Essay about Sculptures in James Baldwin's If Beale Street Could Talk

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.

If people were asked to make a mental picture of a painter working on his work of art, most of them would describe it as a person with a big canvas on a stand in front of them painting the subject which they are looking at. There were two major differences in Pollock's approach to his art compared to other artists. The first major difference was that Jackson painted on the floor. The second difference was that he used a stick instead of a brush. They would say that because they are all not exposed to different types and styles of painting. For those people who do not know much about art wouldn't know the meaning of the painting or how it was created. In some instances people say to themselves, "you call this art, my little brother could

Frederick Douglass uses elements of figurative language to express his emotions of anger and torment and uses figurative language to make the readers understand his feelings. Some type of figurative language he uses are metaphors, personification, and imagery. He first starts off by saying “This bread I used to bestow upon the hungry little urchins who, in return, would give me that more valuable bread of knowledge.” This sentence uses both personification and metaphors to show that he is almost an equal to them because he is giving the children something they need and something very valuable to them and in return, they are giving him the same thing but with knowledge. He then continues later by saying Sheridan’s speeches “Gave tongue to interesting thoughts of my own soul, which had frequently flashed through my mind and died away for want of utterance.” In this quote, he uses personification to show that when he read

Douglass uses vivid imagery to depict the gruesome and ungodly nature of slavery. For example, in chapter six, Douglass describes the death of his grandmother “…She stands-she sits-she staggers-she falls-she groans-she dies-and there are none of her children or grandchildren present, to wipe from her wrinkled brow the cold sweat of death…” (59) This quote helps the reader imagine the grandmothers death and how helpless she felt. The fact that the slaveholders made it impossible for her children to be there when she died, contributes to the inhumane image Douglass has already been painting throughout the

Thus, he treats her like a child and “laughs at [her]… ” and calls her a “‘...little girl’” (Gilman 90, 94). For these two female characters in “A Rose for Emily” and “The Yellow Wallpaper”, their struggles are a direct result of male dominance, and their coping mechanism escorts them away from the world that devalues them.

In his collection of essays in Nobody Knows My Name, James Baldwin uses “Fifth Avenue, Uptown” to establish the focus that African Americans no matter where they are positioned would be judged just by the color of their skin. Through his effective use of descriptive word choice, writing style and tone, Baldwin helps the reader visualize his position on the subject. He argues that “Negroes want to be treated like men” (Baldwin, 67).

On the hundredth anniversary of the Emancipation, James Baldwin writes a letter to his nephew regarding identity as a black man in 1960’s America. Using a wide range of rhetorical devices, the writer attempts to convince his vulnerable relative to believe he is forever loved. In “My Dungeon Shook” from The Fire Next Time by James Baldwin, the author presents a unique rhetorical strategy which uses comparison and description to reach the main goal of helping the reader focus on the most important points of the writing. The grand design for this section of the novel allows Baldwin to accomplish the purpose by addressing the American citizens in 1963 in order to inform them how black and white people cannot have equal opportunities until the Caucasians recognize their crimes and African-Americans lovingly forgive their previous oppressors.

Frederick Douglass focuses mostly on appealing emotionally to pathos through the use of imagery. He writes, “there were no beds given the slaves, unless one coarse blanket be considered such.” He again appeals to pathos when describing the eating portions. Douglass explains the eating troughs used for children and says “few left the trough satisfied.” Douglass illustrates the cruel conditions slaves faced, from the bare sleeping quarters to the harsh whippings received. This effects the reader by helping them visualize the conditions the slaves were placed in. He chose to do this to inform those who weren’t aware of what was happening inside the gated properties. Douglass next establishes credibility through the use of ethos. He begins his narrative by giving background information and stating that he has “no accurate knowledge” of his age. Douglass implies that he can be trusted because of his own personal experience.

As Douglass began to acquire a greater understanding of his condition through reading, he felt as if “the silver trump of freedom had roused [his] soul to eternal wakefulness.”20 Douglass’s use of the word silver helps express the precious nature of freedom, as well as the idea that it’s beckoning the enslaved with its gleam. Through the contrast between the purity of freedom and the corruption of slavery, Douglass’s choice of words humanizes himself because it demonstrates his attention to detail as he constructed this narrative. Likewise, he expresses that “[the slaves selected to go to the Great House Farm] would make [woods] reverberate with their wild songs, revealing at once the highest joys and the deepest sadness.”21 Douglass's usage of juxtaposition to draw attention to the vastness of emotion expressed by these songs demonstrates his own humanity, for this selection highlights Douglass's talent to capture the emotional peaks and troughs that are endured by

To begin, Douglass uses imagery to describe the heart wrenching experience of a slave child on a plantation. Without adequate food or clothing, slave children begin the process of dehumanization. Denied blankets or beds, the children slept on the cold and damp floor and Douglass describes with horrid detail his “feet [being] so cracked with the frost, that the pen which [he is] writing might be laid in the gashes”(1836). This painful description creates empathy for a mistreated child whose only “crime” results from his birth to a black mother. In the most dehumanizing comparison, Douglass uses animal imagery to reveal the conditions and manner in which the children are fed. Douglass writes:

Another Country and Go Tell it on the Mountain are two of James Baldwin's most analyzed novels. Some see both novels as great additions to American literature, while others criticize Baldwin's unique writing style used in both works.

In James Baldwin’s essay “Letter to My Nephew on the One Hundredth Anniversary of Emancipation” in The Fire Next Time, Baldwin advises his black, adolescent nephew living in the 1960’s during the African-American Civil Rights Movement on what living a free life means based on Baldwin’s own experience as an adult. As an existential thinker, Baldwin attributes a person’s identity to the collection of accomplishments and failures in his or her entire lifetime, as opposed to accepting a person as determinately good or bad. In order to be truly free of oppression, according to Baldwin, African Americans must seek to be authentic by not conceding to the expectations and restrictions of racist white Americans. A person’s authenticity lies in

During the late 19th and 20th centuries Blacks in America were debating on the proper way to define and present the Negro to America. Leaders such as Alain Lock, W.E.B. Dubois, Marcus Garvey, and Tuskegee University founder Booker T. Washington all had ideas of a New Negros who was intellectually smart, politically astute, and contributors to society in trade work. All four influential leaders wrote essays to this point of the new Negro and their representations in art and life. In “Art or Propaganda”, Locke pleas not for corrupt or overly cultured art but for art free to serve its own ends, free to choose either "group expression" or "individualistic expression.” (National Humanities Center) In W.E.B. Du Bois speech "Criteria for Negro

The Whitney Museum of American Art has often been referred to a citadel of American Art, partially due to the museums façade, a striking granite building (Figure 1), designed by Bauhaus trained architect Marcel Breuer. The museum perpetuates this reference through its biennial review of contemporary American Art, which the Whitney has become most famous for. The biennial has become since its inception a measure of the state of contemporary art in America today.

The dominant figure that steered the course of the Abstract Expressionist movement was the infamous painter Jackson Pollock. He was born Paul Jackson Pollock in Cody, Wyoming on January 28, 1912. He was the fifth and youngest son and grew up in Arizona and California after his family left him when he was a little over one year old. Pollock's artistic journey began at the Manual Arts School in Los Angeles, California where he joined two of his brothers. From there, he went on to New York to attend the Art Students' League after being convinced by one of his brothers whom also attended the school.