Analysis Of ' Shooting Back '

Williams’ son was labeled a body guard which is seen as a masculine, aggressive figure, and Jessie was labeled a hostess, which is seen as a feminine, weak figure; this story shows the everyday, hypocritical stereotypes labeled onto even children at a young age which strengthens her argument (Williams). Williams’ argument relied heavily on pathos and logos in a constant cycle to help the reader visualize the issues at hand, but at a more personal level.

“Suffering when you're young is good for you, she said. It immunized your body and your soul, and that was why she ignored us kids when we cried. Fussing over children who cry only encouraged them, she told us.”(28) In the memoir, The Glass Castle (2005) , Jeannette Walls writes of her journey to becoming a renowned journalist in New York City, recounting the hardships she faced, such as extreme poverty and negligent parenting. Rose Mary, Jeannette’s mother and an aspiring artist, prides herself in her parenting methods, or lack thereof. Despite other mothers, who coddle their children, and want to protect them at all costs, Rose Mary has a different approach to parenthood. From her perspective, children should have the unrestricted ability

"The Mother," by Gwendolyn Brooks, is a sorrowful, distressing poem about a mother who has experienced numerous abortions. While reading the poem, you can feel the pain, heartache, distress and grief she is feeling. She is both remorseful and regretful; nevertheless, she explains that she had no other alternative. It is a sentimental and heart wrenching poem where she talks about not being able to experience or do things with the children that she aborted -- things that people who have children often take for granted. Perhaps this poem is a reflection of what many women in society are feeling.

Dorothea Lange’s Migrant Mother is a photograph that documents a moment of distress within American history. The image works as a visual representation of suffering for those who were lucky enough not to live within the Dust Bowl region. To many it is uncertain if Lange’s image became an American Icon because of the struggle it presented or because of the eye capturing composition of it. However, with this image came forth the issue of a photos validity after photo manipulation, as Lange edited the image by removing the thumb of the mother who was a large subject. Despite the slight manipulation in Migrant Mother, the photograph still presents the situation truthfully, making the photograph function as both a work of art and a historical document.

While many photos in You Have Seen Their Faces depict life in the south in negative light, there are a few photos that contradict this sentiment. While reading the book I found many photos that placed their subjects in a positive light and most of them happened to center around motherhood. These images portrayed the mothers as strong and determined in the face of adversity.

Construed by the use of statistics and laws through an appeal to motherhood, Kelley strives to connect with the audience’s mind using reverse psychology to provoke the ambiance of guilt. As she refrains “while you sleep” creates the beating of drums, Kelley implores the audience to realize we are part of the problem. We wear cotton shirts and wool pants every day reminding us that our outfits are the outcome of labor. Although lacking sufficient advice, Kelley makes the personal connection with the audience in order to identify the collective issue of child labor.

Brooks creates a horrific imagery that abortions are terrible; and in the poem “The Mother “,she mirrors herself to reality to show the missed opportunities of a child, that women who have aborted their children, will miss. In the poem, it pinpoints a woman’s experience of aborting a child, and then feeling guilty about it, as a mother. In contrast to the author of the poem, Gwendolyn Brooks is a woman who has also aborted a child numerous of times, feels relentless. She communicates with her audience, women, through the poem to recap what the unborn children would become in the future such as singers and workers. “You were born, you had body, you died. It is you never giggled or planned or cried.” When Brooks talk about the missed opportunities that women will never see, she refers to a mother with treacherous experiences. Symbolically, she reflects as a role model for all women who have undergone the situation.

The first stanza of the poem the speaker starts out using the word “you”. By using second person point of view the speaker appears to speak directly to the reader. “You remember the children you got that you did not get” (Brooks 2), here the speaker uses the term “children” to refer to her aborted children, which also gives them an identity. Brooks uses throughout the poem the word “children” instead of “fetuses” which gives the speaker the image of motherhood and a person compared to inanimate object. These are the children she has lost. The speaker goes on throughout this stanza to express to the reader all the things “you” will never get to experience with your children because of the decision to have an abortion. “You will never leave them, controlling your luscious sigh, / Return for a snack of them, with gobbling mother-eye” (Brooks 9-10), here the author uses metaphors about food, “snack of them” and “gobbling mother-eye” to illustrate the speakers yearning for motherhood that will never be. This is the only time in the poem other than the title that Brooks will use the word “mother”, all else will be implied that the reader is a mother to

Diane Arbus was a photographer in the 1950’s and 60’s. Starting out as a fashion photographer, Arbus quickly moved on to photographing more impactful pictures, usually of societal outsiders (“The Cost of Diane,” 2016). With striking images of “freaks,” as she once named her subject, Arbus perfectly depicted feelings of loneliness and struggles with identity. I believe Arbus resonates with me so much because of her uncanny ability to showcase such complex and intense human emotions through photography repeatedly. Each picture tells a different story with different struggles, yet each share emotions so commonly felt. These unalike, yet similar photographs each hold a piece of personal and

The characters Sherman portrays, lighting, clothing and expressions are cliché of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all.[iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they become ironic and cliché.

The Mother Project is a documentary by Tierney Gearon. In this film she documents a period in her life where she moves from London to Los Angeles, showcases the relationship with her mother and kids, portray her pregnancy at the age of 41, and depicts her life as a photographer and how she photographs very personal moments of her life. The documentary takes place in New York, where she begins her project photographing her mother. The filmmakers record her visit to her mom’s house with her kids. We can depict Gearon’s interaction with her family, the erratically behavior of the mother, the psychological effect on the kids about being photographed and exhibit, and Gearon’s feelings about her childhood based on her mother’s behavior with her and the kids.

paper’s view on the parents and describes their progress through the snow from a distance as “effortless and unimpeded, [but] up close, the gliding through the snow made them sweat”(1). The author juxtaposes appearance to reality when she represents the child's view of her parents as viewing them from a distance, while reality is

The mother-daughter relationship is often scrutinized, publicized, and capitalized on. Whether from tell-all biographies, to humorous sit-coms, or private therapy sessions, this particular relationship dynamic gives some of the most emotion-activating memories. When female authors reflect and write about their relationships with their mothers, they have a tendency to taint their reflections with the opinions they have as an adult, reviewing the actions of their mother when they were young. These opinions set the tone of the story independently and in conjunction with the relationship itself and manifest in creative literary styles that weave an even more intricate story. Case in point, when reviewing the two literary works “I Stand Here

In this composition Roberta McGrath begins by introducing Edward Weston as a photo taker who rose up out of the earlier Pictorialist time into the new Modernist time of picture taker. She says that he is unpredictable in that his work has been overpowered by his own particular creation. She then in a split second continues forward to talk at last about ladies' extremist issues in the craftsmanship world, suggesting that men can't in any capacity, shape or structure view workmanship (the female structure) without sexual feelings. She doesn't determine how women see the male structure, possibly they are better at keeping up an unprejudiced eye than men! She furthermore continues ahead to discuss Marxism and lady's rights before unavoidably coming

Sally Mann’s style incorporates black and white photographs of her children, which are presented with “ordinary moments of childhood, suspended in time and transformed into aesthetic objects, takes on a distorted, even uncanny quality” (Arnason and Mansfield 719). Sally Mann photographed The New Mothers in 1989. This photograph’s most dominant elements are value and space. Having the photographs black and white really enhances the visibility of values. Most of Mann’s work is outside and has a define depth of field to blur out the background and emphasize the focus of the children. This compositional style helps to identify the high and low key values within the photos. The clothes, the reflection of the sun on the girls’ hair, and the girls fair skin are the part of the image that show high-key values, while the rest of the photo in more middle and low-key values. The intense depth of field increases a feeling of space for the viewer. In the photo you can see that the two young girls and their stroller is all in a line horizontally. Behind the girls you can notice they are outside in a open area because of the blurred grass and trees behind them. This photograph’s most dominant principles are movement and variety. The depth of field and lack of distraction in the background of the photo allows your eye to focus and move around with the subjects in the photo. The height of the subjects forms a triangle shape, which is