By Vittorio Cigoli, Eugenia Scabini

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The crucial difference is that in Western culture a pupil is expected to surpass his master, whereas in Japanese culture he is expected to reproduce his master’s secret. However, it should be stressed that whereas these studies take the individual’s interaction with the environment — be it the mother or the mother culture — as their starting point, we are more concerned with generativity as the outcome of interaction between generations and within the married couple. The construct is the same, but the way of defining and mapping it is different.

Thus do new possibilities, new mythologies, and new family dramas develop and feed off one another. With regard to procreation, then, we have moved from a situation of impotence (infertility) on one hand and destiny (the woman who does not marry fails to achieve her destiny) on the other, to a situation in which destiny itself may be challenged and controlled. The falling birth rate, and the fact that the birth of a child can be deliberately chosen and therefore strongly desired, means that a child is like a highly concentrated emotional distillate.

A small dog is scrabbling at her skirt. Behind her are two pictures of the husbands she has had. One is dead; the other she has already left after a deeply disappointing relationship. Lady Anne commissioned the triptych to mark the successful outcome of a long legal battle to be recognized as the faithful and legitimate heir of her family, which on the death of its male children bequeathed its goods to a male cousin. Nothing was able to shake her resolve, not even a civil war (the Thirty Years’ War).

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