The Movie Freedom Writers Erin Gruwell Essay - 850 Words

Summary The movie Freedom Writers is about Erin Gruwell who is starting her first year as an English teacher at Woodrow Wilson High School. This school is racially divided with many gangs and violence erupting at any time. Ms. Gruwell was the students main subject of hate too. After having a discussion with her students about what they were feeling about their lives and situations, she took the responsibility of educating the students no matter what the cost was. She would eventually get through to the teens by passing out journals for them to write their personal life stories in. As the year went on, the students started to trust Ms.Gruwell. The next academic year, she had the students getting along with one another and reading The Diary of Ann Frank. She faced many critics within the school, but she ultimately succeeded. Teacher Ms. Gruwell was more dedicated and determined than the other teachers at Woodrow Wilson High School. Even though she was warned by other faculty and staff members, she went in with an unbiased opinion of the students in her class. She led the classroom by not showing her frustrations when something went wrong or if a fight broke out. Instead of complaining about the lack of resources that the school provided her with, she found ways to get it herself by working more jobs. In order for her to lead the classroom, she tried to find common ground between her and the students. She tried to make them feel comfortable with her as their teacher. HerShow MoreRelatedFreedom Writers Critique1679 Words   |  7 PagesThe Freedom Writers   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Freedom Writers was released in 2007 on January 7. It was based on the book the Freedom Writers Diary by Erin Gruwell, who wrote the story based on a school name Woodrow Wilson Classical High School in Eastside Long Beach, California. This film tells a story about Erin Gruwell, who is a young teacher who just started her job as a freshman and sophomore English teacher at Woodrow Wilson High School. She is soon challenged by a group of Black, Latino and Asian gang membersRead MoreFreedom Writers : Film Review1085 Words   |  5 PagesFreedom Writers Film Review But even an ordinary secretary Or a housewife or a teenager Can, within their own small ways, Turn on a small light in a dark room. - Miep Gies Just like how Erin Gruwell (Hilary Swank) turned the lights on, in the dark room of 203. Freedom Writers is a film inspired by students of Woodrow Wilson High School as they experience the aftermath of LA riots. Los Angeles resembles a war zone back in the 1992. During this time in America, it all comes down to what a person lookRead MoreThe Freedom Writers1584 Words   |  7 PagesIntroduction Freedom Writers is a drama based on the book â€Å"The freedom writers’ diary† by Erin Gruwell and her students at the Woodrow Wilson Classical High School in California. The book is an agglomeration of the writings of these students, inspired by their teacher, to write about the experiences they had to undergo due to the racial tensions and violence existing in the society. The movie is an enrapturing representation of the way in which a teacher revolutionizes the process of classroom teachingRead MoreFreedom Writers By Jung Ah Choi1010 Words   |  5 Pagesindividual demonstrates their learning process. â€Å"Reading Educational Philosophies in Freedom Writers† by Jung-Ah Choi, breaks down the different methods of teaching through the film Freedom Writers. Freedom Writers is a film based on a true story about a young teacher, Erin Gruwell, who faces racial barriers at an integrated high school in Long Beach California. The article displays the teaching methods used by Gruwell in order to help her students face their academic struggles that are obstructed byRead MoreMovies Such As The â€Å"Freedom Writers (Lagravenese, 2007)†1661 Words   |  7 PagesMovies such as the â€Å"Freedom Writers (LaGravenese, 2007)† and â€Å"Precious Knowledge (Palos, 2011)† both support the central theme of discrimination and race within a school system. The students in both movies come from backgrounds experiencing poverty, gangs, and violence experiencing discrimination and the lack of support for their education, but overcome the stereotypes and battles to gain access to receiving their education at their fullest potential. Each movie involves students that were guidedRead MoreFreedom Writers Analysis Paper786 Words   |  4 Pa gesFreedom Writers Analysis Over the years, I had heard many positive things said about this movie, but yet I had never taken the time to rent the movie and watch it myself. That is why I am so glad that this movie was our assignment. Freedom writers far exceeded my expectations. It truly was touching to see an adaptation of real live stories come to play. Watching a young woman, a teacher, who was completely out of her element and her comfort zone, grow to actually take an interest in these kids thatRead MoreRacial Conflicts1152 Words   |  5 Pagesthe equality of every human causes racism. Humans need laws to follow and the lack of these laws cause conflict between humans. Erin Gruwell was optimistic about teaching a class of so many different backgrounds but it was much more challenging to get through to such angry teenagers. Racial conflicts in America include gang violence, and even murder. The Freedom Writers movie gives a clear description of the life that every teenager has to go through while there a re racial conflicts. In that environmentRead MoreThe Freedom Writers, Newly Licensed High School1679 Words   |  7 PagesIn the movie â€Å"The Freedom Writers, newly licensed high school teacher Erin Gruwell is teaching a large group of students who are different in race and ethnicity and are participants and/or indirectly affected by gang violence in L.A. The name Freedom Writers is a name given to her students by which they were inspired by the Freedom Riders activists in the Civil Rights Movement in the 1960s. The film is based on the true story of Woodrow Wilson High School in L.A. that has given up on students suchRead MoreFilm Analysis on Freedom Writers2290 Words   |  10 PagesFilm Analysis Essay on Freedom Writers Main Credits Title: Freedom Writers Director: Richard LaGravenese Scriptwriter: Richard LaGravenese Adapted from: The Freedom Writers Diary by Erin Gruwell Actors/Main characters: Hilary Swank-Erin Gruwell, Patrick Dempsey-Scott Casey, Scott Glenn-Steve Gruwell, Imelda Staunton-Margaret Campbell, April L. Hernandez-Eva Benitez, Jaclyn Ngan-Sindy, Jason Finn-Marcus, John Benjamin Hickey- Brian Gelsord, Plot Summary The movie â€Å"Freedom Writers† is based on a trueRead MoreRhetorical Analysis Of Freedom Writers1507 Words   |  7 PagesFreedom Writers is a movie based on the book The Freedom Writers Diary by teacher Erin Gruwell. The movie was directed by Richard LaGravenese and it was released in 2007. This movie discusses significant themes such as stereotyping and racial discrimination but most important the power of tolerance and understanding. The purpose of this movie is to promote the message that knowledge is power and in a world filled with disparities where hundreds of ethnic groups convey and interact humans are obliged

Borrowing Money And Taking Out Loans Essay - 1537 Words

Introduction Many decisions involve borrowing money and taking out loans. The need to take out loans can be crucial and necessary at different times. One example is the choice of taking out loans to cover for different things, such as college tuition, cars, homes and/or major appliances. People’s interest about credit or borrowing money can vary. People also prefer immediate gains over immediate losses. They also prefer delayed losses over delayed gains. Discounting rates in regards to the loan amount, time loan is received and interest amount can vary based on their delayed time. The attractiveness of the loan amount, the time the loan is received, and the interest amount and time can be evaluated differently . For example you are given a choice between a loan of $5,000 in 2 years and you must pay $200 and it is due in 6 months vs you receive a loan of $5000 in a week and you must pay $200 and its due in 6 months, you opinion on these to choices can be different in terms of how attra ctive they are to you. Taking loans can be a tough decision. Temporal discounting refers to the impact of time on the results in the future. In terms of temporal discounting experimental findings have indicated that loans that are received in a longer time are less valued vs loans that are received in a shorter time. Also, interest payments that must me paid in a longer time frame are easier to tolerate vs interest payments that need to be made sooner. Positive rating stimulus is used toShow MoreRelatedBenefits Of Borrowing Money While At The Same Time Should You Borrow993 Words   |  4 PagesWhen it comes to borrowing for higher education whether the funds come from family or student loans its always an issue of is there enough money for expenses while attending college. There are benefits of borrowing money while at the same time should you borrow. Students use loans for various reasons, but for some loans are just a financial burden. This article is researched on twelve students from a community college. All the students had taken out loans for school purposes as well as personalRead MoreCase Study : Wanda s Financial Advice884 Words   |  4 PagesWanda’s Financial Advice With Wanda financing her business out of her own pocket, she has no idea how to take out a loan to fund her expansion. With the right advice, Wanda’s business could really benefit from an expansion. 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The recent worry has been that taking out student loans are â€Å"threatening the financial future of today’s college students† (Wilson 256). However, recent studies has shown that one-third of college students will have no debt after their academic experience. College studentRead MoreEssay On Regulating American Banks1033 Words   |  5 Pagesassumed office, he vowed to restructure the elephantine law which had recast financial regulation following the 2007-08 crisis. Thus, he asked Steven Mnuchin, the Treasury secretary to measure all the rules of America against 7 broad principles, bail-outs prevention by taxpayers as well as instituting more efficient regulations inclusive. Mnuchin provided a report on banks where he proposed installments to cover capital markets, asset, and insurance management together with financial te chnology andRead MoreThe Real Estate Market Crash1525 Words   |  7 Pagesreal estate market crash in 2007-2009 more than 8.5million people lost their homes as a result of foreclosure. Some of these home foreclosures were the result of the typical reasons that people often lose their homes such as illness, divorce, poor money management, death of a spouse, or legal issues. However, during the real estate crash of the last decade most foreclosures were the result of some circumstances that were unique to that time. The national unemployment rate soared during this timeRead MoreStudent Loan Loans Should Not Be Forgiven938 Words   |  4 Pages Should student loan borrowers be forgiven for their debt? The cumulative total of student loan borrowing has already reached $1 trillion dollars already make up more than half of what Barack Obama is pushing to cap the amount any borrower must pay back and forgive outstanding debt after 20 years, even so calling to forgive some or all of the debt that is escalating. Robert Applebaum, the Author behind the Student Loan Forgiveness Act, believes that student loan should be forgiven to highlight anRead MoreNot A Student Loan For College Essay1238 Words   |  5 Pagesstudent loans and repayment issues. In electing to secure a student loan for college, prospective students or parents should realistically, forecast or measure probable (anticipated) student debt. In particularly, with students aspiring to attend college, several organizations or subsidiaries, and for-profit institutions cash in on unknowledgeable hopefuls contributing to the student loan debt dilemma/crisis (or student d ebt). 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Egyptian Pyramids Essay Example For Students

Egyptian Pyramids Essay The Egyptian pyramids have been the subjects of many outlandish claims and construction theories for centuries. The Great Pyramid for example has been associated with pyramid power, curses, Atlantis, the Bermuda Triangle, Biblical prophecy, Martian faces, advanced civilizations, space aliens, cavity resonators, and even levitation. It is not surprising that some that have proposed such theories have been dubbed pyramidiots. This paper will attempt to give a more logical solution to the methods ancient Egyptians may have had used, and the problems they may have had, using factual information, scientific evidence and a bit of common sense. It is time for a rational explanation of how the pyramids were constructedan explanation that relies on nothing extraordinary, technologically advanced, paranormal, supernatural, mystical, psychic, or extraterrestrial powers. The Egyptian pyramids aesthetic beauty, its geometrical shape, its complex system of internal features, and the precision of i ts construction beckon us to search for a design scheme. It seems unlikely that the builders would have undertaken such a monumental construction project without a comprehensive plan. Unfortunately, no records, plans, blueprints, or direct accounts of the pyramids construction have survived. There is no inscriptions or texts, and the names of the architects remain unknown. There is no way of knowing exactly how the ancient Egyptians built the pyramids, in a time of only primitive tools, and at best only simple machinery. There are many theories of how the Egyptians gained their knowledge of math and science to build these amazing structures. The blocks used to build the pyramids are composed of granite and or limestone; each single block has an estimated weight of approximately two and a half tons. Each block would to have been quarried or cut, and then hauled to the work site, and eventually placed in the correct position. The Egyptians had an amazing understanding of math, which helped them plan the erection of the pyramid, but the only driving force behind them was manpower. The actual people who built the pyramids were all voluntary workers; they were not slaves contrary to popular belief. New archaeological evidence shows that those who dragged and laid these two and a half ton granite slabs were condemned to an early grave, and they died with deformed bones and broken limbs. An Egyptian excavation recently uncovered the burial ground of hundreds of workers who helped to build the great pyramid for King Cheops 4500 years ago. Originally over one hundred and forty six meters high, it is the tallest of the three famous pyramids at Giza near the Nile delta. The workers burial ground is one kilometer west of the pyramid, close to their living quarters. Zahi Hawass, the Egyptian archaeologist leading the excavation says that most of the workers skeletons have abnormal outgrowths known as osteophytes, which are caused by chronic heavy labor. The joints of numerous bones show wear and tear and many bodies have damaged spines. Six skeletons have severed limbs or splintered feet. Workers died on average between the ages of thirty and thirty-five, compared to between fifty and sixty for members of nobility. ?They literally worked themselves to death,? says Hawass. This evidence shows they did in fact use human power in the construction of pyramids but it does not explain how a group of men were able to lift a two and a half ton piece of rock. It also does not explain how these rocks were carried from the quarry, or how it was lifted up the pyramid, as it became taller. If one was to build a pyramid today assuming the slabs were already cut and ready to put together the fastest and easiest way to move them would be a crane. In order to get an exact placement of the slab it would take the crane nearly one day to position itself and drop the block in place. The pyramid Khufu has about two million three hundred thousand stone blocks; its dimensions are four hundred eighty one feet in height, seven hundred fifty six feet in length and its base covering a little over thirteen acres. The pyramid is a geometrical wonder it is absolutely level and perfectly square, the mathematical skills of the people are not at all contested, but there are many theories on how they were able to carry out this magnificent feat without a crane. It is not known how the Egyptians got the stones from the quarry to the work site. They must have been dragged, for there was not enough surface area for even a team of reasonably strong men to pick up the two and a half-ton slab. Th e most likely method of getting the blocks to the top of the structure was through massive construction ramps. Exactly how the ramps were laid out is unknown, but they may have been straight or in a spiral pattern around the pyramid. The ramps may have been topped with a surface of clay called tafla. Tafla, when wet, becomes very slippery and may have allowed the Egyptian builders to use shorter, steeper ramps than might have otherwise been possible. By wetting the ground in front of the block a slick path would be created allowing the stone to be dragged by rope as it sat on sledges. .ue2867e55063c8adc64c9e9e5ec3ffb50 , .ue2867e55063c8adc64c9e9e5ec3ffb50 .postImageUrl , .ue2867e55063c8adc64c9e9e5ec3ffb50 .centered-text-area { min-height: 80px; position: relative; } .ue2867e55063c8adc64c9e9e5ec3ffb50 , .ue2867e55063c8adc64c9e9e5ec3ffb50:hover , .ue2867e55063c8adc64c9e9e5ec3ffb50:visited , .ue2867e55063c8adc64c9e9e5ec3ffb50:active { border:0!important; } .ue2867e55063c8adc64c9e9e5ec3ffb50 .clearfix:after { content: ""; display: table; clear: both; } .ue2867e55063c8adc64c9e9e5ec3ffb50 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue2867e55063c8adc64c9e9e5ec3ffb50:active , .ue2867e55063c8adc64c9e9e5ec3ffb50:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue2867e55063c8adc64c9e9e5ec3ffb50 .centered-text-area { width: 100%; position: relative ; } .ue2867e55063c8adc64c9e9e5ec3ffb50 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue2867e55063c8adc64c9e9e5ec3ffb50 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue2867e55063c8adc64c9e9e5ec3ffb50 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue2867e55063c8adc64c9e9e5ec3ffb50:hover .ctaButton { background-color: #34495E!important; } .ue2867e55063c8adc64c9e9e5ec3ffb50 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue2867e55063c8adc64c9e9e5ec3ffb50 .ue2867e55063c8adc64c9e9e5ec3ffb50-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue2867e55063c8adc64c9e9e5ec3ffb50:after { content: ""; display: block; clear: both; } READ: Kuwait Red Crescent Society and Zero Sum budgeting EssayA man by the name of Joseph Davidvovits began to contest this classical theory of pyramid construction in 1979. His ideas and research may force even Egyptologists to revise their thinking about how the pyramids were built. Davidovits suggests that the Egyptians actually used man-made stone that was cast at the pyramid site, where it was needed. The process, he says involved pouring slurry of crushed limestone and special mineral binder into wooden molds. Within a few hours the mixture would harden into material almost indistinguishable from rock. Such a construction method would have taken less time, and required far fewer workers. In 1984 Davidovits presented his conclusions from a analysis of rock samples from three of the pyramids and two limestone quarries at Turah and Mokhatam, traditionally associated with pyramid building. He found that the pyramids samples contained traces of minerals that were not found in the quarry. Instead, they contained as much as 13 percent of what Davidovits calls a ?geopolymeric? binder. In addition, microscope examination of the samples showed that the quarried limestone consisted almost entirely of lightly packed calcite crystals that gave it a uniform density. In contrast, the casting stone was less dense and contained numerous air bubbles. Consequently if the casting stones were natural limestone, and did not match that of the quarries than where did the Egyptians get there stone? There are other clues that suggest that the Egyptians poured the pyramids. The ingredients deeded for the mineral binder- sodium carbonate, various phosphates, quartz, and Nile si lt, were all readily available to the Egyptians. In addition the casting stones had a millimeter thick surface coating that appears to consist entirely of this binder. Davidovits suggests that during setting some of the binder came to the surface to form a ?skin?, it was the presence of this obviously man made coating that originally prompted him to look for traces of this material within the rock itself. This idea of manufactured stone helps to explain how the sides of the casting stone were so smooth and straight, maybe to straight for a man to quarry, cut, and shape the stone. This could also explain how the Egyptians were able to get the blocks to fit so well together that a postcard cannot even be inserted in between them. The sides of the previously molded blocks could be used as the walls for making the stone in between them. With this system, and a primitive form of concrete, the Egyptians may have completed pyramid construction within a relatively fast and effortless period of time. A virtual assembly line could have been created with workers each carrying small amount of water, silt and rock to the work area with another team preparing molds and binders. This theory presented by Davidovits was developed nearly twenty years ago; it still remains only a theory. Egyptologists are torn between the two conflicting ideas of how the pyramids were constructed. Either way the building of these marvel tombs is an amazing feat to be done over four thousand years ago. In a time not known for its sophisticated tools or machinery the ancient Egyptians were able to harness their knowledge to complete the undertaking of this enormous task. Despite this research and archeological findings many people still believe the Great pyramids were built for some kind of a higher purpose, many claims say they are built in the exact geometric center of the earth; and they also directly correlate to the constellations. These people believe the pyramids contain an astronomical pow er, some think they are some kind of stars gate. These people believe the Egyptians possessed a lost technology that may have sunk with city of Atlantis; some believe aliens were the inspiration, and force behind theses erections, others think the pyramids were the divine influence of god himself in his preparation for the second coming of Christ. It would probably be absurd to think the Egyptians built the pyramids with only an understanding of mathematical concept, hard work, and a lot of time. ). .ue986ad4120494901b5f4bea70b7b0970 , .ue986ad4120494901b5f4bea70b7b0970 .postImageUrl , .ue986ad4120494901b5f4bea70b7b0970 .centered-text-area { min-height: 80px; position: relative; } .ue986ad4120494901b5f4bea70b7b0970 , .ue986ad4120494901b5f4bea70b7b0970:hover , .ue986ad4120494901b5f4bea70b7b0970:visited , .ue986ad4120494901b5f4bea70b7b0970:active { border:0!important; } .ue986ad4120494901b5f4bea70b7b0970 .clearfix:after { content: ""; display: table; clear: both; } .ue986ad4120494901b5f4bea70b7b0970 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue986ad4120494901b5f4bea70b7b0970:active , .ue986ad4120494901b5f4bea70b7b0970:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue986ad4120494901b5f4bea70b7b0970 .centered-text-area { width: 100%; position: relative ; } .ue986ad4120494901b5f4bea70b7b0970 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue986ad4120494901b5f4bea70b7b0970 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue986ad4120494901b5f4bea70b7b0970 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue986ad4120494901b5f4bea70b7b0970:hover .ctaButton { background-color: #34495E!important; } .ue986ad4120494901b5f4bea70b7b0970 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue986ad4120494901b5f4bea70b7b0970 .ue986ad4120494901b5f4bea70b7b0970-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue986ad4120494901b5f4bea70b7b0970:after { content: ""; display: block; clear: both; } READ: The Ryder Cup Essay

The Point

The Point-Counterpoint of Jan Steen Essay During the 17th century, Dutch genre painting flourished, appealing to middle class patrons by depicting everyday life with charm and often a moral. Jan Steen was among the most successful genre painters, weaving witty commentary into his pictures of merriment. Rhetoricians at a Window, c. 1661-1666 (oil on canvas, 29 7/8 x 23 1/16 inches) serves as an exemplar, depicting a naturalistic scene combined with layers of meaning. Even the title may be read on many levels. Just as a rhetorician may refer to an eloquent speaker, so, too, may it allude to a pompous or bombastic person. Rhetorician also conjures up the notion of rhetoric, or the act of making a persuasive argument based on a point and counterpoint structure. This painting cleverly provides several layers of point-counterpoint arguments revealed through visual analysis, careful reading of physiognomy of the figures, and assessing the composition as a whole, including how it engages the viewer. Visually, Steen presents a naturalistic scene set in a tavern or inn, believable in its details. Four prominent figures are easily readable, not cartoonish or types, but portrayed with individualistic features. We will write a custom essay on The Point-Counterpoint of Jan Steen specifically for you for only $16.38 $13.9/page Order now Two more shadowy figures emerge from the background. The four figures up front are framed in a window that fills the upper 2/3 of the painting, pushed forward in shallow space to the picture plane. The location is identifiable as a public place where drink is served by the prominent, diamond-shaped sign, nailed to the window frame just off center, hanging in the lower third of the painting. The sign features crossed swords, common symbols for power, protection, justice, courage, and strength. Here, the crossed swords also serve as an apt emblem for the crossed arguments of the point and counterpoint of rhetoric. Across the top of the painting is a swag of grapevine, with a bunch of grapes just right of center and another bunch on the far left, as the vine tumbles down the left window frame. The lively swoop of the grapevine softens the strong geometry of the rest of the composition. The window dominates the frame and is comprised of a central cross inside its rectangular shape, suggesting the possibility of a moral at the center of this story. The cross also implies a crossroad, choices to be made when a point and counterpoint intersect. Both the top of the window’s rectangle and the bottom of the sign’s diamond are cropped out of the picture, creating an immediacy and aliveness of a zoomed-in vantage point. The diamond of the sign is mirrored in diamond-shaped leaded glass in the top two quadrants of the cross. Close examination reveals that two of the panes are broken, perhaps by revelers inside. The brick structure of the building adds more geometry with stabilizing verticals and dominant horizontals, which buttress the horizontal window ledge. The colors are earthy and muted, reflecting the earthy scene. The red velvety cap of a figure just right of center immediately attracts attention, but the rest of the palette is marked by shades of brown, golden yellow, and soft green. The bricks appear textural, accomplished through illusionistic shadow in the mortar to suggest depth, and laying down smooth layers of multiple color, with oranges and greens highlighting the tans and browns, as if the architecture were alive and organic, changing colors over time. The sign’s diamond frame is matted in deep brown, mustard yellow and rust, indicating a place of lusty, earthy pursuits. The day is warm enough for the shutters to be open, revealing the scene, yet the hint of color on the grapevine and a bare branch to the right suggest the transformations of autumn. As the leaves turn colors and fall, Steen hints at the passage of seasons, time, and life. Steen’s attention to detail is not overworked and suits the scene. Paint is laid smoothly, and up close, individual strokes are apparent. But only the faces of the figures are detailed. .u7e265f73193b452347380a8d67f19ae7 , .u7e265f73193b452347380a8d67f19ae7 .postImageUrl , .u7e265f73193b452347380a8d67f19ae7 .centered-text-area { min-height: 80px; position: relative; } .u7e265f73193b452347380a8d67f19ae7 , .u7e265f73193b452347380a8d67f19ae7:hover , .u7e265f73193b452347380a8d67f19ae7:visited , .u7e265f73193b452347380a8d67f19ae7:active { border:0!important; } .u7e265f73193b452347380a8d67f19ae7 .clearfix:after { content: ""; display: table; clear: both; } .u7e265f73193b452347380a8d67f19ae7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7e265f73193b452347380a8d67f19ae7:active , .u7e265f73193b452347380a8d67f19ae7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7e265f73193b452347380a8d67f19ae7 .centered-text-area { width: 100%; position: relative ; } .u7e265f73193b452347380a8d67f19ae7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7e265f73193b452347380a8d67f19ae7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7e265f73193b452347380a8d67f19ae7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7e265f73193b452347380a8d67f19ae7:hover .ctaButton { background-color: #34495E!important; } .u7e265f73193b452347380a8d67f19ae7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7e265f73193b452347380a8d67f19ae7 .u7e265f73193b452347380a8d67f19ae7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7e265f73193b452347380a8d67f19ae7:after { content: ""; display: block; clear: both; } READ: Mask Sorry by Natalia Nesterova EssayWhile the hands of the up front figures hint at tendons and veins without being meticulous, the hands of the figures behind are crudely drawn, suggesting their crude activities. Long brushstrokes create the simple clothing of the figures. Their plainness suggests the men are middle or laborer class. Just as Steen carefully chooses what to depict with detail, so, too, does he use frames within frames as a deliberate device. In addition to filling the picture frame with a close up of the scene, Steen also creates another frame with the window, where the figures congregate. Each quadrant of the window creates frames, with the two lower quadrants filled by the men. Three figures break the window frame illusionistically. One on the left leans out the window, with his elbow over the ledge, while another on the right rests his head on his hand, elbow perched on the window frame. A standing figure on the right, grasps the central frame, joining the two quadrants with a v-shaped arm. Separating the figures by the construction of the crossed window frame suggests that they represent different points and counterpoints. Each figure has a narrative, with a distinctive face and gestures full of information. The man on the left leaning out the window, with a pince-nez perched on his bulbous nose, forehead highlighted by an unseen, somewhat ambiguous light source, holds a sheet with writing just discernible. It may read â€Å"List,† and with his heart shaped mouth open and smiling, he acts as a rhetorician reading the paper’s list. His merriment suggests he is not the author of the article, or if he is, he satirizes another’s words. In his cotton shirtsleeves and leather vest, with a starched collar (though not the elegant gathered ruff), this man appears the most affluent of those gathered. His mirthful, or perhaps sarcastic, reading of the tract commands attention. The man behind him, mouth open, perhaps also speaking, seems both serious and willing to follow the orator. In the rear is a man, head tipped all the way back, downing a drink with no refinement or subtlety, light just catching the rim of the glass. In the right hand quadrant, the narratives become more subtle. In front, the figure leaning on his hand, grasps an enormous tankard, brightly lit from the left, with his other. His large nose is also highlighted, as if projecting the effect of the former on the latter. The look on his face suggests that even though he is listening to the reading, he is bored, as if he has heard it all before, and feels condescension for the speaker whom he considers a blowhard. The drink in the tankard will see him through. The pipe, an unused source of pleasure tucked in his jaunty hat brim, points with its bowl in a strong diagonal away from the scene, where for him, life may be more amusing. In contrast to his airs, the seam of his jacket sleeve has split. Just behind him is the standing figure whose ruddy complexion also suggests familiarity with drink. His red, velveteen turban, with its wispy feather, appears flamboyant enough to suggest the artist himself and similar to one used in his self-portrait. The headgear may be tipped with metal bells, so that Steen cleverly positions himself as the wise Shakespearean fool. This figure is the only one who acknowledges the viewer, and his red cap makes him hard to ignore. His direct gaze marked by a white daub of paint creating a twinkle, along with his sly grin and upraised finger pointing vaguely toward the viewer, all seem to say, â€Å"see, I told you. This directness brings the viewer into the scene as an invited guest of the artist and into the argument about its meaning. The figure seems to raise the question of who is the fool here? He may dress the part, but he instructs the viewer to consider the folly of the orator who seems so confident in his mirth. The title refers to Rhetoricians, plural, so that not only is the speaker a rhetorician, but so too is the standing figure, who argues a point of view. With the direct gaze of the figure and the head on vantage point of the scene, the viewer is perhaps placed in a window across the alley. .udfb5cf6a5236a680b5a01d03ac8849e1 , .udfb5cf6a5236a680b5a01d03ac8849e1 .postImageUrl , .udfb5cf6a5236a680b5a01d03ac8849e1 .centered-text-area { min-height: 80px; position: relative; } .udfb5cf6a5236a680b5a01d03ac8849e1 , .udfb5cf6a5236a680b5a01d03ac8849e1:hover , .udfb5cf6a5236a680b5a01d03ac8849e1:visited , .udfb5cf6a5236a680b5a01d03ac8849e1:active { border:0!important; } .udfb5cf6a5236a680b5a01d03ac8849e1 .clearfix:after { content: ""; display: table; clear: both; } .udfb5cf6a5236a680b5a01d03ac8849e1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .udfb5cf6a5236a680b5a01d03ac8849e1:active , .udfb5cf6a5236a680b5a01d03ac8849e1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .udfb5cf6a5236a680b5a01d03ac8849e1 .centered-text-area { width: 100%; position: relative ; } .udfb5cf6a5236a680b5a01d03ac8849e1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .udfb5cf6a5236a680b5a01d03ac8849e1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .udfb5cf6a5236a680b5a01d03ac8849e1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .udfb5cf6a5236a680b5a01d03ac8849e1:hover .ctaButton { background-color: #34495E!important; } .udfb5cf6a5236a680b5a01d03ac8849e1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .udfb5cf6a5236a680b5a01d03ac8849e1 .udfb5cf6a5236a680b5a01d03ac8849e1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .udfb5cf6a5236a680b5a01d03ac8849e1:after { content: ""; display: block; clear: both; } READ: Comparing "Arts of the Contact Zone" EssayThe speaker is reading the tract for the viewer’s edification. The viewer makes a choice-to stay separate or become another rhetorician at a window. Since the viewer stands on the same side with the light source, Steen suggests that the viewer has the knowledge and common sense to make a good choice. The viewer is also given the choice about who to believe-the figures on the left or the figures to the right. Steen argues his own position. The standing figure breaks the boundary between the two quadrants, but stands firmly on the right. The sign and the bunch of grapes in the vine just above are both off center, favoring the right. The heads of the figures on the left form an arrow pointing toward the right, while the figures on the right make an upright â€Å"v† with the inclusion of a ghostly specter of a figure behind. These visual cues invite the viewer to take a position, to follow the lead of the standing, all-knowing fool. The painting then sets up a tension of right and left, wise and foolish, knowing and ignorant, insightful and oblivious. This duality coincides with the rhetoric of persuasive argument, point and counterpoint. The crossed swords of the sign are presented as a challenge of the counterpoint to the point, while also advocating that the viewer be courageous and take a stand. Steen wittily argues that each person makes choices about how to face life’s challenges-to drink oneself into oblivion, to mock life, to follow without thought, to be bored and judgmental, or to laugh at the folly of mankind. On the one hand, the left quadrant argues for merry making with drink and ideas. No idea is so important it cannot be laughed at and questioned. On the other side, the right presents doubters, naysayers, and those who laugh at it all. The vertical that divides the two poles of argument seems unyielding, yet the clever man can reach around and grab the best of both, uniting the laughter. The grapevine seconds the fool’s implication that life is full of the folly of man. The vine’s subtly highlighted leaves transition from the green of summer, color fading before the viewer’s eyes, into the golden tones of autumn. The grapevine’s message is that the party is coming to its seasonal end, just as folly in the moment will also pass as the seasons’ turn. It sweeps across the picture and down, transcending and unifying any artificial boundaries, creating a curtain that reveals the stage set of the scene. The viewer is reminded that the frame, that is the painting, and its visual elements are theatrical and artificial. Steen again seems to reference Shakespeare with â€Å"all the world’s a stage,† and as life passes by, enjoy the moments full of frivolity and foolishness. Steen as rhetorician argues that the party of life will come to an end. In the meantime, the unifying grapevine tops it all, reminding the viewer to make merry, a message that no doubt appealed to middle class art patrons. The viewer can make sense of what is shown, assess the moral implications, and take a stand. Like the fool, the viewer can embrace both sides of life, with all its contradictions. Living a moral life does not preclude having pleasures. Steen points to the viewer and encourages living a good life, but full of joy in the moment. Laugh, and become a rhetorician looking out the window on life.