Charlene Nieves Summary

Thayer and Van Patten create their work from the inspiration of self-definion.They want to show their on approach on how to define yourself to strangers. Thayer and Van Patten show their approach of being uncomfortable defining themselves through words; they use this as inspiration through their paintings. The painting where the woman is grabbing her extra skin on her sides creates a sense of unease with her body and pointing out what she dislikes.

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

In “Identity, Authority, and learning to Write in New Workplaces,” Elizabeth Wardle attempts to explain how identity and authority issues affect the process of enculturation for workers in new environments. Wardle argues that the issues of identity and authority can affect one’s assimilation in a new working environment and that miscommunication with the two can lead to one being viewed as a “tool” and stress.

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

Although books full of words are more efficient in delivering and describing what the author feels, sometimes pictures can give a deep meaning depending on how they are organized. The Veil by Marjane Satrapi’s is a graphic novel that’s organized in a particular way, to deliver a certain message through the pictures. Marjane includes different sizes and frames that serve what she is thinking and feeling. Choosing certain sizes, frames and colours isn’t arbitrary. As each box increases in size, it means that she wants to emphasize the message behind that box, or show her relation to that particular text. Contrast is also one of the main elements that Marjane uses in her graphic novel. For example, on page five, there is a big picture of

The Author uses different color to express different emotions of the main character, Celie, in The Color Purple. For example blue, red, black, and the most important one the color purple. Celie’s search for something she has never experienced is the symbolization of the mankind’s search for love and happiness. The color purple itself symbolizes love in the story.

up, and down, and across; nothing in sight..” creating an image in the reader’s mind and

Rosenberg uses imagery to strengthen her article’s purpose and convey her message to her audience. In the introductory paragraph, Rosenberg introduces N’Ko with the help of imagery in order to appeal to the audience promptly. Rosenberg says, “ N’Ko looks like a cross between Arabic and ancient Norse runes, written from right to left in blocky script with the letters connected underneath” (Rosenberg 267). She tries to describe the visual image of N’Ko script, which allows the audience to visualize the written N’Ko script, which increases readers’

Ms. Nancy Mairs, an accomplished and a renowned linguist, describes how she views herself with multiple sclerosis. Mairs presents herself as an extremely confident and proud woman who does not back down from her so-called “disability”. By explicitly calling herself a “cripple” Mairs is showing her audience that she is a strong woman who has come to terms with her condition and is now explaining it to others.

The author Nancy Isenberg begins by introduce Tomas Jerson background history. Jefferson was a part a class position and a gentleman farmer. For Jefferson that ideal of America society was one of farmers large and small. He also was a supported for the education and free hold status for the lower class to level Virginia’s large class disparities. He called the new western domain an empire for liberty by which he meant something other than a free market economy or a guarantee of social mobility. He will encourage agriculture and forestall the growth of manufacturing and urban poverty that was his formula for liberty. But his reform efforts were come to stop, as powerful Virginia upper class did not had interest of raising up the lower class.

When thinking about a novel, one of the most commonly used rhetorical tools used is imagery. When a scene is important for the sake of the plot or important to the author, the author works hard to bring the reader into the world that they see the action happening in. The same can be said of the presentation of a certain sequence within a piece of sequential art. Whereas a square can be seen as an ordinary frame for a comic, when the art is put into any other shape, it now stands out as important to the reader and they are more inclined to noticed more detail within the scene or frame. The same effect applies within the Narmer Palette and its presentation on the stone tablet that it is carved on. The main parts of the story are in giant panels, framed in a large rectangle and surrounded by the Egyptian goddess Bat, a cow goddess who was prevalent in the Old and Middle Kingdoms of Egypt. The goddess was told to have two faces, one able to see to the past and the other to see towards the future, hence why the face of a cow appears twice on each panel of significance. For many who were to look upon the palette it would be a sign of a blessing, significance, and greatness. This particular style of detail can be considered a rhetorical device because of its purpose towards the main theme of the

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The ability to see these sculptures from any angle displays the bodies of these sculptures in a way that no painting or relief sculpture could portray. The three-dimensionality brings all the symbolism and emotion out of the sculpture and to the viewer. The identity of both of these women would be diluted if they were captured through a two-dimensional

The black lines that seem to frame the woman into a sort of foreground are also present in the implied background, thus melding them into a singular seemingly flat space. The blending of large areas of color leave the space open, and the intent lines of color are the only implication of space or form. “Space is made ambiguously expansive by means of the slight blurs and partial erasures in and around the figures,” (Ashton). This juxtaposition of open and defined spaces easily mirrors the wily nature of women to contain some sort of depth, while at the same time being of shallow character. Lewison makes note of this contrast saying of the woman that, “she is self-consciously seductive, challenging the male to approach while at the same time remaining aloof,” (146). Although there is an understood figure and a somewhat implied background, the work still has the ability to be flat at one glance and especially deep upon another.

This side has no makeup on, and shows detail in the eye, making it more warm and welcoming than the one represented in the day. The ‘dividing line’ in her face of the painting suggests that although there is one self, there are inherit changes within the self that take place at different times throughout life.