Bulletin: Bureau of Economic Geology publications, Issue 2

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Published on
Dec 31, 1919
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Pages
54
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Language
English
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Americans remain deeply ambivalent about teenage sexuality. Many presume that such uneasiness is rooted in religion. But how exactly does religion contribute to the formation of teenagers' sexual values and actions? What difference, if any, does religion make in adolescents' sexual attitudes and behaviors? Are abstinence pledges effective? What does it mean to be "emotionally ready" for sex? Who expresses regrets about their sexual activity and why? Tackling these and other questions, Forbidden Fruit tells the definitive story of the sexual values and practices of American teenagers, paying particular attention to how participating in organized religion shapes sexual decision-making. Merging analyses of three national surveys with stories drawn from interviews with over 250 teenagers across America, Mark Regnerus reviews how young people learn-and what they know-about sex from their parents, schools, peers and other sources. He examines what experiences teens profess to have had, and how they make sense of these experiences in light of their own identities as religious, moral, and responsible persons. Religion can and does matter, Regnerus finds, but religious claims are often swamped by other compelling sexual scripts. Particularly interesting is the emergence of what Regnerus calls a new middle class sexual morality which has little to do with a desire for virginity but nevertheless shuns intercourse in order to avoid risks associated with pregnancy and STDs. And strikingly, evangelical teens aren't less sexually active than their non-evangelical counterparts, they just tend to feel guiltier about it. In fact, Regnerus finds that few religious teens have internalized or are even able to articulate the sexual ethic taught by their denominations. The only-and largely ineffective-sexual message most religious teens are getting is, "Don't do it until you're married." Ultimately, Regnerus concludes, religion may influence adolescent sexual behavior, but it rarely motivates sexual decision making.
In the 1930s, Aaron Copland began to write in an accessible style he described as "imposed simplicity." Works like El Salon Mexico, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound. Yet the cultural substance of that sound--the social and political perspective that might be heard within these familiar pieces--has until now been largely overlooked. While it has long been acknowledged that Copland subscribed to leftwing ideals, Music for the Common Man is the first sustained attempt to understand some of Copland's best-known music in the context of leftwing social, political, and cultural currents of the Great Depression and Second World War. Musicologist Elizabeth Crist argues that Copland's politics never merely accorded with mainstream New Deal liberalism, wartime patriotism, and Communist Party aesthetic policy, but advanced a progressive vision of American society and culture. Copland's music can be heard to accord with the political tenets of progressivism in the 1930s and '40s, including a fundamental sensitivity toward those less fortunate, support of multiethnic pluralism, belief in social democracy, and faith that America's past could be put in service of a better future. Crist explores how his works wrestle with the political complexities and cultural contradictions of the era by investing symbols of America--the West, folk song, patriotism, or the people--with progressive social ideals. Much as been written on the relationship between politics and art in the 1930s and '40s, but very little on concert music of the era. Music for the Common Man offers fresh insights on familiar pieces and the political context in which they emerged.
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