It is true, as the movement critics assert, that the present women’s liberation groups are almost entirely based among "middle class" women, that is, college and career women; and the issues of psychological and sexual exploitation and, to a lesser extent, exploitation through consumption, have been the most prominent ones.
It is not surprising that the women’s liberation movement should begin among bourgeois women, and should be dominated in the beginning by their consciousness and their particular concerns. Radical women are generally the post war middle class generation that grew up with the right to vote, the chance at higher education and training for supportive roles in the professions and business. Most of them are young and sophisticated enough to have not yet had children and do not have to marry to support themselves. In comparison with most women, they are capable of a certain amount of control over their lives.
The higher developm
A. Middle Class women are not married and have no children
B. Middle Class women are not afraid of their husbands
C. other women have less control of their own lives
D. other women grow up with no rights to vote
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’s, it was only after 1945 — when New
A. realism in Nevelson’ work
B. the unique qualities of Nevelson’ work
C. the extent of critical approval of Nevelson’ work
D. a distinction between sculpture and painting
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