Abstract This paper discusses how the patriarchal institution of slavery is the central inspiration of resistance that Celia must confront to gain her humanity and feminine identity in "Celia: A Slave" by Melton A. McLaurin. It looks at how Celia provides a heroic example of a woman that found a source of strength in her humanity and female identity to fight against her owner and rapist. By comparing Celia to other literary African-American heroines such as Harriet Jacobs and Eliza Harris, the paper attempts to shed some light on the ideology of resistance to the violent patriarchy of slavery.
From the Paper "The ramifications of Celia's role as a slave woman are defined early in the story, as Celia is raped by her master, John Newsom, after her initial purchase. Celia was essentially attacked and forced to fight for her life when this violent and deranged individual disavowed her rights, even under local law. However, many of the town's people did next to nothing to prevent these rapes against Celia, providing the source of resistance for her inevitable legal struggles to regain her feminine dignity and sovereignty in this patriarchal court system. "
Abstract This paper introduces, discusses and analyzes the book "Celia, A Slave: A True Story of Violence and Retribution in Antebellum Missouri," written by Melton A. McLauren. Specifically, it discusses whether race or gender played more of a role in shaping Celia's relationships with those around her. The paper also describes the historical context in which the story is set.
From the Paper "In conclusion, the relationships in Celia's life were varied and based on different factors. For the men in the Newsom household, she was a desirable woman, so her gender was the prominent factor in the relationship. For the sisters, she was a cook and servant, and made their lives easier, so her race was the most important aspect of the brief relationship she had with them. Had gender been an issue with the women, they would have supported her pleas to intervene on her behalf with their father. However, they turned their backs on a fellow woman and left Celia to deal with the matter on her own. If they had reacted more as women and less as slaveholders, the circumstances and outcome might have been vastly different."
This paper provides a visual analysis and comparison of two works of art and design from the Metropolitan museum:"Woman" by Willem de Kooning and "Celia" by John Graham.
Abstract In this article, the writer studies two works of art that are displayed in the Metropolitan museum. The writer notes that Willem de Kooning's "Woman" is an oil and charcoal rendering of an anonymous woman on canvas, composed in 1944. It is a flat-looking depiction of a female nude against a background that looks like a home. The writer compares this work to "Celia" by artist John Graham. The writer points out that Graham's work is a far softer looking painting, as it is painted in oil, with casein, charcoal, chalk, pencil, pen and ink on Masonite rather than pure, flat oil on canvas. The writer discusses that it showcases "Celia," a woman with a classically hourglass figure and long, soft hair against a black background more reminiscent of a 19th century or classical nude than a modernist depiction of a woman, even though the painting was created at the same time as "Woman."
From the Paper "The space seems cramped, given her position, although there is no distinctive sense of location to the picture, other than the fact that it is indoors. The painting is classified as abstract expressionist in its color scheme, and its use of a mask-like face, which is reminiscent of some of Picasso's cubist works. Although this work is recognizably human, it seems like a grotesque rendering of the human form. The work seems more like smears or swirls on a canvas rather than a suggestion of someone one might know in life. The smile on the woman's face while she assumes an uncomfortable position, and the cartoon-like yellow, orange, green, and blues make it seem as if the work is a parody of a woman, as if the woman's image is being made intentionally ugly or distorted. Even if this was not de Kooning's intent, the artist's emphasis is on the arrangement of form, line, and color not the character of the woman herself. The woman exists as a subject, a series of surfaces, rather than a unique personality."
Abstract This paper describes "Born To Be Good?" by Celia Kitynger, examining the key role of social context in determining altruistic or moral behavior. The writer explains that social context may be the most significant factor in moral behavior, but most likely it is a combination of empathy, cognition, and social context that causes people to act altruistically.
From the Paper "In her article "Born To Be Good"? Celia Kitynger examines the "key role of social context" in determining altruistic or moral behavior. Citing numerous journal articles that support or refute her beliefs, Kitynger concludes that "people are fundamentally pro-social beings, whose ability to act on altruistic impulses and moral principles is sometimes inhibited" by social pressures. Kitynger's article accurately portrays the ambiguity of altruism and the author presents a balanced point of view. First describing the everyday kindnesses we all witness or participate in and moving onto broader and bigger acts of altruism, Kitynger debunks assumptions about the self-serving nature of moral behavior. "
Abstract This paper discusses McLaurin's book, which is a story of violence and retribution in a slaveholding society in antebellum Missouri. It is a story of a young slave who was sexually exploited by her master and ultimately executed for his murder. The social meaning behind the story is analyzed.
From the Paper "McLaurin demonstrates the degree to which females where sexually exploited in the first days of Celia's story. Celia was only fourteen years old when she was acquired by Newsom, an aging widower and a prosperous and respected citizen of Callaway County, Missouri. After purchasing Celia in a neighboring county, Newsom raped her on the journey back to his farm. He then established her in a small cabin near his house and visited her regularly, repeatedly raping her. Over the next five years, Celia bore Newsom two children, both becoming Newsom's property. By 1855, she became involved with a slave named George and resolved (at his insistence) to end the relationship with her master. She did that on June 23, 1855 (McLaurin 33). But Newsom was the master. A slave didn't tell the master what to do. Newsom came back to Celia's cabin that night. Ready for Newsom this time, Celia struck him with a heavy stick when he refused to leave her alone. She hit him again when Newsom came back at her. She had tried to hurt him, to keep him away. She ended with a result she had not intended. Newsom was dead."
An examination of family structure and roles in Kaye Gibbons' "Ellen Foster," Celia Rothenberg's "Child of Divorce, and "Confessions of an Erstwhile Child."
Abstract The family, an evolving entity that exists beyond the boundaries of genetics, encompasses relationships intertwined by emotions, education, proximity and biology. The roles each member of the family holds: father, mother sister, and brother, impact the family specifically, and potentially impact society at large. This paper examines these ideas by taking a look at "Ellen Foster" by Kay Gibbons, "Child of Divorce" by Celia Rothenberg and "Confessions of an Erstwhile Child" (anonymous).
From the Paper "The actions of the family affect society at large. Roles remain the same, but the people playing them and their methods constantly fluctuate. While increasingly common to find homes where both parents work, it remains an unfortunate necessity. Children of these homes often draw their life's instructions from daycare workers and television rather than the tutelage of their mothers and fathers. Rather, it is imperative that the pursuit of advanced education, critical thinking, and spiritual exploration be encouraged and demonstrated by the parents."
Abstract This paper describes Jonathan Swift's poem, "The Lady's Dressing Room", which is about a couple named Celia and Strephon. Celia is away and Strephon is curious as to what is inside Celia's dressing room. The paper explains that this poem portrays a popular belief amongst most men that a woman is supposed to be refined in every way and that when this idea of her is tainted it somehow makes her less of a woman. After analyzing the poem, the paper concludes that, just as women in the 18th century were supposed to display qualities that were goddess-like, women of today have similar expectations to live up to. The expectation is perfection but the attempt to reach perfection causes many of the self esteem problems that women face today.
From the Paper "While there seems to be a goddess-like expectation of women in the 18th century, the same expectations hang over women's head today. There is this push to be beautiful always because first impressions mean everything. In order to feel confident about themselves, women put on makeup, style their hair, and wear flattering clothes. There are entire stores dedicated to beauty. You can find a multitude of different types and brands of the same product. There are beauty salons everywhere, and there are too many clothing stores to count."
Analyzes two crayon drawings from artist's Realism period, "Celia in a Black Dress with White Flowers" (1972) & "Celia Wearing Checked Sleeves" (1973). Style, content & usefulness in art instruction.
1,800 words (approx. 7.2 pages), 6 sources, 1996, $ 63.95
From the Paper "David Hockney has had one of the most unusual careers of any artist of this century. Born in England in 1937, by the time he left London's Royal College of Art Hockney already had a national reputation as a painter. Since that time he has consistently been one of the most financially and critically successful artists in the world as well as one of the most popular (Livingstone 9). Hockney's works are known and recognized by a far broader audience than most artists enjoy. His is the kind of success that perfectly blends popular and critical acclaim. Thus, the prestigious Tate Gallery of London consistently reports that Hockney's well-known double portrait Mr. and Mrs. Clark and Percy (1970-71) is the museum's most popular picture with visitors (Geldzahler 14). This popularity has grown even as Hockney has changed mediums and styles. From the early..."
Abstract This paper examines the following marriages in George Elliot's "Middlemarch": Dorothea to Casaubon, Rosamond to Lydgate, Celia to Sir James Chettam and Frank to Mary. It compares and contrasts these relationships with typical unions of the era. It provides a view of conventional social expectations of marriage in the early nineteenth century.
From the Paper " ?Men marry because they are tired; women because they are curious. Both are disappointed.? (Wilde 436). Marriage, or a partnership between a husband and a wife, is in the present day often a union entered into by two adults on the basis of attraction, compatibility, and love. In the nineteenth century marriage was not the same as it is today. Women were expected to take the role of an inferior to their husbands, and pass from dependence on their parents into submission to their spouse (Petrie 185). Marriage was often not a choice for women of that era. Most schools had not begun accepting females, and employment for single women was limited and perceived as disgraceful (Knickerbocker 174). Present day marriages are based on the union of social equals, with a greater emphasis on love, affection and individuality, a tradition that began in Europe during the time when Eliot wrote the novel (Goody 102). The relationships between Dorothea and Casaubon, Rosamond and Lydgate, Celia and Sir Chettam, and Frank and Mary, are representative of that century's ideals; woman's inferiority, accomplishments, and marriage within the neighbourhood (Thompson 111). The marriages in George Eliot's Middlemarch are characteristic of the different pairings that were typical in the early nineteenth century."
Abstract This paper introduces and discusses "As You Like It" by William Shakespeare. Specifically, it illustrates how Jaques' speech informs the readers of the play's intent, and how the binary relationships in the play add to its meaning and performance.
From the Paper "We also learn more about Jaques, the pessimistic grumbler who is the opposite of Rosalind and Celia, two of the optimists of the play. Almost all the characters chide Jaques about his attitude at some time or other during the play. Jaques is the anchor role that keeps this romantic comedy from becoming too buoyant and unbelievable. He is sour, and keeps the action from becoming too sappy. He is the melancholy character, opposite of the witty and laughable Touchstone, the jester. Shakespeare knew that you cannot have only positive and funny characters to get the point of the play across, you need to balance them with the cynicism of a character like Jaques to really create a realistic portrayal of his themes and issues. Touchstone is a jester, but so is Jaques in his own way. His consistent pessimism is as ridiculous as Touchstone's jesting."
Abstract This paper examines how in "Middlemarch", George Eliot demonstrates what she believes is an incongruity in Victorian society. It analyzes how she uses a range of female characters as both good and bad examples as to their fulfilment of differing expectations and the roles they play in their interaction with others. It shows how the characters that most adapt their role to fit with the opinions of a majority often hold more prestige within the provincial society and looks at how Eliot's message is clear when we see that those who follow the expectations of a minority, and in particular those who follow their own path, end up happy by the close of the novel.
From the Paper "Chettam errs in expecting Dorothea to love him for the "excellent human dough" that he has received through birth. He has more emphasis on the quality of his future bride as a trophy rather than a lover, weighing in his mind whether it would be better to marry Dorothea or Celia, her sister, and concludes that Dorothea is "in all respects superior". He expects women to share this unaffected, showy attitude towards love in assuming that he is capable of marrying either of the sisters, and that they naturally would coincide with his desire. He is therefore hurt when he learns that "he was not an object of preference to the woman he had preferred", and we see that Dorothea is more unorthodox in her role in denying the "amiable, handsome baronet" her courtship."
Abstract This paper explores the psychological, linguistic and scientific elements involved in language acquisition. It explores the building blocks of language and the complex processes involved in learning a first language. The paper examines Celia Genishi's article "Young Children's Oral Language Development," Steven Parker's empirical study, "Language Acquisition" and Michael Gurian's book, "Boys and Girls Learn Differently". Each of these works addresses the issue of language and learning development in children and ultimately suggests different teaching methods, individualized approaches and the basic breakdown of learning language for the first time.
From the Paper "Steven Pinker, from the Massachusetts Institute of Technology conducted an empirical study, titled "Language Acquisition" that closely examines different theories of learning that revolve around the acquisition of language. Pinker combines biology and psychology with teaching methods at home and in the classroom. Like Genishi, Pinker acknowledges that the English language is composed of simple structures and that these structures are one of the main components that help children learn their first language. However, Pinker is different than Genishi because he examines the question of success in the learning process. He explores what it takes for a child to succeed in the language acquisition process and why others cannot succeed (Pinker 2002)."
Abstract This paper examines Jonathan Swift's poems "The Lady's Dressing Room" and "A Beautiful Young Nymph Going to Bed", works which might inspire, from their nauseating subject matter, more than a mere blush to rise out of one's body. It looks at how both poems glory in the grotesque impurity inherent to humanity, and particularly to feminine humanity, which were apparently conceived as mutually exclusive. It also discusses how Swift employs nauseatingly graphic descriptions of women in his poetry not to denigrate women, but to mock a literary and social tradition that would place women in only one of two categories: that of the angel and that of the whore.
From the Paper "These categorizations of angel and monster become problematic in "The Lady's Dressing Room" and "A Beautiful Young Nymph Going to Bed" for several reasons, the first one being the unrelenting focus Swift puts on the physicality of both the women in the poems, which is obviously incompatible with the image of the angel. What makes these poems so interesting in juxtaposition is that they both scrutinize women to the same degree. In "A Beautiful Young Nymph Going to Bed", Corinna is most certainly not a lady; she is from its first lines established as the angel's antithesis, the whore. Unlike Celia, whose social status as a Lady makes her already quite angelic, Corinna is evidently of a low social class; there is no Betty to help her with her dressing. Instead, Corinna has only a bevy of stray animals who desert her "in a parodic reversal of the usual community of servants who attend to the dressing ritual" (Nussbaum 110). "
