"Think Like a Man" is a single by Jennifer Hudson and Ne-Yo featuring Rick Ross. It is the lead single from the movie of the same name.

Music video[link]

The music video for the song was released on Hudson's official VEVO account on 29 February 2012.^[1] It features scenes from the movie. It also features cameo appearances of the featured artist Rick Ross and the film's actor Kevin Hart.^[2]

Synopsis[link]

The video shows a stressed out Jennifer Hudson in her office, whom was visited by film actor Kevin Hart. It was later intersected by Hudson and her other co-workers in the office doing a dance sequence. She was later accompanied by Ne-Yo, who sings his verse. The duo was seen dancing and foolishly playing around a crimson coloured background.

They are later cut by Rick Ross' appearance as he raps his verse. The video later closes with Hart trying to make Ne-Yo jealous by flaunting that he is on the line with Hudson. However, in fact, Hudson was actually contacted by Ne-Yo seconds earlier, asking her to take a break and destress, as he picks her up in 5 minutes.^[3]

Throughout the whole video, it was intercepted by scenes of the film featuring Chris Brown, Meagan Good and Jerry Ferrara.

Charts[link]

Release history[link]

References[link]

Thinking

Thought generally refers to any mental or intellectual activity involving an individual's subjective consciousness. It can refer either to the act of thinking or the resulting ideas or arrangements of ideas. Similar concepts include cognition, sentience, consciousness, and imagination.^[1] Because thought underlies almost all human actions and interactions, understanding its physical and metaphysical origins, processes, and effects has been a longstanding goal of many academic disciplines including, among others, biology, philosophy, psychology, and sociology.

Thinking allows beings to make sense of or model the world in different ways, and to represent or interpret it in ways that are significant to them, or which accord with their needs, attachments, objectives, plans, commitments, ends and desires.

Origin and usage[link]

The word comes from Old English þoht, or geþoht, from stem of þencan "to conceive of in the mind, consider".^[2]

In common language, the word to think covers numerous and diverse psychological activities. It often refers merely to the act of being conscious of something, especially if that thing is outside the immediate environment ("It made me think of my grandmother"). It is sometimes a synonym for "tending to believe," especially with less than full confidence ("I think that it will rain, but I am not sure"). At other times it denotes the degree of attentiveness ("I did it without thinking"). Many other mental activities—many of which may shade into each other—can be covered by the word, such as interpreting, evaluating, imagining, planning, and remembering.

In common usage, "thought" is often attributed to animals, machines, other non-human objects, and phenomena. The exact meaning of such usage varies as well. The attribution of thought or thought processes to non-human objects and phenomena (especially computers) could be considered anthropomorphism, though such categorizations have been contested by such computer scientists as Alan Turing (see Computing Machinery and Intelligence). As regards animals, to what extent different animals think depends on the exact definition of the word that is given, so it may be taken literally or regarded as anthropomorphic.

Philosophy[link]

The Thinker, sculpture at the Musée Rodin in Paris

The phenomenology movement in philosophy saw a radical change in the way in which we understand thought. Martin Heidegger's phenomenological analyses of the existential structure of man in Being and Time throw new light on the issue of thinking, unsettling traditional cognitive or rational interpretations of man which affect the way we understand thought. The notion of the fundamental role of non-cognitive understanding in rendering possible thematic consciousness informed the discussion surrounding Artificial Intelligence during the 1970s and 1980s.^[4]

Phenomenology, however, is not the only approach to thinking in modern Western philosophy. Philosophy of mind is a branch of modern analytic philosophy that studies the nature of the mind, mental events, mental functions, mental properties, consciousness and their relationship to the physical body, particularly the brain. The mind-body problem, i.e. the relationship of the mind to the body, is commonly seen as the central issue in philosophy of mind, although there are other issues concerning the nature of the mind that do not involve its relation to the physical body.^[5]

The mind-body problem[link]

The mind-body problem concerns the explanation of the relationship that exists between minds, or mental processes, and bodily states or processes.^[5] The main aim of philosophers working in this area is to determine the nature of the mind and mental states/processes, and how—or even if—minds are affected by and can affect the body.

Human perceptual experiences depend on stimuli which arrive at one's various sensory organs from the external world and these stimuli cause changes in one's mental state, ultimately causing one to feel a sensation, which may be pleasant or unpleasant. Someone's desire for a slice of pizza, for example, will tend to cause that person to move his or her body in a specific manner and in a specific direction to obtain what he or she wants. The question, then, is how it can be possible for conscious experiences to arise out of a lump of gray matter endowed with nothing but electrochemical properties. A related problem is to explain how someone's propositional attitudes (e.g. beliefs and desires) can cause that individual's neurons to fire and his muscles to contract in exactly the correct manner. These comprise some of the puzzles that have confronted epistemologists and philosophers of mind from at least the time of René Descartes.^[6]

Functionalism v embodiment[link]

The above reflects a classical, functional description of how we work as cognitive, thinking systems. However the apparently irresolvable mind-body problem is said to be overcome, and by passed, by the Embodied cognition approach, with its roots in the work of Heidegger, Piaget, Vygotsky, Merleau-Ponty and the pragmatist John Dewey.^[7][8]

This approach states that the classical approach of separating the mind and analysing its processes is misguided: instead, we should see that the mind, actions of an embodied agent, and the environment its perceives and envisions, are all parts of a whole which determine each other. Therefore functional analysis of the mind alone will always leave us with the mind-body problem which cannot be solved.^[9]

Biology[link]

A neuron (also known as a neurone or nerve cell) is an excitable cell in the nervous system that processes and transmits information by electrochemical signaling. Neurons are the core components of the brain, the vertebrate spinal cord, the invertebrate ventral nerve cord, and the peripheral nerves. A number of specialized types of neurons exist: sensory neurons respond to touch, sound, light and numerous other stimuli affecting cells of the sensory organs that then send signals to the spinal cord and brain. Motor neurons receive signals from the brain and spinal cord and cause muscle contractions and affect glands. Interneurons connect neurons to other neurons within the brain and spinal cord. Neurons respond to stimuli, and communicate the presence of stimuli to the central nervous system, which processes that information and sends responses to other parts of the body for action. Neurons do not go through mitosis, and usually cannot be replaced after being destroyed,^{[dubious – discuss]} although astrocytes have been observed to turn into neurons as they are sometimes pluripotent.

Psychology[link]

Psychologists have concentrated on thinking as an intellectual exertion aimed at finding an answer to a question or the solution of a practical problem. Cognitive psychology is a branch of psychology that investigates internal mental processes such as problem solving, memory, and language. The school of thought arising from this approach is known as cognitivism which is interested in how people mentally represent information processing. It had its foundations in the Gestalt psychology of Max Wertheimer, Wolfgang Köhler, and Kurt Koffka,^[10] and in the work of Jean Piaget, who provided a theory of stages/phases that describe children's cognitive development.

Cognitive psychologists use psychophysical and experimental approaches to understand, diagnose, and solve problems, concerning themselves with the mental processes which mediate between stimulus and response. They study various aspects of thinking, including the psychology of reasoning, and how people make decisions and choices, solve problems, as well as engage in creative discovery and imaginative thought. Cognitive theory contends that solutions to problems take the form of algorithms—rules that are not necessarily understood but promise a solution, or heuristics—rules that are understood but that do not always guarantee solutions. Cognitive science differs from cognitive psychology in that algorithms that are intended to simulate human behavior are implemented or implementable on a computer. In other instances, solutions may be found through insight, a sudden awareness of relationships.

In developmental psychology, Jean Piaget was a pioneer in the study of the development of thought from birth to maturity. In his theory of cognitive development, thought is based on actions on the environment. That is, Piaget suggests that the environment is understood through assimilations of objects in the available schemes of action and these accommodate to the objects to the extent that the available schemes fall short of the demands. As a result of this interplay between assimilation and accommodation, thought develops through a sequence of stages that differ qualititatively from each other in mode of representation and complexity of inference and understanding. That is, thought evolves from being based on perceptions and actions at the sensorimotor stage in the first two years of life to internal representations in early childhood. Subsequently, representations are gradually organized into logical structures which first operate on the concrete properties of the reality, in the stage of concrete operations, and then operate on abstract principles that organize concrete properties, in the stage of formal operations.^[11] In recent years, the Piagetian conception of thought was integrated with information processing conceptions. Thus, thought is considered as the result of mechanisms that are responsible for the representation and processing of information. In this conception, speed of processing, cognitive control, and working memory are the main functions underlying thought. In the neo-Piagetian theories of cognitive development, the development of thought is considered to come from increasing speed of processing, enhanced cognitive control, and increasing working memory.^[12]

Psychoanalysis[link]

"Id", "ego", and "super-ego" are the three parts of the "psychic apparatus" defined in Sigmund Freud's structural model of the psyche; they are the three theoretical constructs in terms of whose activity and interaction mental life is described. According to this model, the uncoordinated instinctual trends are the "id"; the organized realistic part of the psyche is the "ego," and the critical and moralizing function the "super-ego."^[13]

The unconscious was considered by Freud throughout the evolution of his psychoanalytic theory a sentient force of will influenced by human desire and yet operating well below the perceptual conscious mind. For Freud, the unconscious is the storehouse of instinctual desires, needs, and psychic drives. While past thoughts and reminiscences may be concealed from immediate consciousness, they direct the thoughts and feelings of the individual from the realm of the unconscious.^[14]

For psychoanalysis, the unconscious does not include all that is not conscious, rather only what is actively repressed from conscious thought or what the person is averse to knowing consciously. In a sense this view places the self in relationship to their unconscious as an adversary, warring with itself to keep what is unconscious hidden. If a person feels pain, all he can think of is alleviating the pain. Any of his desires, to get rid of pain or enjoy something, command the mind what to do. For Freud, the unconscious was a repository for socially unacceptable ideas, wishes or desires, traumatic memories, and painful emotions put out of mind by the mechanism of psychological repression. However, the contents did not necessarily have to be solely negative. In the psychoanalytic view, the unconscious is a force that can only be recognized by its effects—it expresses itself in the symptom.^[15]

Sociology[link]

This is a "thought bubble". It is an illustration depicting thought.

Graffiti on the wall: "'to think for myself' became less favorable".

Social psychology is the study of how people and groups interact. Scholars in this interdisciplinary area are typically either psychologists or sociologists, though all social psychologists employ both the individual and the group as their units of analysis.^[16]

Despite their similarity, psychological and sociological researchers tend to differ in their goals, approaches, methods, and terminology. They also favor separate academic journals and professional societies. The greatest period of collaboration between sociologists and psychologists was during the years immediately following World War II.^[17] Although there has been increasing isolation and specialization in recent years, some degree of overlap and influence remains between the two disciplines.^[18]

The collective unconscious, sometimes known as collective subconscious, is a term of analytical psychology, coined by Carl Jung. It is a part of the unconscious mind, shared by a society, a people, or all humanity, in an interconnected system that is the product of all common experiences and contains such concepts as science, religion, and morality. While Freud did not distinguish between an "individual psychology" and a "collective psychology," Jung distinguished the collective unconscious from the personal subconscious particular to each human being. The collective unconscious is also known as "a reservoir of the experiences of our species."^[19]

In the "Definitions" chapter of Jung's seminal work Psychological Types, under the definition of "collective" Jung references representations collectives, a term coined by Lucien Lévy-Bruhl in his 1910 book How Natives Think. Jung says this is what he describes as the collective unconscious. Freud, on the other hand, did not accept the idea of a collective unconscious

See also[link]

• Critical thinking
• Reasoning

External links[link]

Look up Thought or Think in Wiktionary, the free dictionary.

References[link]

A Man for All Seasons is a 1966 film based on Robert Bolt's play A Man for All Seasons about Sir Thomas More. It was released on 12 December 1966. Paul Scofield, who had played More in the West End stage premiere, also took the role in the film. It was directed by Fred Zinnemann, who had previously directed such films as High Noon and From Here to Eternity. The film won six Academy Awards, including Best Picture and Best Actor.

Title[link]

The title reflects playwright Bolt’s portrayal of More as the ultimate man of conscience and as remaining true to his principles and religion under all circumstances and at all times. Bolt borrowed the title from Robert Whittington, a contemporary of More, who in 1520 wrote of him:

More is a man of an angel's wit and singular learning. I know not his fellow. For where is the man of that gentleness, lowliness and affability? And, as time requireth, a man of marvelous mirth and pastimes, and sometime of as sad gravity. A man for all seasons.^[2][3]

Premise[link]

Sir Thomas More was the 16th-century Lord Chancellor of England who refused to sign a letter asking Pope Clement VII to annul the King's marriage to Catherine of Aragon and resigned rather than take an Oath of Supremacy declaring the King the Supreme Head of the Church of England. The King is Henry VIII of England and his wife is Catherine of Aragon, the first of Henry's eventual six wives. Both the play and the film portray More as a tragic hero, motivated by his devout Roman Catholic faith and envied by rivals, such as Thomas Cromwell. He is also deeply loved by his family and respected by the common people.

Plot[link]

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (May 2012)

The film opens with Cardinal Wolsey summoning Sir Thomas More to his palace at Hampton Court. Desiring his support in obtaining a divorce from the Pope so that Henry V can marry Anne Boleyn, Wolsey chastises More for being the only member of the Privy Council to argue against him. When More states that the Pope will never grant a divorce, he is scandalised by Wolsey's suggestion that they apply "pressure" in order to force the issue. More refuses to support continued efforts to secure an annulment for Henry VIII from the Pope as legal and religious options having been exhausted, provide no grounds for the Pope to issue an annulment.

Returning by a River Thames ferry to his estate at Chelsea, More finds Richard Rich, a young acquaintance from Cambridge waiting by the dock for his return. An ambitious young man, who is drawn to the allure of power, Rich pleads with More for a position at Court, but More, citing the various corruptions there, advises him to become a teacher instead.

Entering the house, More finds his daughter Meg with a young Lutheran named William Roper, who announces his desire to marry her. More, a devout Catholic, announces that his answer is "no" as long as Roper remains a heretic.

Wolsey dies banished from Court in disgrace, having failed to coerce a divorce from the Pope. King Henry appoints More as Lord Chancellor of England.

Soon after, the King makes an "impromptu" visit by barge at More's home in Chelsea to inquire about his divorce. Sir Thomas, not wishing to admit that his conscience forbids him to dissolve what he considers a valid marriage, remains unmoved as the King alternates thinly-veiled threats with promises of unbounded Royal favour. When More finally refers to Catherine as "the Queen," the King explodes into a raging tantrum. Storming off in a huff, King Henry returns to his barge and orders the oarsmen to cast off. His courtiers are left to run through the mud and into the river to catch up as the King laughs hysterically at their predicament. At the embankment, Rich is approached by Thomas Cromwell, a member of Henry's court and political adversary of More. Cromwell subtly inquires whether Rich has information that could damage More's reputation, in exchange for a position at Court.

Roper, learning of More's quarrel with the King, reveals that his religious opinions have altered considerably. He declares that by attacking the Catholic Church, the King has become "the Devil's minister." A terrified More begs him to be more guarded as Rich arrives, pleading again for a position at Court. When More again refuses, Rich denounces More's steward as a spy for Cromwell. Now, More and his family, including wife Alice learn the ugly truth: Rich is being manipulated by Cromwell to spy on him.

As a humiliated Rich leaves, More's family pleads with him to have Rich arrested. More refuses, stating that Rich, while dangerous, has broken no law. Still seeking a position at Court, Rich enlists Cromwell's patronage and joins him in attempting to bring down More. Henry, tired of awaiting for an annulment from the Vatican, redefines the Catholic Church in England by declaring himself "Supreme Head of the Church in England." He demands that both the bishops and Parliament renounce all allegiance to the Holy See. More quietly resigns his post as Chancellor rather than accept the new order. As he does so, his close friend, Thomas Howard, 3rd Duke of Norfolk, attempts to draw his opinions out as part of a friendly chat with no witnesses present. More, however, knows that the time for speaking openly of such matters is over.

The King will not be appeased. He demands that More attend his wedding to Anne Boleyn. More refuses and is summoned again to Hampton Court, now occupied by Cromwell. More is interrogated on his opinions but refuses to answer, citing it as his right under English Law. Cromwell angrily declares that the King now views him as a traitor.

More returns home and is met by his daughter. Meg informs him that a new oath about the marriage is being circulated and that all must take it on pain of high treason. Initially, More says he would be willing to take the oath, provided it does not conflict with his principles. One issue for More is that the King cannot declare himself to be the head of the Catholic Church as the head of the Catholic Church is the Pope. However, an expert in the law, More knows that if he does not state why he is opposed to taking the oath, he cannot be considered a traitor to the King; More refuses to take the oath and is imprisoned in the Tower of London regardless.

In spite of the bullying tactics of Cromwell, the subtle manipulation of Archbishop Thomas Cranmer and the pleadings of both Norfolk and his family, More remains steadfast in his refusal to take the oath. When he is finally brought to trial, he remains silent until after being convicted of treason on the perjured testimony of Richard Rich. He is then informed that Rich has been promoted to Attorney General for Wales as a reward.

Now having nothing left to lose, More angrily denounces the illegal nature of the King's actions, citing the Biblical basis for the authority of the Papacy over Christendom. He further declares that the immunity of the Church from State interference is guaranteed both in Magna Carta and in the King's own Coronation Oath. As the spectators scream in protest, More is condemned to death.

A narrator intones the epilogue.

Thomas More's head was stuck on Traitor's Gate for a month. Then his daughter, Margaret, removed it and kept it 'til her death. Cromwell was beheaded for high treason five years after More. The Archbishop was burned at the stake. The Duke of Norfolk should have been executed for high treason but the King died of syphilis the night before. Richard Rich became Chancellor of England and died in his bed.

Adaptation[link]

Robert Bolt adapted the screenplay himself. The running commentary of The Common Man was deleted and the character was divided into the roles of the Thames boatman, More's steward, an innkeeper, the jailer from the Tower, the jury foreman and the executioner. The subplot involving the Spanish ambassador, Eustace Chapuys, was also excised. A few minor scenes were added to the play, for instance Wolsey's death, More's investiture as Chancellor, and the King's wedding to Anne Boleyn, in order to cover narrative gaps left by the exclusion of the Common Man.

For obvious reasons, the Brechtian staging of the final courtroom scene (which depicted the Jury as consisting of the Common Man and several sticks bearing the hats of the various characters he has played) is changed to a more realistic setting. Also, while the Duke of Norfolk was the judge both historically and in the play's depiction of the trial, the character of the Chief Justice (Jack Gwillim) was created for the film. Norfolk is still present, but plays little role in the proceedings.

Zinneman uses light in an interesting way throughout the film. Regardless of the time of day, More’s home is always shown in full daylight, whereas in contrast other places are seen in the dark of night. This contrast of light is often jarring. For example, the film opens with a courier delivering a message to More. The courier travels in darkness up to the wall surrounding More’s estate. Once the courier enters the estate, he finds himself in the full light of day. More travels home in darkness and pre-dawn light, only to find full daylight once he's on his estate. In another scene More and his family members go to bed with daylight streaming in through the bedroom windows. Light is also used to capture moods: the king’s trip to and from More’s estate and the king’s wedding take place on bright sunny days, plotting against More takes place on a cold snowy day, More’s execution takes place on a cloudy overcast day, Wolsey's death is presaged by a foggy day, and the passage of time is shown by the changing seasons.

Cast[link]

• Paul Scofield as Sir Thomas More
• Wendy Hiller as Alice More
• Leo McKern as Thomas Cromwell
• Robert Shaw as Henry VIII
• Orson Welles as Cardinal Wolsey
• Susannah York as Margaret More
• Nigel Davenport as The Duke of Norfolk
• John Hurt as Richard Rich
• Corin Redgrave as William Roper (the Younger)
• Colin Blakely as Matthew
• Cyril Luckham as Archbishop Thomas Cranmer
• Jack Gwillim as Chief Justice
• Vanessa Redgrave as Anne Boleyn

Production[link]

The producers initially feared that Paul Scofield was not a big enough name to draw in audiences, so the producers approached Richard Burton, who turned down the part. Laurence Olivier was also considered, but Fred Zinnemann demanded that Scofield be cast.

Alec Guinness was the studio's first choice to play Cardinal Wolsey, and Peter O'Toole was the first choice to play Henry VIII. Richard Harris was also considered. Bolt wanted film director John Huston to play Norfolk, but he refused. Vanessa Redgrave was originally to have played Margaret, but she had a theatre commitment. She agreed to a cameo as Anne Boleyn on the condition that she not be billed in the part or mentioned in the previews.

To keep the budget at under $2 million, the actors all took salary cuts. Only Scofield, York and Welles were paid salaries exceeding £10,000. For playing Rich, his first major film role, John Hurt was paid £3,000. Vanessa Redgrave appeared simply for the fun of it and refused to accept any money.

Leo McKern had played the Common Man in the original West End production of the show, but had been shifted to Cromwell for the Broadway production. He and Scofield are the only members of the cast to appear in the both the stage and screen versions of the story. Vanessa Redgrave did appear as Alice in a 1988 remake.

Awards and acclaim[link]

The film was a box office success, making $28,350,000 in the US alone,^[4] making it the fifth highest grossing film of 1966. Scofield's performance was particularly acclaimed and he won the Best Actor Oscar. The film also won Academy Awards for Best Adapted Screenplay, cinematography, costume design, Best Director, and Best Picture. It was also nominated for Best Supporting Actor for Shaw and Best Supporting Actress for Hiller. The film also helped launch the career of the then-unknown Hurt. The film's win for Best Picture Oscar defeated another heavy nominee Who's Afraid of Virginia Woolf? which earned 13 nominations, almost twice the winning picture's total nominations alone.

The film won five BAFTA Awards for Best Film from any Source, Best British Film, Best Photography (Ted Moore), Best Production design (John Box) and Best Actor (Scofield).

The film is number 43 on the British Film Institute's list of the top 100 British films.

See also[link]

• A Man for All Seasons - television film (1988)
• Anne Boleyn in popular culture
• Cultural depictions of Henry VIII of England

Notes[link]

References[link]

• Film Script

External links[link]

Wikiquote has a collection of quotations related to: A Man for All Seasons (1966 film)

• A Man for All Seasons at the Internet Movie Database
• A Man for All Seasons at AllRovi
• A Man for All Seasons at Rotten Tomatoes

Men

Left to right from top: Hafez · David · Ban Ki-moon · Chinhua Achebe · Aryabhata · Händel · Confucius · Kofi Annan · Chief Joseph · Plato · Ronaldo · Albert Einstein · Errol Flynn · Mohandas Gandhi · Ole Henrik Magga · an American farmer · Adam · Vitruvian Man · Man with child · Heracles with Telephus

In English, lower case man (pl. men) refers to an adult human male (the term boy is the usual term for a human male child or adolescent). Sometimes it is also used as an adjective to identify a set of male humans, regardless of age, as in phrases such as "men's rights". Although men typically have a male reproductive system, some intersex people with ambiguous genitals, and biologically female transgender people, may also be classified or self-identify as a "man".

The term manhood is used to refer to masculinity, the various qualities and characteristics attributed to men such as strength and male sexuality.^[1]

Etymology[link]

Symbol of the planet/Roman god Mars, also used to indicate the male sex.

The English term "man" is derived from Old English mann. The Old English form had a default meaning of "adult male" (which was the exclusive meaning of "wer"), though it could signify a person of unspecified gender. The closely related "man" was used just as it is in Modern German to designate "one" (e.g., as in the saying Man muss mit den Wölfen heulen).^[2] The Old English form is derived from Proto-Germanic *mannaz, "persona", which is also the etonym of German Mann "man, husband" and man "one" (pronoun), Old Norse maðr, and Gothic manna. According to Tacitus, the mythological progenitor of the Germanic tribes was called Mannus. The Germanic form is in turn derived from the Proto-Indo-European root *manu-s "man, person", which is also the root of the Indian name Manu, mythological progenitor of the Hindus.^[3]

Age and terminology[link]

The term manhood is used to describe the period in a human male's life after he has transitioned from boyhood, having passed through puberty, usually having attained male secondary sexual characteristics, and symbolises a male's coming of age. The word man is used to mean any adult male. In English-speaking countries, many other words can also be used to mean an adult male such as guy, dude, buddy, bloke, fellow, chap and sometimes boy or lad. The term manhood is associated with masculinity and virility, which refer to male qualities and male gender roles.

Biology and gender[link]

Leonardo da Vinci's Vitruvian Man displays the proportions of a man.^[4]

Humans exhibit sexual dimorphism in many characteristics, many of which have no direct link to reproductive ability, although most of these characteristics do have a role in sexual attraction. Most expressions of sexual dimorphism in humans are found in height, weight, and body structure, though there are always examples that do not follow the overall pattern. For example, men tend to be taller than women, but there are many people of both sexes who are in the mid-height range for the species.

Some examples of male secondary sexual characteristics in humans, those acquired as boys become men or even later in life, are:

• more pubic hair
• more facial hair
• larger hands and feet than women
• broader shoulders and chest
• larger skull and bone structure
• greater muscle mass
• a more prominent Adam's apple and deeper voice
• a longer shinbone

Sexual characteristics[link]

In mankind, the sex of an individual is generally determined at the time of fertilization by the genetic material carried in the sperm cell. If a sperm cell carrying an X chromosome fertilizes the egg, the offspring will typically be female (XX); if a sperm cell carrying a Y chromosome fertilizes the egg, the offspring will typically be male (XY). Persons whose anatomy or chromosomal makeup differ from this pattern are referred to as intersex.

This is referred to as the XY sex-determination system and is typical of most mammals, but quite a few other sex-determination systems exist, including some that are non-genetic.

The term primary sexual characteristics denotes the kind of gamete the gonad produces: the ovary produces egg cells in the female, and the testis produces sperm cells in the male. The term secondary sexual characteristics denotes all other sexual distinctions that play indirect roles in uniting sperm and eggs. Secondary sexual characteristics include everything from the specialized male and female features of the genital tract, to the brilliant plumage of male birds or facial hair of humans, to behavioral features such as courtship.

Biological factors are not sufficient determinants of whether a person considers themselves a man or is considered a man. Intersex individuals, who have physical and/or genetic features considered to be mixed or atypical for one sex or the other, may use other criteria in making a clear determination. There are also transgender or transsexual men, who were born or physically assigned as female at birth, but identify as men; there are varying social, legal and individual definitions with regard to these issues. (See transman.)

Reproductive system[link]

Human male reproductive anatomy and surroundings.

The male sex organs are part of the reproductive system, consisting of the penis, testicles, vas deferens, and the prostate gland. The male reproductive system's function is to produce semen which carries sperm and thus genetic information that can unite with an egg within a woman. Since sperm that enters a woman's uterus and then fallopian tubes goes on to fertilize an egg which develops into a fetus or child, the male reproductive system plays no necessary role during the gestation. The concept of fatherhood and family exists in human societies. The study of male reproduction and associated organs is called andrology.

Karyogram of human male using Giemsa staining. Human males typically possess an XY combination.

Sex hormones[link]

In mammals, the hormones that influence sexual differentiation and development are androgens (mainly testosterone), which stimulate later development of the ovary. In the sexually undifferentiated embryo, testosterone stimulates the development of the Wolffian ducts, the penis, and closure of the labioscrotal folds into the scrotum. Another significant hormone in sexual differentiation is the Anti-müllerian hormone, which inhibits development of the Müllerian ducts.

Illnesses[link]

In general, men suffer from many of the same illnesses as women. In comparison to women, men suffer from slightly more illnesses.^{[citation needed]} Male life expectancy is slightly lower than female life expectancy, although the difference has narrowed in recent years.

For males during puberty, testosterone, along with gonadotropins released by the pituitary gland, stimulates spermatogenesis, along with the full sexual distinction of a human male from a human female, while women are acted upon by estrogens and progesterones to produce their sexual distinction from the human male.

Masculinity[link]

The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (December 2010)

Michelangelo's David is the classical image of youthful male beauty in Western art.

Enormous debate in Western societies has focused on perceived social, intellectual, or emotional differences between women and men. These differences are very difficult to quantify for both scientific and political reasons.

Masculinity has its roots in genetics (see gender).^[5][6] Therefore while masculinity looks different in different cultures, there are common aspects to its definition across cultures.^[7] Sometimes gender scholars will use the phrase "hegemonic masculinity" to distinguish the most dominant form of masculinity from other variants. In the mid-twentieth century United States, for example, John Wayne might embody one form of masculinity, while Albert Einstein might be seen as masculine, but not in the same "hegemonic" fashion.

Machismo is a form of masculine culture. It includes assertiveness or standing up for one's rights, responsibility, selflessness, general code of ethics, sincerity, and respect.^[8]

Anthropology has shown that masculinity itself has social status, just like wealth, race and social class. In western culture, for example, greater masculinity usually brings greater social status. Many English words such as virtue and virile (from the Latin and Sanskrit roots vir meaning man) reflect this.^[9][10] An association with physical and/or moral strength is implied. Masculinity is associated more commonly with adult men than with boys.

A great deal is now known about the development of masculine characteristics. The process of sexual differentiation specific to the reproductive system of Homo sapiens produces a female by default. The SRY gene on the Y chromosome, however, interferes with the default process, causing a chain of events that, all things being equal, leads to testes formation, androgen production and a range of both pre-natal and post-natal hormonal effects covered by the terms masculinization or virilization. Because masculinization redirects biological processes from the default female route, it is more precisely called defeminization.

There is an extensive debate about how children develop gender identities.

In many cultures displaying characteristics not typical to one's gender may become a social problem for the individual. Among men, some non-standard behaviors may be considered a sign of homosexuality, while a girl who exhibits masculine behavior is more frequently dismissed as a "tomboy". Within sociology such labeling and conditioning is known as gender assumptions and is a part of socialization to better match a culture's mores. The corresponding social condemnation of excessive masculinity may be expressed in terms such as "machismo" or "testosterone poisoning."

The relative importance of the roles of socialization and genetics in the development of masculinity continues to be debated. While social conditioning obviously plays a role, it can also be observed that certain aspects of the masculine identity exist in almost all human cultures.

The historical development of gender role is addressed by such fields as behavioral genetics, evolutionary psychology, human ecology and sociobiology. All human cultures seem to encourage the development of gender roles, through literature, costume and song. Some examples of this might include the epics of Homer, the King Arthur tales in English, the normative commentaries of Confucius or biographical studies of the prophet Muhammad. More specialized treatments of masculinity may be found in works such as the Bhagavad Gita or bushido's Hagakure.

Culture and gender roles[link]

Pope Benedict XVI is the leader of the Roman Catholic Church, a position that is reserved for men only.

Well into prehistoric culture, men are believed to have assumed a variety of social and cultural roles which are likely similar across many groups of humans. In hunter-gatherer societies, men were often if not exclusively responsible for all large game killed, the capture and raising of most or all domesticated animals, the building of permanent shelters, the defense of villages, and other tasks where the male physique and strong spatial-cognition were most useful.^{[citation needed]} Some anthropologists believe that it may have been men who led the Neolithic Revolution and became the first pre-historical ranchers, as a possible result of their intimate knowledge of animal life.^{[citation needed]}

Throughout history, the roles of men have changed greatly. As societies have moved away from agriculture as a primary source of jobs, the emphasis on male physical ability has waned. Traditional gender roles for working men typically involved jobs emphasizing moderate to hard manual labor (see Blue-collar worker), often with no hope for increase in wage or position. For poorer men among the working classes, the need to support their families, especially during periods of industrial change and economic decline, forced them to stay in dangerous jobs working long arduous hours, often without retirement. Many industrialized countries have seen a shift to jobs which are less physically demanding, with a general reduction in the percentage of manual labor needed in the work force (see White-collar worker). The male goal in these circumstances is often of pursuing a quality education and securing a dependable, often office-environment, source of income.

United States Presidents George H. W. Bush, Barack Obama, George W. Bush, Bill Clinton, and Jimmy Carter. While no law reserves the Presidency for men, all United States Presidents have been men thus far.

The Men's Movement is in part a struggle for the recognition of equality of opportunity with women, and for equal rights irrespective of gender, even if special relations and conditions are willingly incurred under the form of partnership involved in marriage. The difficulties of obtaining this recognition are due to the habits and customs recent history has produced. Through a combination of economic changes and the efforts of the feminist movement in recent decades, men in some societies now compete with women for jobs that traditionally excluded women. Some larger corporations have instituted tracking systems to try to ensure that jobs are filled based on merit and not just on traditional gender selection. Assumptions and expectations based on sex roles both benefit and harm men in Western society (as they do women, but in different ways) in the workplace as well as on the topics of education, violence, health care, politics, and fatherhood - to name a few. Research has identified anti-male sexism in some areas (a concept which must be distinguished and differentiated from the traditional anti-female sexism in its ubiquity and impact) which can result in what appear to be unfair advantages given to women.

The Parsons model was used to contrast and illustrate extreme positions on gender roles. Model A describes total separation of male and female roles, while Model B describes the complete dissolution of barriers between gender roles.^[11] The examples are based on the context of the culture and infrastructure of the United States. However, these extreme positions are rarely found in reality; actual behavior of individuals is usually somewhere between these poles. The most common 'model' followed in real life in the United States and Great Britain is the 'model of double burden'.^{[clarification needed]}

Exclusively male roles[link]

Some positions and titles are reserved for men only. For example, the position of Pope in the Roman Catholic Church is reserved for men only, as is its priesthood. Men are often given priority for the position of monarch (King in the case of a man) of a country, as it usually passes to the eldest male child upon succession.

See also[link]

Gender studies portal

• Masculinity
• Lists of men
• Trans man
• Sex assignment
• Women

Medical:

• Andrology
• Masculine psychology, discipline of
• Men's health
• Gender differences
• Virility (social traits of men)
• Virilization
• Y-chromosomal Adam

Dynamics:

• Machismo
• Male chauvinism
• Patriarchy
• Sexism
• Misandry

Political:

• Fathers' rights
• Masculism
• Men's movement
• Men's studies
• Men's Rights
• New Soviet man
• Gender and sexuality studies

References[link]

Further reading[link]

• Andrew Perchuk, Simon Watney, Bell Hooks, The Masculine Masquerade: Masculinity and Representation, MIT Press 1995
• Pierre Bourdieu, Masculine Domination, Paperback Edition, Stanford University Press 2001
• Robert W. Connell, Masculinities, Cambridge : Polity Press, 1995
• Warren Farrell, The Myth of Male Power Berkley Trade, 1993 ISBN 0-425-18144-8
• Michael Kimmel (ed.), Robert W. Connell (ed.), Jeff Hearn (ed.), Handbook of Studies on Men and Masculinities, Sage Publications 2004

External links[link]

Look up man in Wiktionary, the free dictionary.

Wikiquote has a collection of quotations related to: Man

Wikimedia Commons has media related to: Men

Three singers-a trio-singing a song while accompanied on a lute played by one of the singers. Das Konzert [The Concert] (c. 1490, Lorenzo Costa).

In music, a song is a composition for voice or voices, performed by singing. A song may be accompanied by musical instruments, or it may be unaccompanied, as in the case of a cappella songs. The lyrics (words) of songs are typically of a poetic, rhyming nature, though they may be religious verses or free prose.

A song may be for a solo singer, a duet, trio, or larger ensemble involving more voices. Songs with more than one voice to a part are considered choral works. Songs can be broadly divided into many different forms, depending on the criteria used. One division is between "art songs", "pop songs", and "folk songs". Other common methods of classification are by purpose (sacred vs secular), by style (dance, ballad, Lied, etc.), or by time of origin (Renaissance, Contemporary, etc.).

A song is a piece of music for accompanied or unaccompanied voice or voices or, "the act or art of singing," but the term is generally not used for large vocal forms including opera and oratorio.^[1] However, the term is, "often found in various figurative and transferred sense (e.g. for the lyrical second subject of a sonata...)."^[1] The noun "song" has the same etymological root as the verb "to sing" and the Oxford English Dictionary (OED) defines the word to mean "that which is sung" or "a musical composition suggestive of song." The OED also defines the word to mean "a poem" or "the musical phrases uttered by some birds, whales, and insects, typically forming a recognizable and repeated sequence and used chiefly for territorial defence or for attracting mates." ^[2]

Cultural types[link]

Art songs[link]

Art songs are songs created for performance in their own right, usually with piano accompaniment, although they can also have other types of accompaniment such as an orchestra or string quartet, and are always notated. Generally they have an identified author and composer and require voice training for acceptable performance. German-speaking communities use the term art song ("Kunstlied") to distinguish so-called "serious" compositions from folk song ("Volkslied"). The lyrics are often written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form. They are often important to national identity.

Art songs feature in many European cultures, including but not limited to: Russian (romancy), German (Lieder), Italian (canzoni), French (mélodies), Scandinavian (sånger), Portuguese (canções), Spanish (canciones). There are also highly regarded British and American art songs in the English language. Cultures outside of Europe that have a classical music tradition, such as India, may or may not feature art songs. The accompaniment of European art songs is considered as an important part of the composition.

The art song of the period in which they originally flowered is often a duet in which the vocalist and accompanist share in interpretive importance. The pieces were most often written to be performed in a home or salon setting, although today the works enjoy popularity as concert pieces. The emergence of poetry during this era was much of what inspired the creation of these pieces by Brahms, Schumann, Schubert and other composers. These composers set poems in their native language. Many works were inspired by Johann Wolfgang von Goethe and Heinrich Heine. Another method would be to write new music for each stanza to create a unique form; this was through-composed form known in German as durchkomponiert. A combination of both of these techniques in a single setting was called a modified strophic form. Often romantic art songs sharing similar elements were grouped as a song cycle.^[3]

Folk songs[link]

Folk songs are songs of often anonymous origin (or are public domain) that are transmitted orally. They are frequently a major aspect of national or cultural identity. Art songs often approach the status of folk songs when people forget who the author was. Folk songs are also frequently transmitted non-orally (that is, as sheet music), especially in the modern era. Folk songs exist in almost every culture.

Popular songs[link]

Modern popular songs are typically distributed as recordings and are played on the radio, though all other mass media that have audio capabilities are involved. Their relative popularity is inferred from commercially significant sales of recordings, ratings of stations and networks that play them, and ticket sales for concerts by the recording artists. A popular song can become a modern folk song when members of the public who learn to sing it from the recorded version teach their version to others. Popular songs may be called pop songs for short, although pop songs or pop music may instead be considered a more commercially popular genre of popular music as a whole.

See also[link]

Wikiquote has a collection of quotations related to: Song

• Air (music)
• Animal song: bird song, whale song, zoomusicology
• Aria
• Ballad
• Canticle
• Category:Musical forms
• Hymn
• Instrumental
• Lied
• Madrigal (music)
• Song structure (popular music)
• Vocal music
• Theme song
• Poem and song
• Singing

References[link]

Further reading[link]

• Marcello Sorce Keller (1984), "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104.