Fill out the Realism, Impressionism, and the Modern World Worksheet.Attached is the worksheet as well as the guidelines and rubric document. Also attached is the "Module Overview" Please use size 12, times new roman, double spaced .

It’s no secret that the early feminist movement was largely a movement among and for middle-class, educated white women, and we are already seeing in MAKERS Part 1: Awakening that other women – Black women, lesbians, working class women, etc – were pushing back against that limited view of sexual equality. We’ll be getting to the contributions of other women as we move forward in our course, but for now, let’s focus on those very early days of the movement because as non-inclusive and limited as they were they did lay the groundwork for the growth of feminism. To do this, let's focus on the sorts of situations and injustices that women took on in the 1950s and 1960s, often without really think of the situations or themselves as feminist. This discussion board does not require outside research. Everything you need is in our materials in this module. Choose ONE of the three people/quotes below and then:In one paragraph briefly explain who this person is (age, race, career status, marital and/or parental status, et cetera). Do not do outside research. All you need to do in this paragraph is share what we've learned about this person in the materials in this module. In a second paragraph break down the quote attributed to this person: (a) What was the situation/injustice to which the quote refers? Describe that situation/injustice. (b) What does this quote mean? Why did the speaker say this and why did she feel this way? (c) Do you imagine this person a self-identified feminist when she said this? [Tip: You will want to use and define at least one of the key terms from Modules 1 through 3.]In a third paragraph, describe how the person/quote and the situation/injustice involved connect to the feminism movement and its tenets? In what was this individual situation/injustice connected to the political/systemic? How was this individual situation indicative of larger social issues? [You’ll probably want to use and define “the personal is political” and/or “systemic” from our course materials.]Kathrine Switzer: When asked if she was a suffragette or a crusader, Switzer replied “What? I’m just trying to run” but quickly followed that up with “I’m gonna finish this race on my hands and knees if I have to.”Jean Montague: “I was twenty-six at the time, and I thought, ‘I could make a whole career out of this.’ Then I realized I can’t.”Lorena Weeks: When told by a supervisor, “You know the man’s the breadwinner in the family,” Weeks responded “Oh no, when I go through the grocery line in the grocery store, they don’t push back a loaf of bread and say ‘you’re a nice little lady, so you can have this ten cents cheaper because you’re a woman.”

Mural: “Tribute to Allende” (1973) by Smiley Benavidesthesis statement based on your observation of this mural: In his mural “Tribute to Allende,” Smiley Benavides is illustrating that the military forces unleashed against the supporters of the Allende regime in Chile are a metaphor for the political oppression facing Chicanos in the United States during the early 1970s. Benavides is demonstrating that the Chicano fight for justice is comparable to the Chileans’ support for Allende’s “Popular Unity” platform of justice, equality, labor rights, quality education, etc. Furthermore, by depicting the Chilean military in dark, austere monochrome tones, Benavides makes the analogy that forces of conformity and conservatism of those opposed to Allende are equivalent to that of the Nixon Administration and its disdain toward those in support of civil rights and those opposed to the Vietnam War. one cause or consequence of an event associated with this mural: Following the ouster of the Allende government on September 11, 1973 (that’s right, Chile had its own 9-11), General Augusto Pinochet oversaw the installation of a brutal military government that lasted until 1990, when democracy returned to country. But in that 17-year dictatorship, the Pinochet regime in a brutal campaign of terror against alleged “subversives” and “radicals,” including students, social workers, doctors, artists, and musicians, such as legendary folk singer Victor Jara, who was executed by security forces at the National Stadium in Santiago. Pinochet was convinced he had to protect “la patria” from all enemies, foreign and domestic, and because Pinochet was committed to fighting Communism, he earned much praise from US presidents through the 1980s. Although Pinochet did usher in an era of economic expansion in the country in the rest of 1970s, popular agitation began to emerge during the early 1980s, and as the Cold War was winding down by the end of the decade, Pinochet was becoming more and more isolated, and after a 1988 “plebiscite” in which Chileans voted to end the regime, Pinochet finally ceded power in 1990. But the brutal legacy of Pinochet’s regime still lingers today, and it’s a reminder of just how governments, including constitutional republics, will go to great lengths to exterminate its own citizens just for the sake of preserving its power structure. one historical individual involved in this event and explain his or her significance in this event: The deceased figure in the mural represents Salvador Allende, the Chilean president who died in the violent coup against him on September 11, 1973. Nobody knows for sure if he took his own life or was murdered by military forces that stormed the presidential palace. Allende was the candidate of the Unidad Popular (“Popular Unity”) party during the 1970, defeating two other candidates in a three-way race. The UP coalition was made of various left-leaning groups, including Socialists and Communists, which angered the Nixon Administration. Nixon was so incensed that he vowed to “smash that son-of-a-bitch Allende.” But for the people who supported Allende, he represented their aspirations of overcoming the legacy of colonialism that had permeated Latin America since the days of the Spaniards. For its supporters, the UP promoted improved social security and public health, an improved and expanded housing sector, gender equality, and the extension of the right to organize unions. Therefore, Allende became a hero to many Chicano activists, who felt that their own aspirations were the mirror image of what UP supporters were fighting for. Unfortunately, Allende could not contain many of the internal struggles within the UP coalition, let alone pressures from the Chilean armed forces, conservative forces, and the Nixon Administration. And as Benavides indicates in his mural, the death of Allende is symbolic of the dashed hopes and dreams of many in the Chicano movement during the mid-1970s. But in modern times, Allende is still viewed as a martyr, as someone who fought for the interests for the common people, but paid the ultimate price for his beliefs