conversations.from: human
conversations.value: a title for a book about Texan, Jeanne, Dallas/Fort with the genre: Romance, Contemporary
conversations.from: assistant
conversations.value: A title for this book could be 'Politically Incorrect'
conversations.from: human
conversations.value: Give me the first two paragraphs for this book.
conversations.from: assistant
conversations.value: Politically Incorrect
  They seized Themis at the outset. With the Goddess a bound captive, the invaders proclaimed the new order: Children must be named after their fathers; cities must be fortified; power must be worshipped. They established their new god, Zeus, who rules by the terror of his thunderbolt and procreated by deception and rape. Yet Themis would not be silenced. You dare not crush the primal Order. When your new gods and your mutilations of our old Goddesses assemble on Mount Olympus, I alone will have the right to convoke them. I will not die.155
  In the last chapter, we noted that scripted roles dictated the gendered existence of women artists. The majority of the historical artists we discussed refused to acquiesce to occupational limitations. Following their desire to produce art, often supported by parental—specifically fatherly—acknowledgment, they succeeded in achieving fame. Echoed in the visual arts, the female gender is likewise constrained by requisite conduct that is different from the male gender but mandated as well by a specificity of time, space, and culture. Because women have a history partially shared with men but also a unique history of their own, gender differences reflected in art require additional study. Women's history, however, has been marginalized and neglected in chronicles of Western art, and the merit of sameness provides a distinct and enriched focus.
conversations.from: human
conversations.value: Give me four more paragraphs.
conversations.from: assistant
conversations.value: In painterly representation, biblical women celebrated for their virtue, courage, physical prowess, and piety are eroticized in painterly transformation. This is true in the representation of Bathsheba, Susanna, Judith, and Jael. Of this group, the Old Testament Judith, from the Book of Judith, is the most commonly portrayed in art.190 Sometimes paired with David as an image of courage and faith, she was also seen accompanied by the Virgin Mary in sacred legend (such as the Speculum humanae salvationis)191 as a victorious woman capable of slaying her adversary. On the medieval Cathedral of Chartres, Judith symbolized the triumphant Church that trampled its adversaries, and for this reason was also regarded as the paradigm of fortitude.
  According to the narrative from the Book of Judith, the Jewish people of Bethulia were about to surrender to the great Assyrian army. Judith, a respected and virtuous widow, sent for the elders of the city to inquire about the Assyrians. Armed with faith, prayer, and determination to save her nation, she removed the garments of widowhood and journeyed with her maidservant to the military camp of the Assyrians. After meeting their general, Holofernes, Judith betrayed him, saying that she had deceived her own people and would divulge their honored secrets. Within days, Holofernes invited Judith to eat, drink wine, and be merry, and she accepted his invitation. After the celebratory feast when Holofernes had fallen upon his bed in a drunken stupor, Judith cut off his head. The biblical passage has the appeal of a modern-day soap opera:
  And she struck twice upon his neck, and cut off his head, and took off his canopy from the pillars, and rolled away his headless body. And after a while she went out and delivered the head of Holofernes to her maid, and bade her put it into her wallet [leather pouch] (Book of Judith, 13:10–11).
  It was the dramatic appeal of the story that certainly cemented the popular fashioning of the subject from the Middle Ages to the 18th century.
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: Venus imagery is suffused with negative traits of the goddess as temptress, scheming and plotting the demise of innocent men. This crafting of Venus was fashioned by men for men. Unclothed women in the guise of Venus were made heroic by objectifying the female in the pretense of Venus for the pleasure of the male audience.
  The iconographical study of women in the pictorial arts requires the involvement of the observer as an active and vital participant. What may be demonstrated as a pattern of female construction in history can also be applied to current advertising and popular culture. While the process of seeing depends upon the concept of sight and the anatomy of the eyes, academic perception and personal experience bring the work of art to a completed state. Since each viewer perceives a work of art in a unique way, historical images inform the modern audience and provide them with a process of "seeing" that is applicable to their early-21st-century lives.
  An effort to comprehend what earthly experience was like for a member of the female gender throughout the centuries is a difficult and complex task. The challenge can be rewarding, and by studying visual culture, it is possible to ascertain gendered existence in past cultures. The informed—and therefore empowered—spectator can explore a particular historical period by using female imagery as a foundation to investigate cultural assumptions of life for real women.
  Fig. 2-65a. Detail. Hieronymus (or Jerome) Bosch, Tabletop of the Seven Deadly Sins, detail. Madrid, Museo del Prado.
  Although we perceive history through the eyes of a noble male writer—an inherently biased perspective—it is necessary to remember that art is only a mirror of reality, and like history, is not a perfect image. For these reasons, it is essential to consider new ways of looking at old images through a more modern lens. The excitement of deciphering art lies in the observer's power of seeing. This process, a type of self-revelation through pictorial discourse, rejuvenates old images and restores them to life by a uniquely personal reinterpretation. In this manner, history can be reevaluated and politically corrected.
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: In this manner, history can be reevaluated and politically corrected.. This process, a type of self-revelation through pictorial discourse, rejuvenates old images and restores them to life by a uniquely personal reinterpretation. The excitement of deciphering art lies in the observer's power of seeing. For these reasons, it is essential to consider new ways of looking at old images through a more modern lens.
  Although we perceive history through the eyes of a noble male writer—an inherently biased perspective—it is necessary to remember that art is only a mirror of reality, and like history, is not a perfect image. Madrid, Museo del Prado. Hieronymus (or Jerome) Bosch, Tabletop of the Seven Deadly Sins, detail. Detail. 2-65a.
  Fig. The informed—and therefore empowered—spectator can explore a particular historical period by using female imagery as a foundation to investigate cultural assumptions of life for real women. The challenge can be rewarding, and by studying visual culture, it is possible to ascertain gendered existence in past cultures.
  An effort to comprehend what earthly experience was like for a member of the female gender throughout the centuries is a difficult and complex task. Since each viewer perceives a work of art in a unique way, historical images inform the modern audience and provide them with a process of "seeing" that is applicable to their early-21st-century lives. While the process of seeing depends upon the concept of sight and the anatomy of the eyes, academic perception and personal experience bring the work of art to a completed state. What may be demonstrated as a pattern of female construction in history can also be applied to current advertising and popular culture.
  The iconographical study of women in the pictorial arts requires the involvement of the observer as an active and vital participant. Unclothed women in the guise of Venus were made heroic by objectifying the female in the pretense of Venus for the pleasure of the male audience. This crafting of Venus was fashioned by men for men.Venus imagery is suffused with negative traits of the goddess as temptress, scheming and plotting the demise of innocent men