A Too-Perfect Picture By Teju Cole

In presenting a theory about myself as a leader, I will attempt to draw conclusions about my strengths and weakness as a leader based on the things learned in this class. I will speculate on a reflective leadership best-self-portrait through my work experiences that draw on my interpersonal resources for vision. Recognizing my talents and shortcomings will help develop both micro and macro levels of resource development needed to reach my full potential.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

In my opinion the prologue “The Woman in the Photograph” is a very interesting and informative prologue. It was very eye opening and inspirational. The smallest things in our bodies can be used in many different ways. It shows that one woman immortal cells can make a humongous impact on many of people's lives. I myself do not consider Henrietta’s cells to be immortal I just consider them to be a special type of cells. The reason I consider them special is that, her cells are able to stay alive after decades even though she has been dead for many of years and most human cells die after awhile. Even after being dead for so long Henrietta’s cells are being used in many different ways. Scientist use her cells to make medical advances and save

In The Yellow Wallpaper, Charlotte Perkins Gilman discusses the oppression men have towards women through the story of a nameless narrator during the 19th century. In the story, the unknown narrator, a woman, is telling her struggle for freedom and her fight to escape from the subordination in her marriage with a physician. In the story, the narrator suffers an illness that prevents her from doing things she likes such as writing. Throughout her illness, the narrator slowly becomes aware of her situation and then starts to fight to change her living condition with her husband. Through the use of two major symbols established throughout the text, Gilman brings awareness of women’s struggle to end their oppression by men and their fight to change the way society is dominated by men. In addition, the symbols used by Gilman underline the way women suffrage awareness slowly began to spread during the 19th century.

Throughout his novel, Perfect Peace, Daniel Black focuses on the idea of feminine beauty and what it means to be a beautiful black woman or a pretty black girl. Black highlights the problematic nature that rigid internalized beauty standards can have on women well into their elderly years. Black uses both Emma Jean and Perfect’s characters, as well as addition characters such as Caroline and Eva Mae, to show the negativity associated with black beauty standards.

By comparing both stories together, and the characters within them, it is clear that neither the narrator from “The Yellow Wallpaper” or Harrison from “Harrison Bergeron” agree with the way they are being treated caused by their social, political and economic standpoint in society. In both stories they have opposing forces trying to dictate their life, and telling them who they are supposed to be. Within the story “The Yellow Wallpaper”, the narrator is being authorized by her husband john and in the story “Harrison Bergeron”, Harrison is being oppressed by his government system. In both societies of the stories, the characters are treated differently for who they are. The people to have more power in their lives, decide who they are and what they can be. The ultimate outcome of their life is up to the forces controlling them. Both characters have no way to escape the labels given to them, without going against the people restraining their potential. The characters have many good attributes to them, but are confined to being what others tell them to be. The narrator has wonderful writing skills and an active mind which allows her to be creative and have an artistic personality, but her husband will not allow her to write or be who she wants to be because he has the capability to control who she is. Harrison is a genius and an athlete who could build upon his abilities to better himself as a person both mentally and physically, but the government will not allow him to

According to Barnes “Autism is found throughout the world in families of all racial, ethnic, and socio-economic backgrounds.”(Barnes 2015). Grandin also explains her experiences living with autism in her novel Thinking in Pictures. Grandin acquired her the ability to create and imagine through her visual thinking. In contrast, one barrier that hindered her was her inability to comprehend or associate social cues and emotion to a picture. With this in mind, Grandin using her natural talents to learn enabled her to push through what most people consider an accessibility issue.

April Raintree written by Beatrice Culleton is an inspiring story set during mid to late 20th century about two Métis sisters who struggled against social prejudice. As they grew up through many hardships trying to uncover their unique identity in society, the two sisters discovered the world in two entirely different perspectives. Though they planned to stay together as they grew up, the changing personalities in addition to the distinct beliefs about their Métis heritage separated them not only from society but from each other as well. However in the end, the story’s tragic, yet surprising ending disclosed the death of one of the sisters. The novel April Raintree exhibits how the communication barrier and social beliefs of the two

In “Why We Take Pictures,” Susan Sontag discusses the increase use of technology and its ability to impact the daily lives of mankind. Taking pictures is a form of self-evolution that slowly begins to shape past and present experiences into reality. Sontag argues how the use of photography is capable of surpassing our reality by helping us understand the concept of emotion, diversity, and by alleviating anxiety and becoming empowered. Moreover, according to her argument, people are able to construct a bond between the positive or negative moments in life to cognitively release stress through reminiscing. Therefore, Sontag claims that photography itself can help with reshaping individual’s perspectives of reality by being able to empathize with the emotions portrayed through an image. Thus, giving

Everyday people stare at billboards, magazine covers, movies, television, or pictures on the Internet of someone or something that they classify as beautiful. Some things people glance over and other things fascinate them. For example, when Farrah Fawcett’s famous picture of her in her red bathing suit came out; many teenage boys hung that picture in their bedrooms. Their idea of Farrah’s beauty was based strictly her outward appearance.

In Mark Pfeifle’s article “Changing the Face(book) of Social Activism,” the definition of the term slacktivism is introduced with the words of the Urban Dictionary which defines it as an idea that belong to people who want to look like they are taking action to support a cause when they mostly do nothing. Despite the dictionary’s meaning of the term, Pfeifle concludes that slacktivism has completely changed social activism because people all over the world now have the ability to create impacting and beneficial reforms on society. He argues that social media is more powerful than ever, and the way people play a role in politics has changed because of it. Pfeifle gives an example of the power that social media has when he points out that the Democrats regained power through the use of social media during Obama’s run for presidency. He states that social media can form political groups with greater masses of people while reducing the expenses as well as the difficulty of organizing one anywhere in the world from Cairo to Zuccotti Park. He also supported his conclusion with the example of Kony, a cruel guerilla leader whose brutality was exposed to the world with the help of slacktivists. Keeping all these events in mind with the contribution of social media, Pfeifle sees the totality in the positive change of social activism from slacktivism. Pfeifle is right about slacktivism having successfully transformed social activism since it causes vast social changes, increases the

“The Yellow Wallpaper” written by Charlotte Gilman is a chilling portrayal of a woman’s downward spiral towards madness after undergoing treatment for postpartum depression in the 1800’s. The narrator, whose name remains nameless, represents the hundreds of middle to upper- class women who were diagnosed with “hysteria” and prescribed a “rest” treatment. Although Gilman’s story was a heroic attempt to “save people from being driven crazy” (Gilman p 1) by this type of “cure” it was much more. “The Yellow Wallpaper” opened the eyes of many to the apparent oppression of women in the 1800’s and “possibly the only way they could (unconsciously) resist or protest their traditional ‘feminine’

Alex Kotlowitz met Lafeyette and Pharoah Rivers in 1985 while working as a journalist. He was interviewing them for a photo essay in Chicago magazine on children living in poverty. The violence that occurred every day where the brothers lived in Governor Henry Horner Homes, or Horner, disturbed Kotlowitz. Lafeyette and Pharoah are 12 and 9 years old at the start of the book but have experienced more than many kids their age. The boys did not seem sure of what life held for them. Lafeyette told Kotlowitz, “If I grow up, I’d like to be a bus driver,” Lafeyette was not sure that he would grow up at just 10 years old (x). Kotlowitz wanted to show what it is like for children growing up in urban poverty after seeing the brothers’

Society follows a norm that requires a general agreement between groups in order to function as a whole. Human beings are social “group animals” (Lessing 1) and need each other to survive with the intention to get along or fit in. These desires to conform “influence our idea about ourselves” (Lessing 1) and people lose a sense of their inner self based on these insecurities. The false concept of ideal beauty of body image is displayed in the media and it pressures young women and men to accept this particular notion of beauty. The role of the media comes into play because it pressures individuals to give in, since they appeal to our need, which is to be accepted. Although, people oppose to media pressuring individuals to conform, it is clear