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Beginning in the late 1960s, a growing number of women expressed a strong dissatisfaction with any marriage arrangement where the husband and his career were the primary considerations in the marriage. (1) By the end of the 1970s, for example, considerably less than half of the women in our society still believed that they should put their husbands and children ahead of their own careers. In the 2000s, most women in the United States believe that they should be equal partners in their marriages and that their husbands should have equal responsibility for child care and household chores.(2) In an equal-partnership marriage, the wife pursues a full-time job or career which has equal or greater importance to her husband’s, while the long-standing division of labor between husband and wife comes to an end. The husband is no longer the main provider of family income, and the wife no longer has the main responsibilities for household duties and raising children. Husband and wife share all these duties equally. Power over family decisions is also shared equally.(3) The reality of life in the present world is that although most American women now have an equal say in the decision affecting the family, they sometimes earn less than men forthe same work. Also, most women are still spending more time taking care of the children, cooking, and cleaning than their husbands are. Many women are resentful because they feel like they have two full-time jobs-the one at work and the one at home. In the 1980s women were told they could “have it all” - fast-track career, husband, children, and a clean house. Now, some women are finding that lifestyle exhausting and unrewarding. (4) Some young women are now choosing to stay at home until their children start school, but many others who would like to cannot afford to do so.Juggling two careers and family responsibilities can be as difficult for men as it is for women, especially if there is truly an equal division of duties. American fathers are often seen dropping the kids off at the babysitter’s or taking a sick child to the doctor. (5) Some businesses are recognizing the need to accommodate families where both parents work, thus they may open a day care center in the office building, offer fathers paternity leave to stay home with their new babies or have flexible working hours. Unfortunately, these benefits are not yet available to all. While young couples strive to achieve equality in their careers, their marriages, and their parenting, society at large still lacks many of the structures that are needed to support them.

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That Louise Nevelson is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because the greatest resistance to women artists has been, until recently, in the field of sculpture. Since Neolithic times, sculpture has been considered the prerogative of men, partly, perhaps, for purely physical reasons; it was erroneously assumed that women were not suited for the hard manual labor required in sculpting stone, carving wood, or working in metal. It has been only during the twentieth century that women sculptors have been recognized as major artists, and it has been in the United States, especially since the decades of the fifties and sixties, that women sculptors have shown the greatest originality and creative power. Their rise to prominence parallels the development of sculpture itself in the United States; while there had been a few talented sculptors in the United States before the 1940, it was only after 1945 ——when New York was rapidly becoming the art capital of the world ——that major sculpture was produced in the United States. Some of the best was the work of women.By far the most outstanding of these women is Louise Nevelson, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic, Hilton Kramer, said of her work. “For myself, I think Ms. Nevelson succeeds where the painters often fail.”Her works have been compared to the Cubist constructions of Picasso, the Surrealistic objects of Miro, and the Merzbau of Schwitters. Nevelson would be the first to admit that she has been influenced by all of these, as well as by African sculpture, and by Native American and pre-Columbian art, but she has absorbed all these influences and still created a distinctive art that expresses the urban landscape and the aesthetic sensibility of the twentieth century. Nevelson says, “I have always wanted to show the world that art is everywhere, except that it has to pass through a creative mind.”Using mostly discarded wooden objects like packing crates, broken pieces of furniture, and abandoned architectural ornaments, all of which she has hoarded for years, she assembles architectural constructions of great beauty and power. Creating very freely with no sketches, she glues and nails objects together, paints them black, or more rarely white or gold, and places them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she has denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their titles, such as Sky Cathedral and Night Cathedral, suggest such connotations. In some ways, her most ambitious works are closer to architecture than to traditional sculpture, blit then neither Louise Nevelson nor her art fits into any neat category.1.The passage focuses primarily on which of the following?2.Which of the following statements is supported by information given in the passage?3.It can be inferred from the passage that the author believes which of the following about Nevelson’s sculptures?4.Which of the following statements about Nevelson’s sculptures can be inferred from the passage?

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