1.

How is “the social presence of woman” differentiated from “the social presence of

man”?

- There is a vast difference between the social presence of man and a woman. A man’s

social presence is highly dependent on what he can do for you. It does not solely

think about himself. His social presence caters to the needs of other people. In

addition, a man’s social presence relies solely on the promise of power he personifies.

The man will display a striking presence if his promise is great and credible. If the

opposite will occur, then he has little to no presence. There are various kinds of

promised power: physical, temperamental, social, economic and many more. These

powers are generated towards the exterior environment. In addition, a man may

fabricate some aspects in his powers, but his goal for the use of his powers remains

the same: for others. Thus, a man’s social presence depends on what he can do for

you. On the other hand, a woman’s social presence greatly expresses her attitude and

the boundaries and limitations that she established between other people. In other

words, her social presence tells others what they can and cannot do to that woman.

Furthermore, her social presence is greatly displayed through her actions, voice,

gestures, opinions, clothes and many more. In other words, the behavior and attitude

of women are all constituents to their overall social presence. Thus, a woman’s social

presence is like their innate and generated aura.

2. Explain this dichotomy as found in the text: male/surveyor/spectator and

female/surveyed/spectacle. Describe the attitudes and interactions of both subject

positions.

- Men generally survey women. In other words, they usually observe women before

behaving towards them. The woman’s actions contribute to the overall treatment that

men will give to them. Thus, the woman must take into consideration the surveyor

and the surveyed. The surveyor and the surveyed both constitute to the overall

identity of the woman. The surveyor aspect of the woman treats the part of the

surveyed to demonstrate how she will like to be treated by others. Since the actions of

women establishes her boundaries with others, it is assumed that whatever the manner

her attitude and behavior is it is similar to how she likes to be regarded in the same

manner. A woman throwing a tantrum in expressing her anger inside a restaurant

suggests that she wanted to be treated in that manner. On the other hand, a man

expressing his anger connotes that he is merely expressing his anger. Thus, a man acts

in accordance to his instinctive feelings, but it does not entirely mean that it is his

overall presence. A woman acts accordingly to what she perceives as herself and to

others.

3. How has woman been “split in two”?

- A woman has two aspects that constitute to her inclusive identity: surveyor and

surveyed. She must take into consideration her entire persona and behavior with

regards to her identity. In other words, a woman must still remember who she

presents herself as while doing other activities such as, lamenting or weeping. The

surveyor within the woman must conducts the surveyed in showcasing her social
 presence: how she wants to be treated. A man is simply a surveyor. A woman

constitutes both the surveyor and the surveyed. The surveyor in the woman is a man:

surveyed female. Thereafter, she will transform herself as an object of vision: a sight.

Thus, the woman has been “split in two”.

4. How has woman been treated as “sight” in European tradition of oil painting?

- In the traditional European oil painting, women are the recurrent primary subject to a

specific category: nude. The woman is seen as an object intended for the spectators. A

woman is a sight. Thus, the woman lets the spectators see her nudity. The sight of an

object of a woman stimulates the use of it as object. However, there is a difference in

contexts of nude. The woman is not naked as she is exposed. She is naked as the

spectators see her. Thus, a woman is seen as an object that caters for the spectators.

5. When is her “sight” considered nude? When is her “sight” considered naked?

- Naked means being naked for oneself. Furthermore, it reveals itself. In addition,

being naked means not putting up a disguise. In other words, naked means being

exposed to the authentic identity. On the other hand, nude refers to being seen naked

yet not recognizing it for oneself. A nude is not allowed to be naked, since nude is a

form of dress. In other words, nude means projecting another layer of oneself whilst

being naked. Nude is put on display; naked does not. Kenneth Clark stated that naked

means to be without clothes, whereas nude is a form of art. Nude is the process of

achieving an art.
6. How has she been treated as “sight” in non-European traditions?

- A sight in non-European traditions is greatly different to European traditions. The

central theme of nude in European traditions revolve around women. On the other

hand, the central theme for non- European traditions focuses more on the sexual

aspect. In Indian art, Persian art, African art, Pre-Columbian art, nude is not simply

showing the body of a woman. It involves the sexual activity between two people.

The non-European tradition expresses the sexual love of a couple: how their actions

are absorbing each other. Thus, in non-European tradition, the woman is as active as

the man.

7. What position does the spectator take when viewing a nude painting? What

position does the spectator take when viewing a naked painting?

- In an average European oil painting, the spectator is never included in the painting.

The spectator is always in front of the painting: the one looking. Oftentimes, it is

assumed to be a man. In addition, the painting is addressed to the spectator: man.

Each part of the painting is solely for the spectator. The purpose of nudity is

addressed to the man. The figures in the painting assumed nudity for the man.

However, the man is still a stranger. A stranger with his clothes on. On the other

hand, a naked painting breaks all norms of artforms. When an artist paints a naked art,

it expresses his love for the woman. In addition, in his painting, the personal vision of

the woman is too strong that it leaves no space for the spectator: the one looking. The

painter binds himself with the woman he is painting; thus, they are inseparable. The

spectator in a naked art can only witness the relationship between the woman and the
 painter; however, that is the only thing that the spectator can do. In conclusion, the

spectator can assume that a nude painting is for him; however, the spectator is merely

a bystander- a witness- in a naked painting.

8. How does Berger explain “the positive visual value” of nakedness?

- The positive visual value of nakedness pertains to the realization that there is no

difference between the bodies of the same sex. It triggers a sense of relief to the

spectator since it emphasizes that the figures are just like any human being. Relief

pertains to the discovery of the answer pertaining to the unquestionable reality. Thus,

the positive value of nakedness is that people want to see them naked as well to

recognize that they are just the same. In this revelation, lies the earnest and friendly

obscurity of nakedness.