Fredrick Douglas vs. Huckleberry Finn Essays

Fredrick Douglas vs. Huckleberry Finn Essays Fredrick Douglas vs. Huckleberry Finn Essay Fredrick Douglas vs. Huckleberry Finn Essay Essay Topic: The Adventures Of Huckleberry Finn Frederick Douglas Essay In the Narrative of the Life of Frederick Douglas, and In the Adventures of Huckleberry Finn, both authors portray a similar view on slavery and the people in the South. In both pieces of literature, the main characters had no parental guidance, and both began as being slaves to cruel slave owners. One difference that occurs between the two is that in the Adventures of Huckleberry Finn, the people who do ad things are punished, while in the Narrative of the Life of Frederick Douglas, many cruel people get away with their crimes. In Mark Twains novel, the Adventures of Huckleberry Finn, Husks childhood is lonesome. He has no parental figures to assist him in making good choices in his life. His mother was dead and he was never able to meet her, while his father was a drunk. HIS father was away most of the time and rarely paid any attention to him. This lack of appreciation could easily make a young child feel unwanted and make It worse In the life of a slave. Especially since he was mistreated by his slave-owner as ell. In the Narrative of the Life of Frederick Douglas, Douglas was forced to grow up with no identity and not knowing who his father is. This is difficult for a young child to comprehend, especially since he was surrounded by white neighbors and friends who were all aware of their fathers identities. : More importantly, Douglas was forced to grow up without the nourishment of a caring mother because they were separated when Douglas was still a very young boy. Both these authors are trying to show the audience the hardships that African Americans were forced to go through. Also, they re attempting to portray how cruel the white people were and how unequal the two human beings were. The character Houck, from the Adventures of Huckleberry Finn, was enslaved to a harsh woman named MISS Watson. She was an extremely mean and Ignorant slave owner who forced them to work terrible hours and assist her in everything that she does. Similar to that, in the Narrative of the Life of Frederick Douglas, Douglas first master was Mr.. Anthony, who was a very ignorant man because he treated his slaves like trash constantly whipping them and beating them. Also, since they lived on a limitation the slave-owner was most likely not one to remember their names or even know of some of his slaves existence, but only by the mass number he had obtained. Both pieces of literature had an astonishing similar way to describe the southerners, as the bad guys, which Is true because of the way they mistreated the humans working for them, but In an offs persons point of view, slavery was common and known to be a way of life. Some people knew that It was morally incorrect what they were doing, but since It was so convenient, they attended religious events to help hem feel better and not feel so guilty of their actions. Lastly, the main and most frustrating difference between the fictional, the Frederick Douglas, is the result of the actions that the bad people did. In the Adventures of Huckleberry Finn, the imposter for the Duke of Bridgewater and the imposter for the dauphin, King Louis Wigs son, are punished for their crimes. In the Narrative of the Life of Frederick Douglas, there were many people who got away for their misdeeds including murder. For example, when Douglas was young and lived on the plantation, he saw Demy, another slave, go into a creek to soothe the pain room being whipped, but when Mr.. Gore, the overseer, counted to three and Demy did not respond, he shot him right there. When he was questioned by the land owner, Mr.. Gore said that the slave was a bad example. Another incident where the slaves were mistreated was when Douglas lived in Baltimore. He witnessed the Hamilton family beating their two slaves, Henrietta and Mary. An investigation was to be held, but no one had it enforced and so the Hamilton family was able to live their life free and no pay the consequences for their actions. This shows how painful the Ruth is about real life and how in fictional stories the bad guys always receive their punishments, while in real life some people are able to get away with their crimes. The comparison that Mark Twain and Frederick Douglas make in the Narrative of the Life of Frederick Douglas, and the Adventures of Huckleberry Finn, about the way the southerners treated slaves with inequality and cruelness shows how life could have been difficult if you were born in this time period. Mark Twain, though, describes his fictional stories as to what we wish them to be and not as to how they occurred all of the time.

Biography of Marcel Duchamp, Modern Art Revolutionary

Biography of Marcel Duchamp, Modern Art Revolutionary The French-American artist Marcel Duchamp (1887–1968) was an innovator, working across mediums such as painting, sculpture, collages, short films, body art, and found objects. Known as both a pioneer and a troublemaker, Duchamp is associated with several modern art movements, including  Dadaism,  Cubism, and  Surrealism, and is credited for paving the way for  Pop,  Minimal, and Conceptual art. Fast Facts: Marcel Duchamp Full Name: Marcel Duchamp, also known as Rrose Sà ©lavyOccupation: ArtistBorn:  July 28, 1887 in Blainville, Normandy, FranceParents Names: Eugene and Lucie DuchampDied: October 2, 1968 in Neuilly-sur-Seine, FranceEducation: One year of school at the Ecole des Beaux Artes in Paris (flunked out)Famous Quotes: The painting is no longer a decoration to be hung in the dining room or living room. We have thought of other things to use as decoration. Early Years Duchamp was born on July 28, 1887, the fourth child of seven born to Lucie and Eugene Duchamp. His father was a notary, but there was art in the family. Two of Duchamps elder brothers were successful artists: the painter Jacques Villon (1875–1963) and the sculptor Raymond Duchamp-Villon (1876–1918). In addition, Duchamps mother Lucie was an amateur artist and his grandfather was an engraver. When Duchamp came of age, Eugene willingly supported his son Marcels career in art. Duchamp made his first painting,  Church in Blainville, at  the age of 15, and  enrolled in the Academie Jullian at Pariss École des Beaux-Arts. In a series of interviews published after his death, Duchamp is quoted as saying he couldnt remember any of the teachers he had, and that he spent the mornings playing billiards rather than going to the studio. He ended up flunking out after one year. From Cubism to Dadaism to Surrealism Duchamps artistic life spanned several decades, during which he reinvented his art time and again, often offending critics sensibilities along the way. Duchamp spent most of those years alternating between Paris and New York. He mingled with the New York art scene, forging close friendships with American artist  Man Ray, historian Jacques Martin Barzun, writer Henri-Pierre Rochà ©, composer Edgar Varà ¨se, and painters Francisco Picabia and Jean Crotti, among others.   Marcel Duchamp, Nude Descending a Staircase No. 2 (1912). Public domain. ​ Nude Descending a Staircase (No. 2)  deeply offended the Cubists, because although it selected the color palette and form of Cubism, it added a reference to explicit perpetual motion and was seen as a dehumanized rendering of the female nude. The painting also created a big scandal at the 1913 New York Armory Show of Europe, after which Duchamp was heartily embraced by the New York crowd of Dadaists. Marcel Duchamp, Bicycle Wheel (1913). Dan Kitwood / Getty Images Bicycle Wheel  (1913) was the first of Duchamps readymades: primarily manufactured objects with one or two minor tweaks to the form. In Bicycle Wheel, the fork and wheel of a bicycle are mounted on a stool. The Bride Stripped Bare by her Bachelors, Even  or  The Large Glass  (1915–1923) is a two-paned glass window with an image assembled out of lead foil, fuse wire, and dust. The upper panel illustrates an insect-like bride and the lower panel features the silhouettes of nine suitors, shooting their attention in her direction. The work broke during shipment in 1926; Duchamp repaired it about a decade later, saying, Its a lot better with the breaks. DidBaroness Elsa SubmitThe Fountain? Marcel Duchamp, The Fountain (1916). Photographed by Alfred Stieglitz. Public domain. There is a rumor that  The Fountain  was not submitted to New York Independents Art Show by Duchamp, but rather by the Baroness Elsa von Freytag-Loringhoven, another Dada artist who played with gender and performance art and was among the more outrageous characters of the New York art scene. While the original is long gone, there are 17 copies in different museums around the world, all assigned to Duchamp. After Renouncing Art Marcel Duchamp, Etant donnes (1946-1966). Mixed media assemblage.  © Artists Rights Society (ARS), New York / ADAGP, Paris / Succession Marcel Duchamp. Fair use. In 1923, Duchamp publicly renounced art, saying he would spend his life on chess. He was very good at chess and was on several French chess tournament teams. More or less secretly, however, he continued work from 1923 to 1946 under the name Rrose Sà ©lavy. He also continued to produce readymades. Etant donnes  was Duchamps last work. He made it in secret and wanted it shown only after his death. The work consists of a wooden door set in a brick frame. Inside the door are two peepholes, through which the viewer can see a deeply disturbing scene of a naked woman lying on a bed of twigs and holding a lit gaslight. The Turkish artist Serkan Ãâ€"zkaya has suggested that the female figure in Etant donnes is, in some respects, a self-portrait of Duchamp, an idea also put forward in 2010 by artist Meeka Walsh in an essay in BorderCrossings.   Marriage andPersonal Life Duchamp described his mother as distant and cold and indifferent, and he felt that she preferred his younger sisters to him, a preference that had a profound effect on his self-esteem. Although he presented himself as cool and detached in interviews, some biographers believe that his art reflects the strenuous efforts he made to deal with his silent rage and unmet need for erotic closeness. Duchamp was married twice and had a long-term mistress. He also had a female alter ego, Rrose Sà ©lavy, whose name translates to Eros, such is life. Death and Legacy Marcel Duchamp died at his home in Neuilly-sur-Seine, France on October 2, 1968. He was buried in Rouen under the epitaph, Dailleurs, cest toujours les autres qui meurent (Besides, its always the others who die). To this day, he is remembered as one of the great innovators in modern art. He invented new ways of thinking about what art can be and radically transformed ideas about culture. Sources Cabanne, Pierre.  Dialogues with Marcel Duchamp. Trans. Padgett, Ron. London: Thames and Hudson, 1971. Print.Duchamp, Marcel, Rrose Sà ©lavy, and Ann Temkin. Of or By.  Grand Street  58 (1996): 57–72. Print.Frizzell, Nell. Duchamp and the Pissoir-Taking Sexual Politics of the Art World. The Guardian November 7 2014. Web.Giovanna, Zapperi. Marcel Duchamps Tonsure: Towards an Alternate Masculinity.  Oxford Art Journal  30.2 (2007): 291–303. Print.James, Carol Plyley. Marcel Duchamp, Naturalized American. The French Review 49.6 (1976): 1097–105. Print.Mershaw, Marc. Now You See Him, Now You Don’t: Duchamp From Beyond the Grave. The New York Times Sept. 29, 2017. Web.Paijmans, Door Theo. Het Urinoir Is Niet Van Duchamp (The iconic Fountain (1917) is not created by Marcel Duchamp).  See All This  10 (2018). Print.Pape, Gerard J. Marcel Duchamp.  American Imago  42.3 (1985): 255–67. Print.Rosenthal, Nan. Marcel Duchamp (1887–1968 ).  Heilbrunn Timeline of Art History. The Metropolitan Museum 2004. Web. Spalding, Julian, and Glyn Thompson.  Did Marcel Duchamp Steal Elsas Urinal?  The Art Newspaper  262 (2014). Print.Speyer, A. James. Marcel Duchamp Exhibition.  Bulletin of the Art Institute of Chicago  (1973–1982) 68.1 (1974): 16–19. Print.Walsh, Meeka. The Gaze and the Guess: Fixing Identity in â€Å"Étant donnà ©s.† BorderCrossings 114. Web.