisory Management - Leadership
• Supervisory Management - Supervising and Managing

MANUFACTURING AND ENGINEERING

• Applied Engineering Technology
• Applied Engineering Technology - Machining and Automation
• Automation Technologies
• Electrical Maintenance Technician
• Industrial Maintenance and Mechanics
• Machine Technologist
• Machining
• Production Technologies
• Welding
• Welding Technology

MOTOR VEHICLE REPAIR

• Automotive Service Technology
• Collision Repair Technology
• Diesel Technology
• Non-Structural Technician
• Painting and Refinishing Technician
• Structural Frame Technician

OFFICE AND ADMINISTRATIVE SUPPORT

• Administrative Assistant
• Advanced Office Specialist
• Computer Applications
• Customer Relations
• Desktop Publishing
• Health Unit Coordinator
• Medical Administrative Assistant
• Medical Receptionist
• Medical Secretary
• Office Specialist

PERSONAL CARE AND SERVICE

• Cosmetology
• Personal Trainer and Athletic Coaching

PUBLIC SAFETY

• Criminal Justice - Corrections
• Criminal Justice - Law Enforcement
• Criminal Justice - Law Enforcement: NON-MN POST
• Fire Science Technology
• Fire Services
• Natural Resources Conservation

RENEWABLE ENERGY

• Solar Installer
• Wind Turbine Technician

TRANSPORTATION

• Truck Driving

Maps Riverland Community College

History

1940: Austin Junior College

This excerpt was taken from Academic Dean Ruben Meland's document titled "Austin Junior College - Nine Years of Community Service": "Austin Junior College opened its doors of opportunity to the youth of this community on September 3, 1940. The enrollment the first year was comprised of 138 freshmen, served by a faculty of five full-time and four part-time instructors." (See 1966 for name change)

1951: Austin Area Vocational-Technical School

The "Selected Report on Austin Junior College Prepared for Minnesota Junior College Board dated December 1963" (last page) states: "The Austin Area Vocational-Technical School was established in Austin, Minnesota as a part of the public school system in 1951 and at present (Dec. 1963) provides post high school training to an enrollment of about 250 in: Carpentry, Farm Equipment Mechanics, Welding, Machine Shop (tool & die), Automotive Mechanics, Auto Body Rebuilding, Industrial Electronics, Practical Nursing, and Cosmetology (beauty school)." (See 1972 for name change.)

1966: Austin Junior College Moves To New Location, Changes Name To Austin State Junior College

Ruben Meland, college dean and president, wrote in his memoirs some observations about the beginning and the early years of Austin Junior College, "In June 1966, we moved our offices into the new administration wing and we opened for classes September 22, 1966, (our 26th year) with about 850 students and a faculty of 40. At this same time our name was officially changed to Austin State Junior College. The new college campus was officially dedicated on January 29, 1967."

1968: Albert Lea Area Vocational-Technical School Established

"A Brief History of the MN AVTI System and Directors" (page 13) states, "Albert Lea was tentatively approved by the State Board of Education on September 30, 1968. They received the final approval on November 4, 1968." Mr. Wayne Broecker is the Director of the AVTI at Albert Lea." (See 1972 for name change.)

1971: Austin State Junior College Owatonna Extension Center Opens

An excerpt from a laminated Owatonna People's Press advertisement dated September 16, 1971 states, "Austin State Junior College Owatonna Extension Center, classes starting Monday, September 20, 1971 at 12:30 p.m." Another excerpt from an Owatonna People's Press advertisement headline dated November 17, 1971 states, "Let's start college in Owatonna, Minnesota, Austin State Junior College. Owatonna campus *sic+ located on the beautiful grounds of the State School."

1972: Austin Area Vocational-Technical School Changes Name To Austin Area Vocational-Technical Institute

In an undated document created for the Mower County Historical Society Page 4 states, "During February of 1972 the move from the various sites started and the total moving of all programs to the new Austin Area Vocational-Technical School were completed in March of 1972. It was also during this time that the State Department of Education changed the names of all Area Vocational-Technical Schools to Area Vocational-Technical Institutes."

1985: Owatonna Higher Education Center Opens

A memo dated March 3, 1998 from Tim McManimon, Owatonna community leader, to John Gedker, college president, states, "Riverland Community College has served the Owatonna area for the past 13 years, primarily in the area of customized training for business and industry. It is the Owatonna community vision to create a seamless link between education, work and the community."

1991: Minnesota Riverland Technical College

A "Historical Overview 1945 - 1995, 50 Years Minnesota Technical College System," (page 46) states, "Minnesota Riverland Technical College, District #2501, was formed on July 1, 1991. MRTC is comprised of the Austin, Faribault, and Rochester campuses and the Owatonna Technical Training Center."

1996: Riverland Community College Established on July 1, 1996

A memorandum from John Gedker, college president, dated 11/7/96 states, "Riverland Community College was established on July 1, 1996. Austin Community College (established in 1940 as Austin Junior College), Riverland Technical College - Austin (established in 1951 as Austin Area Vocational School) and Owatonna campuses [sic], and South Central Technical College - Albert Lea (established in 1968 as Albert Lea Technical Education Center) campuses merged together to form Riverland Community College."

2001: Owatonna College & University Center

An Owatonna People's Press news story dated March 22, 2003 states, "January 14, 2002 was the first day classes were held at Owatonna College and University Center. Currently, Riverland is the host institution at OCUC and also offers classes at the site. Concordia University, St. Paul; Minnesota State University, Mankato; Southwest State University; University of St. Thomas; and South Central Technical College also offer classes."

2008: The Owatonna College And University Center (OCUC) Is Acquired By Minnesota State

Colleges and Universities as its 54th campus and as Third Riverland campus "The OCUC Celebration brochure" dated February 17, 2009, states: "In April 2008, Gov. Tim Pawlenty signed into law a bonding bill that allowed the Minnesota State Colleges and Universities system to acquire the Owatonna College & University Center. On December 31, 2008, MnSCU finalized the sale. Three Partners. One Purpose. Minnesota State University, Mankato, Riverland Community College, and South Central College."

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Notable alumni

• Alvin Baldus, U.S. Representative from Wisconsin, 1975-1981

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Notes

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External links

• Official website
• Riverland Community College Blue Devils Athletics Official Website
• Riverland Community College Student Organizations and Activities
• Riverland Community College Online Viewbook
• Official Website Of Minnesota State Colleges and Universities

Source of the article : Wikipedia

Female body shape

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Female body shape or female figure is the cumulative product of a woman's skeletal structure and the quantity and distribution of muscle and fat on the body.

As with most physical traits, there is a wide range of normality of female body shapes.

Attention has been focused on the female body as a source of aesthetic pleasure, sexual attraction, fertility, and reproduction in most human societies. There are, and have been, wide differences in what should be considered an ideal or preferred body shape, both for attractiveness and for health reasons.

Women's bodies occur in a range of shapes. Female figures are typically narrower at the waist than at the bust and hips. The bust, waist, and hips are called inflection points, and the ratios of their circumferences are used to define basic body shapes.

Video Female body shape

Physiology

Impact of estrogens

Estrogens have a significant impact on a female's body shape. They are produced in both men and women, but their levels are significantly higher in women, especially in those of reproductive age. Besides other functions, estrogens promote the development of female secondary sexual characteristics, such as breasts and hips. As a result of estrogens, during puberty, girls develop breasts and their hips widen. Working against estrogen, the presence of testosterone in a pubescent female inhibits breast development and promotes muscle development.

Estrogen levels also rise significantly during pregnancy. A number of other changes typically occur during pregnancy, including enlargement and increased firmness of the breasts, mainly due to hypertrophy of the mammary gland in response to the hormone prolactin. The size of the nipples may increase noticeably. These changes may continue during breastfeeding. Breasts generally revert to approximately their previous size after pregnancy, although there may be some increased sagging.

Breasts can decrease in size at menopause if estrogen levels decline.

Fat distribution

Estrogens can also affect the female body shape in a number of other ways, including increasing fat stores, accelerating metabolism, reducing muscle mass, and increasing bone formation.

Estrogens cause higher levels of fat to be stored in a female body than in a male body. They also affect body fat distribution, causing fat to be stored in the buttocks, thighs, and hips in women, but generally not around their waists, which will remain about the same size as they were before puberty. The hormones produced by the thyroid gland regulate the rate of metabolism, controlling how quickly the body uses energy, and controls how sensitive the body should be to other hormones. Body fat distribution may change from time to time, depending on food habits, activity levels and hormone levels.

When women reach menopause and the estrogen produced by ovaries declines, fat migrates from their buttocks, hips and thighs to their waists; later fat is stored at the abdomen.

Body fat percentage recommendations are higher for females, as this fat may serve as an energy reserve for pregnancy. Males have less subcutaneous fat in their faces due to the effects of testosterone; testosterone also reduces fat by aiding fast metabolism. The lack of estrogen in males generally results in more fat deposit around waists and abdomens (producing an "apple shape").

Muscles

Testosterone is a steroid hormone which helps build and maintain muscles with physical activity, such as exercise. The amount of testosterone produced varies from one individual to another, but, on average, an adult female produces around one-tenth of the testosterone of an adult male, but females are more sensitive to the hormone. The muscles most likely to be affected are the pectoral muscles, biceps and the triceps in the arms and quadriceps in the thighs.

On the other hand, estrogens reduce muscle mass. Muscle mass changes over time as a result of changes in testosterone and estrogen levels and exercise, besides other factors.

Changes to body shape

The aging process has an inevitable impact on a person's body shape. A woman's sex hormone levels will affect the fat distribution on her body. According to Dr. Devendra Singh, "Body shape is determined by the nature of body fat distribution that, in turn, is significantly correlated with women's sex hormone profile, risk for disease, and reproductive capability." Concentrations of estrogen will influence where body fat is stored.

Before puberty both males and females have a similar waist-hip ratio. At puberty, a girl's sex hormones, mainly estrogen, will promote breast development and a wider pelvis tilted forward for child bearing, and until menopause a woman's estrogen levels will cause her body to store excess fat in the buttocks, hips and thighs, but generally not around her waist, which will remain about the same size as it was before puberty. These factors result in women's waist-hip ratio (WHR) being lower than for males, although males tend to have a greater upper-body to waist-hip ratio (WHR) giving them a V shape look because of their greater muscle mass e.g. they generally have much larger, more muscular & broader shoulders, pectoral muscles, teres major muscles & latissimus dorsi muscles.

During and after pregnancy, a woman experiences body shape changes. After menopause, with the reduced production of estrogen by the ovaries, there is a tendency for fat to redistribute from a female's buttocks, hips and thighs to her waist or abdomen.

The breasts of girls and women in early stages of development commonly are "high" and rounded, dome- or cone-shaped, and protrude almost horizontally from a female's chest wall. Over time, the sag on breasts tends to increase due to their natural weight, the relaxation of support structures, and aging. Breasts sag if the ligaments become elongated, a natural process that can occur over time and is also influenced by the breast bouncing during physical activity (see Sports bra).

Maps Female body shape

Measurements

The circumferences of bust, waist, and hips, and the ratios between them, was a widespread method for defining women's body shape in Western cultures for several decades after World War II, and are still used in some North American subcultures for this purpose. These include terms like "rectangular", "spoon", "inverted triangle", or "hourglass". The measurements are generally described using three numbers to describe the bodily dimensions, or "BWH".

The band measurement is usually measured around the women's torso, immediately below her breasts at the inframammary fold, parallel to the floor. The cup size is determined by measuring across the crest of the breast and calculating the difference between that measurement and the band measurement. The waist is measured at the midpoint between the lower margin of the last palpable rib and the top of the iliac crest. The hips are measured at the largest circumference of the hips and buttocks.

The waist is typically smaller than the bust and hips, unless there is a high proportion of body fat distributed around it. How much the bust or hips inflect inward, towards the waist, determines a woman's structural shape. The hourglass shape is present in only about 8% of women.

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Female shapes in the fashion industry

Body shapes are often categorised in the fashion industry into one of four elementary geometric shapes, though there are very wide ranges of actual sizes within each shape:

Rectangular

The waist measurement is less than 9 inches (23 cm) smaller than the hips and bust measurement. Body fat is distributed predominantly in the abdomen, buttocks, chest, and face. This overall fat distribution creates the typical ruler (straight) shape.

Inverted triangle

Athletic shaped women have broad(er) shoulders compared with their (narrower) hips. The legs and thighs tend to be slim, while the chest looks larger compared with the rest of the body. Fat is mainly distributed in the chest and face.

Spoon

The hip measurement is greater than the bust measurement. The distribution of fat varies, with fat tending to deposit first in the buttocks, hips, and thighs. As body fat percentage increases, an increasing proportion of body fat is distributed around the waist and upper abdomen. The women of this body type tend to have a relatively larger rear, thicker thighs, and a small(er) bosom.

Hourglass or X shape (triangles opposing, facing in)

The hips and bust are almost of equal size with a narrow waist. Body fat distribution tends to be around both the upper body and lower body. This body type enlarges the arms, chest, hips, and rear before other parts, such as the waist and upper abdomen.

A study of the shapes of over 6,000 women, carried out by researchers at the North Carolina State University circa 2005, for apparel, found that 46% were rectangular, just over 20% spoon, just under 14% inverted triangle, and 8% hourglass. Another study has found "that the average woman's waistline had expanded by six inches since the 1950s" and that women in 2004 were taller and had bigger busts and hips than those of the 1950s.

Several variants of the above coding systems exist:

• Sheldon: "Somatotype: {Plumper: Endomorph, Muscular: Mesomorph, Slender: Ectomorph}", 1940's
• Douty's "Body Build Scale: {1,2,3,4,5}", 1968
• Bonnie August's "Body I.D. Scale: {A,X,H,V,W,Y,T,O,b,d,i,r}", 1981
• Simmons, Istook, & Devarajan "Female Figure Identification Technique (FFIT): {Hourglass, Bottom Hourglass, Top Hourglass, Spoon, Rectangle, Diamond, Oval, Triangle, Inverted Triangle}", 2002
• Connell's "Body Shape Assessment Scale: {Hourglass, Pear, Rectangle, Inverted Triangle}", 2006
• Rasband: {Ideal, Triangular, Inverted Triangular, Rectangular, Hourglass, Diamond, Tubular, Rounded}, 2006
• Lee JY, Istook CL, Nam YJ, "Comparison of body shape between USA and Korean women: {Hourglass, Bottom Hourglass, Top Hourglass, Spoon, Triangle, Inverted Triangle, Rectangle}", 2007.

Lee's 2007 paper proposes the following formula be used to identify an individual's body type:

Hourglass

If (bust - hips) <= 1" AND (hips - bust) < 3.6" AND (bust - waist) >= 9" OR (hips - waist) >= 10"

Bottom hourglass

If (hips - bust) >= 3.6" AND (hips - bust) < 10" AND (hips - waist) >= 9" AND (high hip/waist) < 1.193

Top hourglass

If (bust - hips) > 1" AND (bust - hips) < 10" AND (bust - waist) >= 9"

Spoon

If (hips - bust) > 2" AND (hips - waist) >= 7" AND (high hip/waist) >= 1.193

Triangle

If (hips - bust) >= 3.6" AND (hips - waist) < 9"

Inverted triangle

If (bust - hips) >= 3.6" AND (bust - waist) < 9"

Rectangle

If (hips - bust) < 3.6" AND (bust - hips) < 3.6" AND (bust - waist) < 9" AND (hips - waist) < 10"

In addition a number of national and international clothes sizing standards define body shape coding systems that categorise an individual by the chest to waist and / or hip circumference drop values e.g.

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Dimensions

A woman's dimensions are often expressed by the circumference around the three inflection points. For example, "36-29-38" in imperial units would mean a 36-inch bust, 29-inch waist and 38-inch hips.

A woman's bust measure is a combination of her rib cage and breast size. For convenience, a woman's bra measurements are used. For example, though the measurements are not consistently applied, a woman with a bra size of 36B has a rib cage of 36 inches in circumference and a bust measure of 38 inches; a woman with a bra size 34C has a rib cage of 34 inches around, but a smaller bust measure of 37 inches. However, the woman with a 34C breast size will appear "bustier" because of the apparent difference in bust to ribcage ratio.

Height will also affect the appearance of the figure. A woman who is 36-24-36 at 5 ft 2 in (1.57 m) height will look different from a woman who is 36-24-36 at 5 ft 8 in (1.73 m) height. Since the taller woman's figure has greater distance between measuring points, she will likely appear thinner or less curvaceous than her shorter counterpart, again, even though they both have the same BWH ratio. This is because the taller woman is actually thinner as expressed by her lower BMI, or body mass index, used to measure body weight in relation to height.

The use of BWH measurements for anything other than garment fitting is thus misleading. BWH is an indicator of fat distribution, not fat percentage.

The British Association of Model Agents (AMA) says that female models should be around 34-24-34 (86-61-86 cm) and at least 5 ft 8 in (1.73 m) tall.

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Cultural perceptions

The thin hourglass figure, seen as the bodily ideal of today by some, has not always been the desired body shape. The ideal body type as envisioned by members of society has changed throughout history. Stone age venus figurines show the earliest body type preference: dramatic steatopygia. The emphasis on protruding belly, breasts, and buttocks is likely a result of both the aesthetic of being well fed and aesthetic of being fertile, traits that were more difficult to achieve at the time. In the sculpture from Classical Greece and Ancient Rome the female bodies are more tubular and regularly proportioned. There is essentially no emphasis given to any particular body part, not the breasts, buttocks, or belly.

Moving forward there is more evidence that fashion somewhat dictated what people believed were the proper female body proportions. This is the case because the body is primarily seen through clothing, which always changes the way the underlying structures are conceived. The first representations of truly fashionable women appear in the 14th century. Between the 14th and 16th centuries in northern Europe, bulging bellies were again desirable, however the stature of the rest of the figure was generally thin. This is most easily visible in paintings of nudes from the time. When looking at clothed images, the belly is often visible through a mass of otherwise concealing, billowing, loose robes. Since the stomach was the only visible anatomical feature, it became exaggerated in nude depictions while the rest of the body remained minimal. In southern Europe, around the time of the renaissance, this was also true. Though the classical aesthetic was being revived and very closely studied, the art produced in the time period was influenced by both factors. This resulted in a beauty standard that reconciled the two aesthetics by using classically proportioned figures who had non-classical amounts of flesh and soft, padded skin.

In the nude paintings of the 17th century, such as those by Rubens, the naked women appear quite fat. Upon closer inspection however, most of the women have fairly normal statures, Rubens has simply painted their flesh with rolls and ripples that otherwise would not be there. This may be a reflection of the female style of the day: a long, cylindrical, corseted gown with rippling satin accents. Thus Rubens' women have a tubular body with rippling embellishments. While the corset continued to be fashionable into the 18th century, it shortened, became more conical, and consequently began to emphasize the waist. It also lifted and separated the breasts as opposed to the 17th century corsets which compressed and minimized the breasts. Consequently, depictions of nude women in the 18th century tend to have a very narrow waist and high, distinct breasts, almost as if they were wearing an invisible corset. La maja desnuda is a clear example of this aesthetic. The 19th century maintained the general figure of the 18th century. Examples can be seen in the works of many contemporary artists, both academic artists, such as Cabanel, Ingres, and Bouguereau, and impressionists, such as Degas, Renoir, and Toulouse-Lautrec. As the 20th century began, the rise of athletics resulted in a drastic slimming of the female figure. This culminated in the 1920s flapper look, which has informed modern fashion ever since.

The last 100 years envelop the time period in which that overall body type has been seen as attractive, though there have been small changes within the period as well. The 1920s was the time in which the overall silhouette of the ideal body slimmed down. There was dramatic flattening of the entire body resulting in a more youthful aesthetic. As the century progressed, the ideal size of both the breasts and buttocks increased. From the 1950s to 1960 that trend continued with the interesting twist of cone shaped breasts as result of the popularity of the bullet bra. In the 1960s, the invention of the miniskirt as well as the increased acceptability of pants for women, prompted the idealization of the long leg that has lasted to this day. Following the invention of the push-up bra in the 1970s the ideal breast has been a rounded, fuller, and larger breast. In the past 20 years the average American bra size has increased from 34B to 34DD, although this may be due to the increase in obesity within the United States in recent years. Additionally, the ideal figure has favored an ever-lower waist-hip ratio, especially with the advent and progression of digital editing software such as Adobe Photoshop.

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Social and health issues

Each society develops a general perception of what an ideal female body shape would be like. These ideals are generally reflected in the art and literature produced by or for a society, as well as in popular media such as films and magazines. The ideal or preferred female body size and shape has varied over time and continues to vary among cultures; but a preference for a small waist has remained fairly constant throughout history. A low waist-hip ratio has often been seen as a sign of good health and reproductive potential.

A low waist-hip ratio has also often been regarded as an indicator of attractiveness of a woman, but recent research suggests that attractiveness is more correlated to body mass index than waist-hip ratio, contrary to previous belief. Historically, according to Devendra Singh, there was a trend for slightly overweight women in the 17th and 18th centuries, as typified by the paintings of Rubens, but that in general there has been a preference for a slimmer waist in Western culture. He notes that "The finding that the writers describe a small waist as beautiful suggests instead that this body part - a known marker of health and fertility - is a core feature of feminine beauty that transcends ethnic differences and cultures."

New research suggests that apple-shaped women have the highest risk of developing heart disease, while hourglass-shaped women have the lowest. Diabetes professionals advise that a waist measurement for a woman of over 80 cm (31 in) increases the risk of heart disease, but that ethnic background also plays a factor. This is because body fat buildup around the waist (the apple shape) poses a higher health risk than a fat buildup at the hips (the pear shape).

Waist-hip ratio

Compared to males, females generally have relatively narrow waists and large buttocks, and this along with wide hips make for a wider hip section and a lower waist-hip ratio. Research shows that a waist-hip ratio (WHR) for a female very strongly correlates to the perception of attractiveness. Women with a 0.7 WHR (waist circumference that is 70% of the hip circumference) are rated more attractive by men in various cultures. Such diverse beauty icons as Marilyn Monroe, Sophia Loren and the Venus de Milo all have ratios around 0.7. In other cultures, preferences vary, ranging from 0.6 in China, to 0.8 or 0.9 in parts of South America and Africa, and divergent preferences based on ethnicity, rather than nationality, have also been noted.

Many studies indicate that WHR correlates with female fertility, leading some to speculate that its use as a sexual selection cue by men has an evolutionary basis. However it is also suggested that the evident relationships between WHR-influencing hormones and survival-relevant traits such as competitiveness and stress tolerance may give a preference for higher waist-hip-ratios its own evolutionary benefit. That, in turn, may account for the cross-cultural variation observed in actual average waist-hip-ratios and culturally preferred waist-to-hip ratios for women.

WHR has been found to be a more efficient predictor of mortality in older people than waist circumference or body mass index (BMI).

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Bodies as identity

Over the past several hundred years, there has been a shift towards viewing the body as part of one's identity - not in a purely physical way, but as a means of deeper self-expression. David Gauntlett recognizes the importance of malleability in physical identity, stating, "the body is the outer expression of our self, to be improved and worked upon". One of the more key factors in creating the desire for a particular body shape - most notably for females - is the media, which has promoted a number of so-called "ideal" body shapes. Fashionable figures are often unattainable for the majority of the population, and their popularity tends to be short-lived due to their arbitrary nature.

During the 1950s, the fashion model and celebrity were two separate entities, allowing the body image of the time to be shaped more by television and film rather than high fashion advertisements. While the fashion model of the 1950s, such as Jean Patchett and Dovima, were very thin, the ideal image of beauty was still a larger one. As the fashion houses in the early 50's still catered to a specific, elite cliental, the image of the fashion model at that time was not as sought after or looked up to as was the image of the celebrity. While the models that graced the covers of Vogue and Harper's Bazaar in the 1950s were in line with the thin ideal of the day, the most prominent female icon was Marilyn Monroe. Monroe, who was more curvaceous, fell on the opposite end of the feminine ideal spectrum in comparison to high fashion models. Regardless of their sizes, however, both fashion of the time and depictions of Monroe emphasize a smaller waist and fuller bottom half. The late 1950s, however, brought about the rise of ready-to-wear fashion, which implemented a standardized sizing system for all mass-produced clothing. While fashion houses, such as Dior and Chanel, remained true to their couture, tailor-made garments, the rise of these rapidly-produced, standardized garments led to a shift in location from Europe to America as the epicenter of fashion. Along with that shift came the standardization of sizes, in which garments weren't made to fit the body anymore, but instead the body must be altered to fit the garment.

During the 1960s, the popularity of the model Twiggy meant that women favoured a thinner body, with long, slender limbs. This was a drastic change from the former decade's ideal, which saw curvier icons, such as Marilyn Monroe, to be considered the epitome of beautiful. These shifts in what was seen to be the "fashionable body" at the time followed no logical pattern, and the changes occurred so quickly that one shape was never in vogue for more than a decade. As is the case with fashion itself in the post-modern world, the premise of the ever-evolving "ideal" shape relies on the fact that it will soon become obsolete, and thus must continue changing to prevent itself from becoming uninteresting.

An early example of the body used as an identity marker occurred in the Victorian era, when women wore corsets to help themselves attain the body they wished to possess. Having a tiny waist was a sign of social status, as the wealthier women could afford to dress more extravagantly and sport items such as corsets to increase their physical attractiveness. By the 1920s, the cultural ideal had changed significantly as a result of the suffrage movement, and "the fashion was for cropped hair, flat (bound) breasts and a slim androgynous shape".

More recently, magazines have been criticized for promoting an unrealistic trend of thinness. David Gauntlett states that the media's "repetitive celebration of a beauty 'ideal' which most women will not be able to match ... will eat up readers' time and money--and perhaps good health--if they try". Additionally, the impact that this has on women and their self-esteem is often a very negative one, and resulted in the diet industry taking off in the 1960s - something that would not have occurred "had bodily appearance not been so closely associated with identity for women".

The importance of "the body as a work zone", as Myra MacDonald asserts, further perpetuates the link between fashion and identity, with the body being used as a means of creating a visible and unavoidable image for oneself. The tools with which to create the final copy of such a project range from the extreme--plastic surgery--to the more tame, such as diet and exercise, which virtually every Westernized woman has used to gain control over her shape.

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Alteration of body shape

A study at Brigham Young University using MRI technology suggested that women experience more anxiety about weight gain than do men, while aggregated research has been used to claim that images of thin women in popular media may induce psychological stress. A study of 52 older adults found that females may think more about their body shape and endorse thinner figures than men even into old age.

Various strategies are sometimes employed to temporarily or permanently alter the shape of a body. The most common include dieting and exercise.

At times artificial devices are used or surgery is employed. Breast size can be artificially increased or decreased. Falsies, breast prostheses or padded bras may be used to increase the apparent size of a woman's breasts, while minimiser bras may be used to reduce the apparent size. Breasts can be surgically enlarged using breast implants or reduced by the systematic removal of parts of the breasts. Hormonal breast enhancement may be another option.

Historically, boned corsets have been used to reduce waist sizes. The corset reached its climax during the Victorian era. In twentieth century these corsets were mostly replaced with more flexible/comfortable foundation garments. Where corsets are used for waist reduction, it may be temporary reduction by occasional use or permanent reduction by people who are often referred to as tightlacers. Liposuction and liposculpture are common surgical methods for reducing the waist line.

Padded control briefs or hip and buttock padding may be used to increase the apparent size of hips and buttocks. Buttock augmentation surgery may be used to increase the size of hips and buttocks to make them look more rounded.

src: worldlifestyle.online

Social experiments on the ideal woman's body

Two social experiments were performed in 2012, which provided information on a female's ideal body and argued that the ideal body is an unattainable social construct meant to keep women striving to please men's sexual desires. The first experiment, performed by researcher Lon Kilgore, involved measuring multiple people and comparing those measurements to Leonardo da Vinci's representation of the ideal human body, The Vitruvian Man. Kilgore used the conclusions of this experiment to prove that there is no such ideal body for females because the human body is ever changing to adapt to its environment. In the second experiment, researchers Kara Crossley, Piers Cornelissen and Martin Tovée asked men and women to depict an attractive female body and the majority of them had the same diagram. Critical writer Kovie Biakolo uses this to state that society has embedded into us this idea that the ideal woman looks a certain way.

Created in 1490, the Vitruvian Man is famously known to be the portrayal of the perfect human, depicting all the perfect proportions and measurements between limbs and features. Because it is so perfect, comparing a person, male or female, to it has been "one of the most familiar and easiest methods of determining if an individual deviates from 'normal' anthropometry." However, Kilgore proves that majority of men and women do not fit this image. In the experiment, Kilgore measured multiple body parts of nine male subjects and six female subjects, such as height, wingspan, hip width, elbow to fingertip, torso, and legs, and compared those measurements to the measurements of Da Vinci's drawing. The results of the measurements and comparisons demonstrated that "not a single subject in this study possessed the dimensional relationships put forth by da Vinci." Even single measurements of individual limbs of these subjects do not match the figure, proving that the ideal human, The Vitruvian Man, might not be ideal at all.

Kilgore explains this anomaly through evolution; he states that the human body never might have been exactly identical to the Vitruvian Man because the human body is always changing to adapt its environment. "In the more than five centuries since, human height has changed." In fact, when Da Vinci was drawing this figure in the 15th century, the average height of men of European ancestry was 5'6"-5'8"; however the average male height today is 5'9"-5'11". Kilgore ends his experiment stating that the Vitruvian Man does not accurately describe the modern male or female.

In another social experiment, researchers Kara Crossley, Piers L. Cornelissen, and Martin Tovée explore what an attractive body is, asking multiple men and women to draw their ideal bodies using a virtual program in which they would increase or decrease the sizes of specific body parts. After looking at the depictions of their participants, the researchers came to a conclusion that almost all had depicted similar ideal bodies. The women who participated in this experiment drew their ideal bodies with enlarged busts and narrowed the rest of their bodies, resulting in the conclusion that the representation of ideal female body size and shape was narrowed hips, waist, lower torso, and an enlarged bust. The male participants also depicted their ideal partner with the same image. The researchers state, "For both sexes, the primary predictor of female beauty is a relatively low BMI combined with a relatively curvaceous body." Writer Biakolo uses this to state both men and women expect women to be a certain way because society has taught that women who have big breasts, wide hips, and a small waist will get the "ultimate prize", a good man who could care for her and her children. However, Biakolo does not explain the preference for narrowed hips and lower torso as indicated in the study by Crossley and colleagues. The preferred female body shape depicted in their research conforms more accurately to an inverted triangle (greater width of bust or shoulders tapering to narrow hips), as opposed to an hourglass- or pear-shaped body type befitting Biakolo's description.

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See also

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References

src: bodytype.com

Cited sources

• Gauntlett, David (2008). Media, gender, and identity. Abingdon, UK: Routledge. ISBN 0415189608. 
• MacDonald, Myra (1995). Representing Women: Myths of Femininity in the Popular Media. London: Edward Arnold. 

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External links

• Art and love in Renaissance Italy, Issued in connection with an exhibition held Nov 2008-Feb 2009, Metropolitan Museum of Art, New York (see Belle: Picturing Beautiful Women; pages 246-254)

Source of the article : Wikipedia

Anti-aging supplements

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Anti-aging supplements are a set of products that often include powdered supplements, skin creams, vitamins, and facial masks. They are designed to reduce or diminish the effects of aging. Many products seek to hide the effects of aging while others claim to alter the body's chemical balances to slow the physical effects of aging. A comprehensive grading scale for anti-aging of the skin has been validated and categorizes skin aging as: laxity (sagging), rhytids (wrinkles), and the various categories of photoaging, including erythema (redness), dyspigmentation (brown discolorations), solar elastosis (yellowing), keratoses (abnormal growths), and poor texture.

Despite great demand, many such products and treatments have not been proven to give lasting or major positive effects. One study found that the best performing creams reduced wrinkles by less than 10% over 12 weeks which is not noticeable to the human eye. Another study found that cheap moisturizers were as effective as high-priced anti-wrinkle creams. One published study, funded by Boots, found that one of Boots' products reduced wrinkles.

Traditionally, anti-aging creams have been marketed towards women, but products specifically targeting men are increasingly common.

Video Anti-aging supplements

Skepticism

The belief in the benefits of anti-aging creams, along with their use, should be met with skepticism. Nearly every brand and type delivers information about the product being "scientifically tested" or "scientifically proven" however, the results of these studies are rarely made available to consumers. This suggests that the legitimacy of these studies and subsequent results are highly questionable.

Aging is a natural process which is accompanied by normal physical, chemical, and biological changes in the body. These changes include facial and body wrinkling of the skin and this process is common to all human beings. To believe so easily that a cream could prevent and/or reduce the process of skin aging all on its own does not fit with how the world really works. If this problem had such a simple solution, individuals (including our ancestors) would likely have perfect complexions free of age-related problems. Similarly, if the solution to anti-aging was so easy for us to attain, there would be no need for hundreds or thousands of products on the commercial market which provide similar claims yet produce products with differing ingredients.

Theoretically, cosmetics promise to alter or "enhance" function, however they do not change any cellular or biochemical reactions or processes within the skin. Secondly, these products and chemicals are unregulated by any governing body, thus allowing potentially dangerous or harmful ingredients to be added with the promise of results. Before blindly accepting that certain chemicals cause anti-aging results, it is necessary to do research to determine the safety of these products.

Maps Anti-aging supplements

Ingredients

As well as more conventional moisturizing ingredients, anti-aging creams usually contain anti-aging ingredients such as:

• Retinoids (for instance, in the form of retinyl palmitate). In various formulations it has been shown to reduce fine lines and pores.
• Epidermal growth factor, a 53 amino acid protein. In various research, epidermal growth factor has been shown to reduce fine lines, wrinkles and sagging. It also has healing (wounds and burns) and anti-inflammatory properties when applied to skin.
• Fatty acids are often added and derived from naturally occurring substances such as sandalwood, barley, and Phellodendron bark, which are designed to maintain skin moisture and seal in other moisturizing agents within the cream.
• Alpha hydroxy acids (AHAs) and beta hydroxy acids or other chemical peels. These help to dissolve the intracellular "glue" that holds the dead cells together on the skin. The use of this type of product on a daily basis gradually enhances the exfoliation of the epidermis. This exposes newer skin cells and can help improve appearance. AHAs may irritate some skin, causing redness and flaking.
• Peptides, such as acetyl hexapeptide-3 (Argireline), Matryxil, and copper peptides.
• Coenzyme Q10 --> MitoQ
• Anti-oxidants are substances that may protect cells from the damage caused by free radicals.
• Sunscreens. A high level of UVA protection is recommended as UVA radiation is associated with aging effects such as wrinkles.
• Vitamin C

The effects of these ingredients depend on their concentration and mode of application. Many skin care companies recommend using a treatment program which may combine these ingredients. For example, AHAs can make the skin more vulnerable to damage from the sun, so the increased use of sunscreens is often recommended.

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See also

• Cosmeceuticals

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References

Source of the article : Wikipedia