The Adoration Of Shepherds

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

After a few of these vain attempts to convince the man to consider having the baby, she implores him to "Please. please please please please please please stop talking" (272). The author uses her avoidance of confrontation and denial of self-expression to assure the reader that the girl?s weak and dependent nature prevents her from verbally expressing her point of view. Even the use of character terms?the man and the girl?reinforces this effect.

Thus, the woman states that the professional who handles childbearing establishes a strong emotional connection with a patient in the initial stages of their acquaintance, which promotes a feeling of security and harmony. The character’s recollections account for a hearty atmosphere that encompassed the room when she was giving birth to her offspring.

1. The Christ as the Good Shepherd mosaic located on the entrance wall of the Mausoleum of Galla Placidia in Ravenna, Italy was made circa 425 AD. A mausoleum is a monumental tomb, usually meant for entombing the dead above ground. The mosaic is displayed in a lunette-a semi-circular wall of a vaulted room. Even though the image of Christ as the Good Shepherd was a common one in catacombs in previous centuries, the way that Christ was shown in art had changed since Christianity had been adopted as Rome's official religion and the image of Christ in the Mausoleum of Galla Placidia was no different. Previously Christ had been shown as a simple carpenter, but in the Christ as the Good Shepherd mosaic he is shown in a fine Roman wear. At the time, Greeks thought that they could create order within their environments and thus create statues that were "perfect." This is what they believed they were doing with the way Christ was shown in the mosaic at the Mausoleum of Galla Placidia; creating a more worldly, powerful image of Christ. Christ is shown with a large golden nimbus (halo), a royal purple mangle over a golden tunic and holding a tall cross. Also depicted in the mosaic at the Mausoleum of Galla Placidia is a set of three sheep on each side of Christ, with him touching one on the nose.

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

Portraiture in Rome and specifically portraiture in Roman politics has always been a clever game of propaganda to the people for the people in Rome. During the reign of the Emperor Augustus there is vast usage of imagery, deification, portraiture and political symbolism to help him carry out his subtle political propaganda and win the people of Rome his adoptive father Julius Caesar was assassinated in 44 BC. It is specifically in Augustus' coinage and how he used the mints and distribution of money to the Roman Empire, as a method of directly ensuring his political statements and beliefs would be instigated within his empire. Augustus' use of the coins helped influence his reign and considerably during the 13 year civil war between himself

The Adoration of the Lamb is Jan Van Eyck’s greatest accomplishments of a Renaissance painter. It was painted with oils in the third decade of the 15th century (Glover). This painting definitely has a lot going on in it. The painting is consisted of twelve panels where the outside panels can either be closed or open. There are many spiritual aspects in the painting; from the Holy family, Mary, Joseph, and Jesus; to Adam, Eve, and plenty of saints. The representation of these earthly and otherworldly figures shows the aspects of this world and the next. The lower middle piece physically reflects this with the horizon as the divider between the worlds. The saints and other peoples on the

They teach their fetuses about abundances, scarcity, safety, and harm. Annie argued that learning is an essential quality of life that begins way before we can imagine. It is important to understand the way mothers contribute to the learning of the fetus before they’re even

In Meredith Small’s article Our Babies, Ourselves she focuses on people’s social and psychological development through examining the different cultural aspects of raising a child. During this process she compares the American perspective of treating babies, to those of the Gusii and the Dutch. Throughout her examination many points are made that I believe can give the reader’s a valuable understanding of the impact of different means of parenthood on a child’s future development.

The essence of the relationship between a mother and child is a mutual ascendency in regards to identity. Children are subject to an instinctive longing for a mother. It is the mother’s influence that guides them in their process of discovering all the realities the world posses and in that processing discerning their identity. Conversely when a woman becomes a mother the presence of her child causes her to evaluate and develop her identity under the pretense of motherhood. Paula Nicolson touches on the value of both these scenarios in her article “Motherhood and Women’s Lives” where she expresses how the mother child relationship gives the pretense for both parties to find their authentic identities (Nicolson). Sue Monk Kidd evaluates the

This “preview” to the overall bigger picture that the story is trying to tell demonstrates the power of abortion and the ripple effects that it can have. The authors utilize ethos, pathos, and logos in this example. The purpose of this portion of the chapter is to “preview” the main idea of the chapter, even if the reader does not know it yet. The author’s also use a historical example to help establish precedent and to help establish credibility for themselves – a prime example of ethos. The emotional appeal in this portion of the chapter is certainly present; one cannot help but feel for the parents and children living under the harsh conditions of Ceausecu’s regime. Whether or not the reader knows it at the time, this “preview” section is used to establish the main idea of the entire chapter in a unique way.

‘Babies’ is a documentary film which chronicles the first year of life of four babies spanning the globe. Documentarian Thomas Balmès fans out to the grasslands of Namibia, the plains of Mongolia, the high rises of Tokyo and the busy streets of San Francisco in a study of culture, societal structure, geography and tradition, along with parental love and the impact all these elements have on child rearing. In the hunting and gathering society of Namibia and pastoral Mongolia, Balmès follows Ponijao and Bayar and in postindustrial Tokyo and San Francisco we are introduced to Mari and Hattie. While the 1:18 film has no real dialogue, viewers are able to get a distinct feel for each baby’s personality, the role they play within the family

Feminine characteristics are thought to be intrinsic to the female facility for childbirth and breast-feeding. Hence, it is popularly believed that the social position of females is biologically mandated to be intertwined with the care of children and a 'natural' dependency on men for the maintenance of mother-child units."

“The Adoration of the Shepard’s” shows the shepherds gather around the manger where the baby lays. This representation of this scene has stood the test of time in art, but to portray the shepherds kneeling in admiration became much more common during the Counter Reformation, and mainly after the Council of Trent. This preserved Catholic teaching in the mid-16th century. Modernism such as the display of the blessings on the altar for 40 hours of worship encouraged the faithful to meditate on the extraordinary principle that the Son of God became man. The shepherds were the poorest of all man in that time period and yet it was they, and not the Magi who were chosen to be the first human to see Christ as man.

That job has very little honor in this community. “Three years, Three births and that’s all. After that they are Laborers for the rest of their adult lives, until the day that they enter the House of the Old… The Birthmothers never even get to see new children” (p. 22). Today, some women decide to become surrogate mothers of other women’s babies because of several reasons, such as sympathy for the couples who cannot have children of their own or financial reason. However, to carry other women’s children gives surrogate moms great senses of responsibility. They writhe in not only soreness of body, but also agony of mentality. The psychological pain by giving their babies to other women is greater than that of body. Thus, some surrogate mothers refuse to give up their babies sometimes.