Jan Steen’s Self Portrait in “The Continence of Scipio”...

Jan Steen’s Self Portrait in â€Å"The Continence of Scipio† as a Social Commentary There is a tremendous difference between a fool and a jester. Fools are regarded as light-hearted, dim-witted, and absent-minded people whose outrageous stupidity amused the rest of the population. These jovial folk represented the lowest in society: too carefree to get ahead in society and too stupid to care. Many people believed that Jan Steen, a prominent and well-educated artist of the Dutch Golden Age, was a fool. It is not a far-fetched assumption to make since he donned the appearance of a fool in his own paintings. However Steen was no fool. Much like the history of jesters, Jan Steen’s unsavory appearances in his own work is often misunderstood and†¦show more content†¦He also suffered some money problems during this time and had out several loans (Chapman, 1996). Many people have concluded that Steen’s money problems stemmed from his dissolute lifestyle. However, during that time the second Anglo-Dutch war had broken out causing a severe drop in the a rt market (Chapman, 1996). The post-reformation society seemingly obsessed with purity, justice, and goodness seemed to suffer a blow to its heavenly faà §ade when corruption among some of the most prominent leaders of society was exposed. In 1673 William III and the Deventer fathers were found to be corrupt and traitorous to the Dutch Republic (Kunzle, 2000). These men were meant to be the epitome of what it meant to be Dutch. They were meant to be symbols of temperance, virtue, and justice and were often related to Scipio Africanus, a Roman general (Kunzle, 2000). Scipio was a popular subject matter in art, especially in 17th century Holland. During this time the middle class became the major patrons of art. The Netherlands had just declared their independence from Spain and wanted paintings reflecting their new Dutch identity (Shaw-Eagle, 1996). Many artists gained fame by doing genre paintings such as scenes from everyday life. The years earlier had shown the public’s desire for genre and history painting (Meagher, 2000). Some, took old stories of

Youth And Social Construction - 1236 Words

The intricate nature of youth means that while some argue it is a universal stage of life, it is seen by many as a formation of sociocultural elements. Social construction can be defined as something that has been shaped by the values, interests or practices of a culture or society and this is evident in the youth demographic through its revolution in recent years. The markings of youth are social in formulation; highlighting the way in which young people have been influenced by differing trends and movements. Youth is a transitional phase, its age bracket extending and blurring; transcending global divides and traditions. Thus, it is the social context that surrounds youth which suggests that it is not a universal stage of life. Ultimately, the idea of youth when viewed in a historical and cultural context as well as in relation to other socially influenced concepts such as adulthood, can be observed as a social construction. A Post-First World War occurrence, the concept of youth emerged as a historically comprised debate in response to the social, political and cultural shifts at the time. Youth became a label used to categorize a particular age group, with education and perceived life progress used to mark the unfixed period between childhood and adulthood. It has been suggested that there has been disruption in the general life patterns’ for young people present around the time of, or born just after the First World War (White Wyn, 2008). The statement is helpfulShow MoreRelatedThe Social Construction Of Contemporary Youth Cultures2156 Words   |  9 PagesTopic: Globalisation is an important factor in the social construction of contemporary youth cultures (i.e. information technology, communication, fashion). As we know, globalization is considered to be the process of ideas, goods and communication flowing cross-border with unprecedented speed, range and volume. 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Jane Eyre s Coming Of Age - 1335 Words

In Charlotte Bronte’s coming of age novel Jane Eyre, the main character Jane not only struggles with the aspects of social class deviations but also her journey to find her own faith in God and religion. On her journey she encounters three greatly different variations on Christian faith, all of which, though she ultimately rejects, help her come to her own conclusions of her own faith and spirituality. Her first true questioning of religion is with her friend and Lowood school Helen Burns. Jane finds Helen to be serenely devout in her faith in God, and Jane admires her for it. However, Jane struggles to accept Helen’s passive view, as it lacks the understanding that Jane seeks. Also, at Lowood Jane encounters the owner of the school Mr. Brocklehurst, who acts as a dictator over the girls and teachers at Lowood. His religious ideals are those of sacrifice but it is apparent that Mr. Brocklehurst takes no consideration of these ideals in his own life style. 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Morning in Nagrebcan free essay sample

Download this Document for Free him with his fists. He accompaniedevery blowwith a curse. I hope you die, youlittledemon,he said between sobs, forhewas crying and he could hardly see. Ambowriggled and struggled and tried tobite Baldos legs. Failing,he buriedhis face inthe sand and howled lustily. Baldo nowleft him and ran tothe black-spottedpuppy which he caughtup in his arms, holdingitagainsthis throat. Ambo followed, crying out threatsand curses. He grabbedthe tailofthe puppyand jerked hard.The puppy howled shrilly and Baldo let it go,but Ambo kept hold ofthe tail as the dogfell tothe ground. Itturnedaroundand snappedat the hand holding itstail. Its sharp little teeth sank into the fleshy edge of Ambos palm. With a cry, Ambo snatchedaway his handfrom the mouth ofthe enragedpuppy. Atthat moment the windowofthe house facing the streetwas pushedviolentlyopen and the boys father,Tang Ciaco, looked out. He saw the blood fromthe toothmarksonAmbos hand. He called out inarticulatelyand the twobrotherslookedup in surpriseand fear. Ambohid his bittenhandbehindhim. Baldo stoppedtopick upthe black-spottedpuppy,butTang Ciaco shoutedhoarselytohim not to touch the dog. AtTang Ciacos angry voice, the puppy had crouched back snarling,its pink lips drawn back, the hair onits back rising. The doghas gone mad,the man cried,coming downhurriedly. Bythe stove in the kitchen,he stoppedto get a sizeablepieceoffirewood,throwing an angry look and a curseatNana Elang forlettingher sons play with the dogs. He removedasplinterortwo,then hurrieddownthe ladder, cursingin aloud angry voice.Nana Elang ran tothe doorway and stood there silently fingering herskirt. Baldo and Ambo awaited the coming oftheir fatherwith fear written ontheir faces. Baldohated hisfather asmuch ashefearedhim. He watchedhim nowwith half amind toflee asTang Ciaco approachedwith the pieceoffirewood held firmly in one hand. He a big, gauntman with thick bonywrists andstoopshoulders. Ashort-sleevedcotton shirt revealedhis sinewy arms onwhich the blood-vesselsstood outlike roots. His short pantsshowed his bony-kneed,hard-muscledlegs covered with blackhair. He was acarpenter.He had come homedrunkthenight before. He was not an habitualdrunkard,but nowandthenhe drank great quantitiesofbasi and came home and beat his wifeand children. ~-,,, __ ,. Hewould blame them fortheirhard life and poverty. Youare aprostitute, ~_ he wo~ldr6arat his wife, and as he beat his children,he would shout,I -~. . - will kill you both, you bastards. IfNana Elang venturedto remonstrate, he would beat them harderand curse her forbeing an interferingwhore. I am king in my house,he would say. Nowas he approachedthe two,Ambo coweredbehindhis elder brother.Heheld ontoBaldosundershirt,keeping hiswounded hand at his back,unabletoremove his gazefromhis fathersclose-set,red-specked eyes. The puppy with ayelp slunk between Baldos legs. Baldo looked at the dog, avoidinghis fatherseyes. TangCiaco roaredat them to get away from the dog: Fools! Dont yousee it ismad? Baldo laid ahand onAmbo as they movedback hastily. He wantedto tell his fatherit was not true,thedog was not mad, itwas all Ambos fault,but his tongue refusedtomove. The puppy attemptedto follow them,butTang Ciaco caughtit with a sweepingblow ofthe pieceoffirewood. The puppy wasflung into the air. It rolledover once beforeitfell, howling weakly. Again thechunkoffirewood descended,Tang Ciaco gruntingwith the efforthe put into the blow,and thepuppyceasedtohowl. It lay on its side, feebly moving its jaws from which darkblood oozed. Once moreTang Ciaco raisedhis arm, but Baldo suddenlyclungtoitwith both handsand beggedhim tostop. Enough,father,enough. Dont beat itanymore,he entreated. Tears flowed down his upraisedface. TangCiaco shook him offwith an oath. Baldo fell on his face in the dust. He did notrise, but cried and sobbed and tore his hair.The rays of the risingsun fell brightlyupon him, turnedtogold the dustthat he raised withhiskicking feet. TangCiaco dealt the batteredpuppy anotherblowand at last itlay limpy still. He kickedit over and watchedfor a sign oflife. The puppy did not movewhere it lay twistedon its side. He turnedhis attentionto Baldo. Get up, he said, hoarsely, pushingthe boywith his foot. Baldo was deaf. He went on crying and kickingin the dust. Tang Ciaco struckhim with the pieceofwoodin his handand againtold him toget up. Baldo writhedand cried harder,claspinghis handsover the backofhis head. Tang Ciaco took hold ofone ofthe boys arms and jerkedhim tohis feet. Then he began tobeat him, regardlessofwhere ~,~. the blows fell. ~. .~do encircledhis head with his loose arm and strovetofree  ·~ ·-. hifil8elf,running aroundhisfather,plunging backward, ducking and twisting. Shamelesssonofawhore,Tang Ciacoroared. Stand still, Ill teachyou toobey me. He shortenedhis grip on the arm ofBaldo and laid on his blows. Baldo fell tohis knees,screamingformercy. He called onhis mother tohelp him. NanaElangcame down, but she hesitatedat the footofthe ladder.Ambo rantoher. Youtoo,Tang Ciaco cried,and struckat the fleeing Ambo. The pieceoffirewood caught him behindthe kneesand he fell on his face. Nana Elang ran tothe fallen boyand pickedhim up, brushing his clotheswith her handstoshake offthe dust. TangCiaco pushedBaldo toward her. The boytotteredforward weakly, dazedand trembling. He had ceasedtocry aloud,but he shook with hard,spasmodicsobs which he tried vainly tostop. Heretake yourchild,Tang Ciacosaid, thickly. He faced the curiousstudentsand neighborswhohad gatheredby the sideofthe road. He yelledat them togoaway.He said itwas none of their businessifhe killed his children. They are mine,he shouted. I feed them and Ican do anything Ilike with them. The studentsran hastilytoschool. The neighborsreturnedtotheir work. TangCiaco went tothe house,cursingin aloud voice. Passingthe deadpuppy, he pickeditup byits hind legs and flung it away. The black and whitebody soaredthroughthe sunlitair; fell among the tall corn behindthehouse. Tang Ciaco, still cursingandgrumbling,strode upstairs. He threw the chunkoffirewood besidethe stove. He squatted bythe lowtableand began eating the breakfasthis wifehad preparedfor him.