Love regardless of gender, age, identity - gender and sexuality are two different things. Absolutely, technically and scientifically, a 20-year-old can fall in love with a 50-year-old, so we give human equality and freedom on age: a 5-year-old can technically fall in love with a 35-year-old. Yes, we can also imagine and see 10 people having sex at the same time, regardless of age, gender, or identity, this is for sure. This may be why humanity believes in science so much.
But crime and sex, gender, age, identity are inextricably tied. That is why when you found a gay raped a straight man, you were confused and being silent. So, is gay-to-straight rape a Democratic issue or a Republican issue? Shame on humanity to ask this question.
In primitive societies, humans had no gender, no age, no identity, no laws, no politics, and they could identify everything. Humans are at their best in freedom having sex with all animals such as dogs, horses, cows, even dinosaurs, etc., because no one cares if a dinosaur rapes a man; no one even cares if this dinosaur is Democratic or Republican.
Therefore, we can tell you with certainty that historically rapists are ‘’heroes’’ in art.
The term "rape" typically conjures up images of Greek or Roman gods or heroes, Poussin's Rape of the Sabines, or Titian's Rape of Europa for art historians. This type of rape image—which Susan Brownmiller refers to as "heroic"—has always drawn a lot of attention. Seven are covered in Frederick Hartt's History of Italian Renaissance Art; they are all "heroic." Scholar papers and undergraduate textbooks have both addressed this kind of depiction. The topic of "heroic" rape imagery in art history is complicated, encompassing how art has served to legitimise, sanitise, and aestheticise sexual violence as well as how it has reinforced violence.
The heroic attributes of the rapist are embodied in plunder, repression, victory over psychology. Rape in the eyes of rapists is aesthetically beautiful - Aesthetics of Violence Art. In a way, art teaches people how to crime, education is dirty, and schools are filthy.
The Rape of the Sabine Women (Poussin)
in the Metropolitan Museum of Art New York(Upper Image)
Two oil paintings by Nicolas Poussin depict the fabled rape of the Sabine women. The original painting, titled The Abduction of the Sabine Women, now in the Metropolitan Museum of Art New York, was created in Rome 1634–1635. The second, titled L'enlèvement des Sabines, is on display at the Louvre in Paris and was painted around 1637 - 1638.
American art history may be most known with this picture as the depiction of rape. It depicts an incident from the early era of Rome's history. Unable to find wives amicably, the Romans organised a celebration, summoned the nearby Sabines, and, upon receiving a signal from Romulus, each of them grabbed a Sabine lady with force. Typically, art historians concentrate on Poussin's classical style or his references to classical literature and art. The picture is frequently referred to as "heroic" or used as an example of Poussin's view that the representation of honorable human deeds is the ultimate purpose of art. From the 14th to the 17th century, people saw the occurrence as a brave and nationalistic deed.
As the mothers of the early Romans, the Sabine women were held in high regard. Their tale graced marriage boxes, banners, and noblewomen's chambers. The name Talassius, derived from the name of a Roman who acquired a particularly lovely Sabine, was used as a wedding motto. Roman family life was seen as being founded on the Sabine legend, which was also seen to be crucial to the country's destiny. It was a part of painting cycles depicting heroic events from Roman history in the late sixteenth century. Soon after it was finished, Giambologna's monument from 1583—dubbed the Rape of the Sabine Woman—was placed on display in Florence's Piazza della Signoria, the city's central plaza.
It is evident from Poussin that women are being taken against their will by the Romans. A number of Romans have drawn their swords; some are pursuing, seizing, or securing the women. The looks on the Sabines' faces are agonized. They try to flee, kick, and resist. Additional details highlight the event's terrifying nature. a baby left to die on the naked ground. The front frieze is completed with an elderly father and a distressed old wife. It is evident that Poussin is advocating for the elderly, women, and children to bear the consequences of Rome's "heroic" beginnings. Still, Poussin defends the occurrence.
In addition to idealising the crimes of their ancestors, the artist embraces the Roman notion of raptus, which differs greatly from the contemporary definition of rape. Raptus, the Latin for "carrying off by force," denoted a variety of property crimes in ancient Rome, including various types of theft. Sexual activity was not required for this felony, if violence was. Similarly, although the sexual aspect is indicated, there is no explicit depiction of sexual activity in Poussin's picture. Roman law did not consider the perspective of the victim as she saw it. Raptus was actually a felony committed against the woman's guardian or spouse. The central figure group on the right, which depicts a Sabine father against a Roman kidnapper, symbolises Poussin's perspective on rape.
A quick look at the painting indicates that "heroic" rape imagery was frequently multivalent, occasionally fulfilled an erotic purpose, and even had political undertones. Scholarly research has demonstrated that patronage patterns for sensual depictions of "heroic" rape were significantly influenced by class. Specifically, through such achievements, princes across Europe asserted their political power.
Raping 5 person is called rape, and raping 10,000 people is called victory - Heroic Rapist.
Should we, however, also embrace this decontamination of "heroic" rape? Or should we wonder if the heroes and gods of Greco-Roman mythology truly acted heroically? "Medieval Wester art was unable, or, to put it another way, was unwilling, to retain a classical prototype without destroying either its original form, or...its original meaning," according to Erwin Panofsky and Fritz Saxl. It's true that traditional views on rape were occasionally present in Italian Renaissance art. However, many of these beliefs are no longer acceptable to us: that rape is a property crime, that sexual interactions are like the hunt, that women frequently desire to be raped, and that the victim will only experience beautiful bliss when the rapist emerges victorious.
If we take this theory into the history of homosexuality, whether homosexuals can rape men, they desire to rape men historically, because homosexuals have historically been both sex-to-gender "victims" in the United States.
It's time for a historic victory, and in the next century we will see a historic victory for homosexuals raping men, because men have raped women for too long, and men need to be historically raped by gays.
However, the honor of rape victory does not belong to women, and never will be. Because women cannot technically and physically rape people or animals, women can only use tools to achieve the purpose of rape which is called a murder weapon; or force to have sex. This is contrary to feminism and equality.
Consequently, people don't need to address any age, gender, sexuality, identity, and crime. We can legalise rape to solve all the irrationalities.
You are not creative, nor are you cool; everything you do, your ancestors did, and did cooler than you.
Sophia Katz
Paris, France
Writing Co-edited by Artpendix Team
11:20 PM Monday
29 July 2024
Artpendix Press
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