John donne

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John Donne uses poetry to explore his own identity, express his feelings, and most of all, he uses it to deal with the personal experiences occurring in his life. Donnes poetry is a confrontation or struggle to find a place in this world, or rather, a role to play in a society from which he often finds himself detached or withdrawn. This essay will discuss Donnes states of mind, his views on love, women, religion, his relationship with God; and finally how the use of poetic form plays a part in his exploration for an identity and salvation.

The speaker in Donnes poetry is a theatrical character, constantly in different situations, and using different roles to suit the action. He can take on the role of the womanizer, as in The Indifferent, or the faithful lover from Lovers Infiniteness, but the speaker in each of these poems is always John Donne himself. Each poem contains a strong sense of Donnes own self-interest. According to Professor J. Crofts, Donne

Throughout his life... was a man self-haunted, unable to escape from his own drama, unable to find any window that would not give him back the image of himself. Even the mistress of his most passionate love-verses, who must (one supposes) have been a real person, remains for him a mere abstraction of sex a thing given. He does not see her --does not apparently want to see her; for it is not of her that he writes, but of his relation to her; not of love, but of himself loving.

In Elegy XIX [To His Mistress Going to Bed], we are confronted with one of Donnes personalities. The poem begins abruptly Come, Madam, come! All rest my powers defy;/ Until I labour, I in l abour lie. The reader is immediately thrust into the middle of a private scene in which Donne attempts to convince his lover to undress and come to bed. There is only one speaker in this poem, Donne, we do not hear the voice or a description of the feelings of another person, but she is always present. If Samuel Johnson was correct when he made the statement that the metaphysical poets were men of learning, and to show their learning was their whole endeavour..., then the woman Donne is trying to convince is simply there so he can create this poem. Donne uses wit as his poetic device, wit being defined as an elaborate parallel between two dissimilar images or situations, namely the conceit. Donne does not give the woman a voice, and he most likely does not see her as human but as a means to create a role for himself. He describes her body and her undressing in metaphors

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Off with that girdle, like Heavens zone glittering,

But far fairer would encompassing.

Unpin that spangled breastplate which you wear,

That th eyes of busy fools may be stopped there.

Unlace yourself, for that harmonious chime

Tells me from you that it is now bedtime.

Off with that happy busk, which I envy,

That still can be, and still can stand so nigh.

Your gown going off, such beauteous state reveals

As when from flowry meads th hills shadows steals.

Off with that wiry coronet, and show

The hairy diadem which on you doth grow. [lines -16]

With these lines Donne is the poet first, using different poetic strategies to convince his lover, then he is a triumphant explorer

O my America, my new found land!

My kingdom, safeliest when one man manned,

My mine of precious stones, my empery,

How blest I am in this discovering thee! [lines 7-0]

Finally Donne is naked and vulnerable, involved in a battle of the sexes, struggling to get the woman undressed. Donne cannot control how quickly she undresses, or whether she will undress at all. He deals with this problem through his use of wit. Elegy XIX is an exercise for Donne, he explores various types of metaphors, and plays with the Petrarchan conceit, a popular poetic genre of his day. The main role Donne explores in Elegy XIX is that of the poet, and he enjoys this process because no matter what the outcome, Donne is still happy with the situation because he can write a poem describing various ways in which he can convince his lover to do what he wants.

Donnes personality changed with every new experience. His poetry reflects these changing roles by taking on a different form each time. Perhaps Elegy XIX can be seen as a time in Donnes life when he wanted to establish himself as a poet in his own mind, but there certainly was a significant event in Donnes life that changed his attitude toward women and himself. Elegy XIX shows us a person who thinks only of his own gratification, the woman is there so he can invent. In The Good Morrow Donne shows another side of himself, a man in love and finding his own identity inside another person, along with a new and fully developed style. There is still that egocentric attitude and the use of extended metaphors, but also an element of rebirth.

I wonder, by my troth, what thou and I

Did till we loved? were we not weaned till then,

But sucked on country pleasures, childishly?

Or snorted we in seven sleepers den?

Twas so; but this, all pleasures fancies be.

If ever any beauty I did see,

Which I desired, and got, twas but a dream of thee.

And now good-morrow to our waking souls,

Which watch not one another out of fear;

For love all love of other sights controls,

And makes one little room an everywhere. [lines 1-11]

These lines suggest that his past attitudes, past mistresses were somehow outside himself, or merely dreams of the woman he is now in love with. The lovers are separate worlds, they maintain their own identities, but at the same time they are mixed together forming a unit.

Let us posses one world; each hath one, and is one.

My face in thine, thine in mine appears,

And true plain hearts do in fact rest;

Where can we find two better hemispheres

Without sharp north, without declining west?

Whatever dies was not mixed equally;

If our two loves be one, or thou and I

Love so alike that none do slacken, none can die. [lines 14-1]

The lovers are cut off from the outside, they live in their own world. Donne sees himself in the reflection of his lovers eyes, obtaining an identity through her. He ceased to exist before he woke up in love with this woman.

Time disapproves of their love and Donne later finds his unit disturbed by the outside world. In The Sun Rising, the sun intrudes and reminds him that it is not just he and his lover that exist

Busy old fool, unruly sun,

Why dost thou thus

Through windows and through curtains call on us?

Must to thy motions lovers seasons run?

Saucy pedantic wretch, go chide

Late school boys and sour prentices,

Go tell court-huntsmen that the king will ride,

Call country ants to harvest offices;

Love, all alike, no season knows, nor clime,

Nor hours, days, months, which are rags of time. [lines 1-10]

This poem can be seen as a sort of dramatic monologue, a complaint to the sun. The sun reminds Donne of the outside world, one that he is aware of, but wants no part in. He would rather exist outside of time, alone with his love inside the unit they form. The couples hands are firmly cemented, their eye beams twisted together to become one, as in The Ecstasy. In The Sun Rising Donne contrasts his relationship to the sun, the sun is aged and has worldly things to do, while Donne and his lover appear timeless, immortal, able to disregard the sun with a wink of an eye. Eventually the couple contain the sun and the world. The poet no longer contrasts his unit with the sun, because the lovers become the world

She is all states, and all princes I;

Nothing else is.

Princes do but play us; compared to this,

All honours mimic, all wealth alchemy.

Thou, sun, art half as happy as we,

In that the worlds contracted thus;

Thine age asks ease, and since thy duties be

To warm the world, thats done in warming us.

Shine here to us, and thou art everywhere;

This bed thy centre is, these walls thy sphere. [lines 1-0]

Perhaps the most dramatic of Donnes poems is The Canonization. This poem expresses Donnes anger at the criticism of others and their opinions about how he chooses to live his life. The poem begins as a plea to be left alone, a demand for the people bothering him to mind their own business

For Gods sake hold your tongue, and let me love;

Or chide my palsy, or my gout,

My five grey hairs, or ruined fortune flout;

With wealth your state, your mind with arts improve,

Take you a course, get you a place,

Observe his Honour, or his Grace,

Or the kings real, or his stamped face

Contemplate; what you will, approve,

So you will let me love. [lines 1-]

Donne is defending his choices, he chooses to remain set off from the outside world, alone in a relationship that hurts no one save for their lack of understanding The phoenix riddle hath more wit/ By us; we two being one, are it. This poem was written most likely after his elopement with Ann More and the stress and disapprovement that went with his marriage. The beginning of the poem brings the reader into a debate between Donne and his friend, and then he turns inward and examines his love, the opponent is lost, and we get Donnes feelings on the matter of love

We can die by it, if not live by love,

And if unfit for tombs and hearse

Our legend be, it will be fit for verse;

And if no piece of chronicle we prove,

Well build in sonnets pretty rooms;

As well a well-wrought urn becomes

The greatest ashes, as half-acre tombs,

And by these hymns all shall approve

Us canonized for love... [lines 8-6]

Their love will become a legend inscribed on their tomb stones, immortalized in verse, building shelter through the poets words. He turns his love into the written Word, a law to live by, while others take to their courtly duties.

John Donnes Holy Sonnets reveal his relationship with God, his thoughts on religion, and his hope for salvation. Leaving the Catholic Church left Donne alone, worried about his after-life, almost helpless. For a while Donne survived with his various lovers and later his wife, but perhaps these sonnets bring us to the time after Ann Mores death, when Donne did not have the identity he found in the eyes of his lovers. Donne found himself alone with God and his religious beliefs. Writing poetry has always been a private experience for Donne. His dramatic self-presentation remains in his writings. Professor Crofts asserts

And so, later in life, though the stuff of his meditations changes, this inability to lose himself remains. It is not of God that he thinks so often or so deeply as of his relation to God; of the torturing drama of his sin and its expiation, the sowing and the reaping, the wheat and the tares. The great commonplace of his sermons, it has been said, is death but in truth it is not death that inspires his frightful eloquence so much as the image of himself dying; and the pre-occupation culminates in that ghastly charade of his last hours, described by Walton, when he lay contemplating the portrait of himself in his winding-sheet like a grim and mortified Narcissus.

Again, the reader is thrust into the action of the poem in Sonnet 14. Donne calls on God in a frenzied demanding tone Batter my heart, three-personed God; for You/ As yet but knock, breathe, shine, and seek to mend..., in a sense Donne wants God to beat sin out of him because he feels tempted by it. Donne does not feel part of a unit at this moment and calls on God to imprison him because he feels so distant and helpless.

The poet fears his own mortality and believes he is running towards death, that death is meeting him half-way. Many of the Divine Poems describe Donnes sickness and loneliness. He asks God to act, to repair his illness and prevent aging. In Holy Sonnet 1 Donne appears to be helpless

Thou hast made me, and shall Thy work decay?

Repair me now, for now mine end doth haste;

I run to death, and death meets me as fast... [lines 1-]

He begs God to be a magnet for his hardened heart, to tear him away from sin. In SonnetDonne wants God to fight for him. Poetry now becomes the model for his own salvation. Donne, in a sense, is an active participant by calling on God to save him. In Sonnet 5, the poet sees himself as a little world, his body similar to the entire world, his eyes swelled with tears like the sea. These images parallel his first Meditation

Is this the honour which man hath by being a little world that he hath these earth quakes in himself, sudden shakings; these lightnings, sudden flashes; these thunders, sudden noises; these eclipses, sudden offuscations and darkening of his senses; these blazing stars, sudden fiery exhalations; these rivers of blood, sudden red waters?

Donne refers to biblical stories of the Old Testament flood and the New Testament Apocalypse as he calls for God to drown and burn his sin contained within himself as a microcosm. In his sickness, he believes the biblical experience is being fulfilled in him, as was the Old Testament in the New. The Meditations and the Holy Sonnets have some differences. In the Meditations, Donne seems alone in his sickness, scorning the weakness of man; but in the Divine poems he seems to embrace sickness and death believing that this is how God is saving him from sin.

The Hymn to God, My God, In My Sickness was intended to be Donnes death-bed poem, the final acceptance of his sickness that he believes was in preparation for his salvation

Since I am coming to that holy room

Where, with thy choir of saints for evermore

I shall be made Thy Music, as I come

I tune the instrument here at the door,

And what I must do then, think here before. [lines 1-5]

The Hymn is a kind of personal release. The feeling of helplessness in his former poems are abandoned, and Donne seems confident that his bodily illnesses tuned his soul so it can enter heaven. This tuning of instruments refers to the writing of the Hymn itself, and the instrument, an image for Donnes soul, will become the music in Heaven.

John Donne takes a journey through his life and uses poetry in order to find his own identity. The poems take the reader through dramatic situations, confrontations, and debates between the poet and a person whose voice is not heard. In the poems Donne is acting out different personas-- characters like the womanizer, the monogamist lover, a man sick and dying calling on God to save his soul, and finally a man accepting his death to the point of obsession. This is a journey through the poets vulnerability, his pleas for sex, isolation, and finally salvation. Donnes writing reveals his attitudes about sex and religion, experiences he believes should be private and cut off from the outside and reality. By using elaborate conceits, Donne is not only trying to be witty and show his great learning as Samuel Johnson might suspect. The paradoxes and strange comparisons are written as an attempt to understand what is happening to him. The poetry portrays a man obsessed with himself, and obsessed with finding a place or a person so he can exist.

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What examples of prejudice does Scout encounter in "To Kill a Mockingbird" and what does she learn through her experiences?

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Prejudice stems from many things; it can come from any person at any time.Sometimes it is part of a person when they are born.A whole town, state or country can show prejudice towards others, in many cases it ends in violence.Hitler showed an extreme example when he tried to remove toe Jewish race from all the countries Germany occupied and blamed the Jews for society's ills.He thought they were all inferior and the Germans were the superior, Aryan race.Hitler did not think all of his decisions all the way through, prejudices are caused by the lack of knowledge of others.Most of the Maycomb people are presented as prejudiced in the novel through their behaviour and speech towards the Negroes, as Aunt Alexandra shows in her early treatment of Calpurnia.

To Kill a Mockingbird is thought by critics to be a true account of what life is like in the state of Alabama in the 10s because Lee grew up around that time in a small town called Monroeville.Maycomb is thought to be based upon the town of Monroeville.Tom Robinson's trial was based upon the author's own experience of the Scottsboro trial in which some Negro men were accused of raping two white women.

To Kill a Mockingbird investigates different types of prejudice throughout the novel.One form of prejudice is the hatred of the Negroes in the white community, in which violence breaks out in the form of the lynch mob at the jail.The murder of Tom Robinson by the lynch mob would strike a blow against the Negro community and secure the position of the white community as superior and in control.The mob felt a sense of power and courage in a group but nevertheless singularly they were still men.This was pointed out when Scout said, "Hey Mr Cunningham" which singled him out from the group.Scout enquires about his son Walter, touching Mr Cunningham's human nature.Mr Cunningham has children of his own and can imagine what it would be like for these children to be without their father.He had been caught in this violent and reckless act by an innocent child and here she was, knowing nothing and asking about his son and giving advice on his affairs as a concerned friend.By this Scout disarms Mr Cunningham and turns the mob away without any violence.The mob is shown the clarity of the situation they are in and where they had held anger now there was shame, for acting so in front of children, as if they had been children themselves and could not see the larger picture.

All the types of prejudice are all subtly with the Tom Robinson case.At Tom's trial Scout meets Mr Dolphus Raymond for the first time but judges him from the rumours around Maycomb, without considering that they may be false and not to judge on appearances.Mr Raymond's questionable character that the town has given him is proved false.He shows Scout, Dill and Jem what really is hidden in the sack he always carries around with him, from which the Maycomb folk have drawn so many conclusions.Living with a Negro woman is the most serious offence in Maycomb society and Scout can observe the prejudice the town has against this man.The townsfolk do not comprehend that a person could choose to have Mr Raymond's lifestyle of his own free will and while not under the influence of alcohol or any other substance.Mr Raymond, knowing what the town think of his life pretends that he is a drunkard to escape the worst of the town's scorn.He is simply encouraging their beliefs without telling the truth which would make the situation harder for everyone.This is in some ways a cowardly act on his part but makes the townsfolk more content with his life because they have a reason for his irrational behaviour.A truly brave and independent man would not give a damn about what other people think about his choices and continue to live his life as he sees fit.It is Mr Raymond's dependency on Maycomb and his fearfulness of their scorn that prevents him from being open and telling the truth.Scout learns that folk need a reason for another person's actions, which seem wrong in their minds.Once folk can latch onto a reason for certain behaviour they are happier and more likely to let that person be.Maycomb is too wrapped up in itself and the past to look into the future with a different outlook on life.This is also shown on Scout's first day at school with her teacher, Miss Caroline.Miss Caroline came from a different county and the class' preconception of her was for her to be a stereotypical person from that county based upon the information their parents had told them.Custom Essays on What examples of prejudice does Scout encounter in "To Kill a Mockingbird" and what does she learn through her experiences?

Maycomb society considers itself to be right and just in its actions and rules.In the ladies' missionary teas they gather together to discuss the town and how to improve the world by converting everyone to Christianity and abhorring these people's own traditions and beliefs.The ladies believe that there is no better town and society than Maycomb and this town must be shown as an example of perfection to the world.The ladies also believe that an African tribe that treats all the men and women as fathers and mothers to all the children is wrong and immoral to be one large family, helping each other.This in fact is a basically sound idea and is what would have happened in biblical times, the time with the same ideas and rules that they are trying to impose on other cultures, but rules that their own society does not follow.Harper Lee includes this in the novel as an example of what harm these ladies are doing to other communities with better relations than their own.Here these women are converting Negroes and doing what they consider good in a far away place when right on their doorsteps there are Negroes whom they outcast and criticise.

Scout learns at first hand what the people of the town think of her father, Atticus.Mrs Merriweather insults Atticus in his own home in front of his sister, neighbour and daughter by referring to him as one of the "misguided people" of the town.By insulting Atticus in the presence of his family Mrs Merriweather shows the company how two faced she really is, to be sitting in his home eating his food and then to insult him.Miss Maudie prevents more prejudice at the table as she comments "his food doesn't stick going down does it?".

There is clear segregation between the races from the very beginning of the novel with Scout's account of the Finch family history.Scout said the Finches' used slaves before the civil war on their plantation.The American civil war involved the North against the South, the North wanted the South to abolish slavery as it had done and the South wanted to keep the old ways.That the Finches used slaves shows the early social standing of the Negroes in southern America to be slaves.Over one hundred and fifty years has passed since the civil war but the Negroes in Alabama are treated hardly better than slaves, performing menial tasks and holding menial positions such as servants or farm hands.The Negroes are not allowed to hold important positions in the town, which confirms the townsfolk's hold on the law in Maycomb.A similar thing was happening in South Africa at the same time with an all white government ruling over the black majority, this system was called Apartheid.Everything is different for the Negro people of Maycomb.They live in the part of the town furthest away from the white citizens and the most unpleasant with its site being located by the rubbish dump as if they too were worthless.The Negroes are the dregs of the society in which they live and Lee illustrates this in her portrayal of their living conditions.In ordinary town life the Negroes have their own buildings for worship and a separate section to sit in the courthouse, which exemplifies the point further, that the Negroes are the lowest breed and should not be allowed to consort with the better people.The whites take no care for the sacred place they are in during the week when they gamble in the Negro community church, as if it was only worthy of being used for one of the lowest forms of entertainment.Tom Robinson ran away when he saw Bob Ewell because he knew just by having dark skin he would be accused of something and was scared.Traditionally if something bad happens in the town it is because the Negroes have caused it and there are no other possible suspects.When Boo Radley mixed with the wrong crowd all the havoc they caused was first blamed on the Negroes.Tom thought that Mr Ewell thought something was wrong he would consider him responsible for whatever had happened and no one would say otherwise.When Scout asks if she may visit Calpurnia, her Aunt rules it out without an explanation, saying, "You may not".This implies that Aunt Alexandra is prejudiced towards Calpurnia and her shortness and the tone she projects to the reader suggests this.

Scout also learns that Aunt Alexandra is not just prejudiced towards the Negro people.This happens when Scout suggests that she would like to be friends with Walter Cunningham.Aunt Alexandra's answer is no, Finches "don't mix" with the Cunninghams.This shows Aunt Alexandra not only to be prejudiced towards the Negroes but also towards those she deems of a lower social standing than her own, with a less pure blood line and a family streak.Her conclusion is that society is divided into several groupings of people, and none of the groups should mix.In Tom's trial this is true, Mayella was consorting with someone of a lower social standing, and a Negro.Atticus pointed this out further in his defence case when he made it clear that the other whites didn't want to know the Ewells and relationships are not allowed between people of a different skin colour.

Prejudice is everywhere and it cannot be escaped, wherever you go there will be some form of it however mild it may be.Boo Radley is a victim of prejudice himself and could not stand to live in a world will all the prejudiced people out there and out of choice chose to stay locked up in his house for many years, only coming out at night.People do not stay shut up away from life unless they have a phobia of something about it.

Few could escape some sort of prejudice in the 10's and this book shows this by showing examples of prejudice towards Atticus.His children are teased at school and the ladies of Maycomb gossip about him behind his back.People do not have other things to focus their attention on during the day, with no jobs available and no money to spend.They therefore spend too much time speculating about their neighbours.In writing this book the author investigates not only the types of prejudice but also the causes and consequences of it.In To Kill a Mockingbird Lee shows different prejudices, many caused by people's own infatuation with themselves.Tom Robinson is a victim of prejudice, the cause being his skin colour, the consequence, his death.

Harper Lee illustrates in the novel a human's need for a scapegoat to blame his or her own actions on.Tom Robinson is accused of raping Mayella Ewell after Mayella has broken the social code by kissing a Negro man.Mayella is not brave enough or wealthy enough to take the consequences of her actions as Mr Raymond did, instead she tries to dispose of the evidence of her crime.This is illustrated in Atticus' speech in the courtroom."She did something every child has doneshe tried to put the evidence of the offence away from her" Atticus says in the courtroom.He says this implying that Mayella wouldn't accept what she did and turns her guilt around onto Tom; making out that it is Tom's fault not her own, she has to pass on her guilt.

One other reason for prejudice is the fear and insecurity of crossing the barrier of tradition into the unknown.It is easy to follow the crowd, for example with the lynch mob.To stand up for what you believe in takes more courage.

This book tries to deal with how to combat prejudice it shows how an individual's actions like Atticus and Miss Maudie can make more of a difference and through this Scout learns how to cope with it herself.At the beginning of the novel Scout does not understand prejudice at all and is naïve and young.Through the teachings and examples set by her two role models Scout learns to cope with the world in a more adult way, understanding different people's perspectives.Miss Maudie, an example of a perfect citizen to Scout is criticized and people are prejudiced against her.When Cecil Jacobs continues to taunt her about her father she does not lash out in a physical way as she has done previously.Instead she follows Atticus' advice and does not retaliate, accepting that everyone is prejudiced about something and anything she can do will not change that.This book is an education in prejudice Scout and Jem start with not recognising prejudice at the beginning of the book and then learn about the prejudiced people in the community that they live in.They learn how to deal with and occasionally combat it, for example, when Miss Maudie manages to deflect criticism away from Atticus at the missionary tea.Scout does not assault Mrs Merriweather for speaking ill of her father in this scene, as she would have done at the beginning of the novel.

To Kill a Mockingbird also teaches the reader empathy by showing how Scout and Jem are taught it.Throughout the book Atticus teaches it to his children and says, "you never really know a man until you stand in his shoes and walk around in them", this is what Atticus implies to his children, it is a good moral to live by.The novel also educates the reader as well as showing the children being educated about the world.The reader has to stop and rethink back to the beginning of the book when Jem's arm is broken to understand the connections of how in the community of Maycomb it could be so narrow minded and how someone could attack another's children.The reader also has to reconsider why Boo Radley never wants to come out, giving you a different perspective towards the book and the inhabitants of Maycomb.By writing this novel, the author raises awareness of the prejudice that is in the southern USA.

Please note that this sample paper on What examples of prejudice does Scout encounter in "To Kill a Mockingbird" and what does she learn through her experiences? is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on What examples of prejudice does Scout encounter in "To Kill a Mockingbird" and what does she learn through her experiences?, we are here to assist you.Yourpersuasive essay on What examples of prejudice does Scout encounter in "To Kill a Mockingbird" and what does she learn through her experiences? will be written from scratch, so you do not have to worry about its originality.

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The culture of hip-hop

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Hip-hop! Yes, it is music. Nevertheless, many people do not realize that it is much more than that. Hip-hop is a form of art and culture, style and language, an extension of commerce, and for many, a natural means of living. Rap and hip-hop has been plagued by negative connotations of violence since its existence. Whether it is the controversial lyrics or the vicious murders of many artists, violence appears to be an everyday element of this "bad-boy" lifestyle. The recent death of Jam Master Jay (a hip-hop pioneer, disc jockey, and member of Run DMC), has garnished an everlasting question When does violence and negativity cease to be an associate of the hip-hop culture?

Jam Master Jay

On October 0, 00 the life of a trailblazer came to a vile end. DJ Jam Master Jay, born Jason Mizell, was brutally murdered inside a recording studio in New York City. His wife, two sons, mother, brother, and sister survive him. He was thirty-seven years of age. Another victim of the shooting was in critical condition, and has since recovered after being shot in the leg (Reid, MTV 1). Currently there has not been any arrest made in this murder mystery, and only brief details have been released to the public. New York City police detective Bernard Porter Jr. says, "Two assailants were buzzed in to the building, located at 0-10 Merrick Blvd. in Jays hometown of Queens. But police dont know if the perpetrators were allowed in from the studio or from one of two other businesses that share space in the building" (Reid, MTV ). Such newspapers as the New York Post have begun to speculate on the motive of Jay's murder. Black Entertainment Television reports that [The New York Post] speculates "Jam Master Jay may have been killed for a dispute over money, and fingered an individual named Curtis Scoon as the prime suspect in the investigation, and the man wanted by police for questioning" (Creekmur, BET). However, exact details remain unclear. Some believe that the murder was apart of a bitter rap rivalry, and others believe it was a drug deal gone wrong. However, friends and family close to Jay are certainly outraged by any mention of the previous, and they remain optimistic about finding his killer.

Jam Master Jay, along with Joe Run Simmons and Darryl DMC McDaniels, was apart of the rap group Run DMC for nearly twenty years. This disc jockey made music that the world adored. "His scratching and mixing exhibitions on songs such as Jam Master Jay, Sucker MCs and Peter Piper (which Missy Elliott uses a portion of on her latest single, Work It) were as influential on future disk jockeys as Run and DMCs raps were on the MCs who followed in their footsteps" (Reid, MTV 1). The lost of this man is tragic because he helped begin the hip-hop art form, when it was merely a few guys rhyming captivating words in the early nineteen eighties in Queens, New York. Rap artist Ice Cube says, "They're pioneers. Run-DMC made rap emerge out of hip-hop to be the signature art. Fellow hip-hop legend Big Daddy Kane concurred, Run-DMC definitely made me feel rap was here to stay (Reid, MTV 1). Once known as a simple form of music, which many spectators believed was only a trend; hip-hop has developed into a five billion dollar industry. This form of music has crossed all color barriers and can be heard in almost every country around the world. Some would argue that hip-hop, in some form or fashion, has impacted the lives of every American under the age of thirty-five. For these reasons, the senseless death of a pioneer has sent shock waves through the hip-hop culture.Custom Essays on The culture of hip-hop

Murder in Hip-Hop

With the murder of another hip-hop legend, many have begun to compare the tragic lost of Jam Master Jay to that of Tupac "Makaveli" Shakur and Christopher "The Notorious B.I.G." Wallace. These murders stemmed from the media's insistency to provide oxygen to the flame of violence within the hip-hop nation. During the mid-nineties a bitter rap rivalry between the west coast and east coast gave way for the media to divide the country into two conflicting sides. Wallace and his recording label Bad Boy Entertainment, Inc. had strong influence in the eastern area of the United States, while Shakur and Death Row Records, Inc. controlled the western portion of the country. Tupac's party recorded harsh lyrics, and the media turned the occurrence into a bi-coastal war. As fans of both artists, many felt torn between which artist was the best. However, the rivalry came to an end on September 6, 16 when Tupac was shot five times in Las Vegas, Nevada. On September 1, 16 he succumbed to his wounds. Many speculated that The Notorius B.I.G.was involved in the incident. However, in an event far for irony, Wallace was murdered nearly six months later in Los Angeles, California.The deaths of these two artists remain unsolved.

Both entourages of Tupac and Biggie have been accused for the murders. Yet, each party has been proven innocent by alibis. This has left many to hypothesize that angry fans, who took the hip-hop rivalry and lyrics too far, committed the murders.

Hip-Hop Lyrics

In the opinion of Xavier University freshman and hip-hop fan Leshay Wesson, "Society encourages artists to rhyme about specific topics. For example murder, homosexuality, theft, and drug usage are all encouraged topics because they exist in society. Therefore some artists think rapping or rhyming about them on a record will not have a negative effect on any of their listeners." At times some artists may even feel pressured to make songs that their listeners will like.This is displayed when Andre 000, member of the Grammy award winning group Outkast, raps on the song "Elevators."

"True I got more fans than average man/

But not enough loot to last me/

to da end of da week/

I live by da beat like you live check to check /

If you don't move yo feet/

den I don't eat/

So we like neck to neck."

Andre 000"Elevators" (Allen)

Regardless of how many fans Outkast have they will not be able to make a living without creating a song that listeners will enjoy. Hence the lyrics "If you don't move yo feet/ den I don't eat."

In accordance to freedom of expression principles, which hip-hop was founded upon, some artists have decided to rhyme about fancy cars, clothes, and other riches. However, others decided to produce music that speaks of hell, sin, the devil, and damnation. New hip-hop artist Pastor Troy, a Georgia native, is somewhat of an underground rapper who is slowly becoming mainstream with very different philosophies concerning damnation. The judgment of his own soul changes in each of his songs. Sometimes he states that he fights for the Lord, and other times he cannot decide which side he is on. (In his song 'Vica Versa' everything he says is suppose to mean the opposite.)

"Again I ask, Heaven was hell and vica versa

Would you start doin evil in order to nurture?--The spirit, man,

Do you understand that theres a war?

Its ragin on and the devil got some ammo too

Dont get me wrong,

But I put my trust off in the Lord

Its too corrupt

Know that God gon help me blow em up!"

"Protect me Devil, think the Lord is tryin to kill me

Its vica versa"

-Pastor Troy ("Vica Versa")

Heaven or Hell, where do we go?

When we die, eternal fire or the street of gold

Only God knows, vica versa.

-Peter the Disciple (Vice Versa)

"Vica Versa" is all about the war between God, Satan, and Pastor Troy himself. This battle has him so confused, which makes him feel as if he needs to question the divine plan. When Pastor Troy wrote this song, he symbolized faith and suggested to his listeners that perhaps everything they have learned is false, fabricated or inverted. Artist such as Troy permit many to believe hip-hop lyrics can be influential, as well as destructive to the minds of its listeners.

Where does hip-hop go from here?

According to Tinu Adeniji-Adele, an eighteen year-old hip-hop fan, "Hip-hop is not only a genre of music; its a language and a challenging way of life. From the distinct beats, the clothing and the seemingly aggressive and slack use of language, it is almost undeniable that hip hop maketh its listener." (Marks) If this is the case, can violence and negativity cease to be an associate of this culture, to encourage a positive generation of listeners? Well if this is to be determined by youth activist Pee Wee Kirkland and many other hip-hop moguls, the answer is yes. Mr. Kirkland, a former drug-dealer and gangster believes, The hip-hop world and the gangsta world are about to collide, and we have to stop the body count. This is a life-and-death matter. (Marks) Mr. Kirkland is at the head of a campaign entitled Hip-Hop 4 Peace. "At the core of their campaign is a conviction that amounts to heresy in some quarters of the rap world that artistic images do influence behavior, especially when it comes to young people, and that the industry has a responsibility to counter the glorification of guns and street hustling with a realistic message that empowers kids, rather than landing them in jail" (Marks). Hip-Hop 4 Peace supporters look forward to toning down the lyrics and subject matters of hip-hop, in order to help reduce the increasing social violence in youth lifestyles. On the other hand, the Hip-Hop Summit Action Network along with members of Congress are addressing issues of "Ending poverty, hunger, HIV/AIDS, homelessness, illiteracy, unemployment, police brutality, and many other life and death issues affecting the quality of life in our communities are more important than free speech"(Chavis-Muhammad and Simmons, 144). This association believes that increasing parental awareness of advisory labels on albums, is a more sensible alternative than the censorship in hip-hop. Even though these two organizations have opposing viewpoints on how to change the hip-hop culture, the desire to free hip-hop of its negative image remains constant.

Writer's opinion

The death of Jam Master Jay was not only sad, but it was disappointing because it only adds to the negativity of this culture. From analyzing his lyrics and simply reading the many testimonies of his peers, it seems that he was not a person with a violent nature. In pursuit of changing lives for the better, Jam Master Jay appears to have simply surrounded himself with the wrong people. However, until the details of the crime become evident then this notion will remain a mystery. The notion that hip-hop is simply a culture plagued with violence and negative connotations, is a tremendous outrage. Hip-hop has been the power tool of American youth, especially African-American youth. Hip-Hop artists such as Mary J. Blige, Common, Cee-Lo, and The Roots are all artists that continuously promote a positive message through with their music. When times are gloomy, a hip-hop song may take my mind off all worldly situations, and place me in a serene state of being. I am not going to argue that all hip-hop lyrics are positive, however, they are definitely not all negative. At times it seems that many artists try to appeal to everyone. On one song they may encourage young ladies to be respectable to their bodies and to refute men who degrade them, and then on another song they may refer to women as bitches and hoes. Some of the artists who rapped on a tribute song for the September 11th Attack (a song against any form of violence in the United States), are the same artist who in the past, as well as now, rhyme about having a gun and willing to shoot anyone who challenges their manhood. The Attack of September 11th could not change lyrics, hence the death of another star definitely will not either. Every American is entitled to freedom of speech; therefore the lyrics of hip-hop will forever linger in controversy. In opposition, the image of hip-hop will not remain controversial. Violence and negativity will cease to be an associate of the hip-hop culture as long as organizations such as the Hip-Hop Summit Action Network and Hip-Hop 4 Peace continue to take positive steps toward redefining hip-hop's image. Instead of simply listening and writing about hip-hop, on Friday November , 00 I partook in a Hip-Hop Collegiate Empowerment Summit at King Chapel on Morehouse College's campus. It was simply a case of luck that I was able to attend this event during a trip to Atlanta prior to the Thanksgiving holiday break. The theme of this summit was "empowering tomorrow's leaders economically, socially, and politically, today." Professionals in this industry refuse to accept the negative image that hip-hop is so commonly associated and have stepped up to make a difference, in a summit that permits them to inform and encourage the aspirations of college students. Such notables as Russell Simmons; Chairman of Def Jam Records, The Honorable Shirley Franklin; Mayor of Atlanta, Kimora Lee-Simmons; Creative Director of Baby Phat, Inc, Sway Calloway; Music Television (MTV) Correspondent, and Minister Benjamin Chavis; President of the Hip-Hop Summit Action Network were all on hand to address the current state of hip-hop in America. The economic power of hip-hop, hip-hop's negative image, and the death of Jam Master Jay were all topics discussed by these stars. When a student posed the question, "How has the death of Jam Master Jay altered your personal life, and what effect will it have on hip-hop as a whole?" the faces of the panelists were obviously distraught. "It's got to stop," Minister Chavis-Muhammad declared, "There's no reason for this violence. Have we not learned anything form the deaths of Biggie, Tupac… Big-L? This violence is senseless, and we must end it now! Today! Not tomorrow or the day after, but this very instance. This very second!" Russell Simmons went on to say, "Hip-hop is more powerful than any American cultural movement weve ever had, so why should it be used to convey violent and contravening images of our people? The death of Jay is ridiculous. Hip-hop as a whole has lost a legend. He was not only a legend, but he was my friend and he will be terribly missed."In addition to addressing the current state of hip-hop in America, students of the Atlanta University center were informed on career opportunities, and how to succeed in the entertainment industry. Artist demos, resumes, and modeling portfolios were all accepted by these stars, in order to help students make a positive start in the hip-hop entertainment world. Most importantly, these stars encouraged each attendee to register to vote at the on-site voter registration booth. I found this summit to be very stimulating and refreshing to the mind. Thus, it was great to finally see hip-hop in a positive aspect, rather than the negative dimness that is constantly portrayed on my television screen. This event's theme and the event as a whole obviously demonstrate that hip-hop is barely an avenue for violence and negativity, and for every negative aspect of this culture there is a positive one that hides behind it.

Please note that this sample paper on The culture of hip-hop is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The culture of hip-hop, we are here to assist you.Yourpersuasive essay on The culture of hip-hop will be written from scratch, so you do not have to worry about its originality.

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History of cheese

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Miseria Cantare (The Beginning)

Love your hate, your faith lost, you are now one of us Love your hate, your faith lost, you are now one of us Love your hate, your faith lost, you are now one of us Nothing, from nowhere, I am no one at all Radiate, recognize, one silent call As we all form one dark flame Dance in array Nothing, from nowhere, I am no one at all Radiate, recognize, one silent call As we all form one dark flame As we all form one dark flame As we all Love your hate, your faith lost, you are now one of us Love your hate, your faith lost, you are now one of us Love your hate, your faith lost, you are now one of us

The Leaving Song, Part

Dont waste your touch You wont feel anything Or were you sent to save me? Ive thought too much You wont find anything worthy of redeeming Yo he estado aqui Muchas veces antes y regreso To break down and Cease all feeling Burn now what once was breathing Reach out and you may take my heart away Imperfect cry and scream in ecstasy But what befalls the flawless? Look what Ive built It shines so beautifully Now watch as it destroys me Y regreso aqui otra vez Y comienzo To break down And cease all feeling Burn down what once was breathing Reach out and you may take my heart away I left it all behind And never said good-bye I left it all to die I saw its birth I watched it grow I felt it change me I took the life I ate it slow Now it consumes me

Write my Essay on history of cheese for me

Girls Not Grey

Ill lay me down tonight, much further down Swim in the calm tonight, this art does drown What follows me as the whitest lace Of light just begs to be imbued What follows will swallow whole What follows has led me to this place Where I belong, with all erased What follows All insects sing tonight, the coldest sound Id send Gods grace tonight, could it be found What follows me as the whitest lace Of light just begs to be imbued What follows will swallow whole What follows has led me to this place Where I belong, with all erased Ill lay me down tonight, much further down Watch stars go out tonight On sinking ground Ill lay me down Ill lay me down What follows me as the whitest lace Of light just begs to be imbued What follows will swallow whole What follows has led me to this place Where I belong, with all erased What follows will swallow whole What follows will swallow whole

The Celluloid Dream

Calling tears from deep inside Oh, youre so exquisite And in the mirror all midnight eyes Oh, If I could remain, but its just a visit All midnight eyes, all midnight eyes read Vacancy Twisted, twisting To the lovely dancing lights I begged, May I cut in?but they never stop playing there song . Of a joyous song they sing Ive heard whispers On a freezing note, I resonate Just like romantic verses Just like a joyous end Just like a memory - it twists me Just like romantic verses Just like a joyous end Twisted me You land as lightly as the new snow Cinematic Onto the melting boy and melt away You light as gently Youre so cinematic Bathed in your radiance I melt In the glitter in the dark, sunken without faith Praying this will never end In the shadow of a star in static pallor I realize I never began All the colors upon leaving all will turn to grey You ran just like the afternoon snow (Cinematic) You ran just like the afternoon snow (And melt away) You ran just like the afternoon snow (Cinematic) BATHED IN YOUR RADIANCE, I MELT

The Lost Souls

If you cant stand upon the water I will see you on the ocean floor When you blink do you only find The misery between the lines? Then take my hand and walk with me Come to me, your sanctuary Ill gladly accept the gift that Ive been granted If you feel fine, then give it just a little time Im sure youll contract my disease Look what youve done to me now Youve made me perfect If you cant stand upon the earth Then I will meet you on the other side When you blink do you only find The misery weighs down your eyes? Then take my hand and sleep with me Take my hand, Ill be everything to you Take my hand, Ill take everything from you I will seep under your skin I will I will hold onto your heart I will

the boy who destroyed the world

Once there was boy who had vibrant glow, but as it goes, someone took it from him.

One day through the rain i heard him meekly moan, he said

will you wrap your arms around me as im falling?

Remember when we were all so beautiful? but since then weve lost our glow.

They said it hurt their eyes but he would never know that they were filled with regret as their own dissipated.

He said, i now feel more desperately alone, even though they wrapped their arms around me as id fallen.

They said it hurt their eyes, but he would never know that they were claiming regret as their own...

As their own dissipated.

Total immortal

hope unkown. sometimes just waking is surreal.

I walk right through the nameless ones.

I know that hopes unknown.

Sometimes the water feels so real.

As i walk through it fills my lungs, my god, im drowning.

This day never seems to end.

This pain, never.

The rage i can not let go.

I hear them calling my name.

I feel them gnawing out holes through flawless souls.

So alone. sometimes i swear that i can hear the taunting of the voiceless ones.

I fear that i alone fear those who finally ceased to feel that theyre alone

Inside this place.

I am the misplaced.

Now every face, it looks familiar...

Then every face would melt away until...

Now everyone, do you know, i know your deception?

Artist Afi

Song Paper Airplanes (Makeshift Wings)

Album

Submitted by thenephilim

Corrected by storm

Rated .0 (8 votes)

Raise high monolithic statues so fragile as they fallI am ever enthralledGaze lie and smirk timeYour arrogance reduced you wellCompassion is dispelledAs waves of plactic fame glow out of fashionYour going out, going out forever unknownThese waves of perfect flame go out of fashionYour going down, going down forever unknown, unknownFrom above a rain of ashes descends.Anathema, I will remain (forever will remain)From below in my seclusionLook up to the sky to see paper wingsAnd watch it burnWithout habitation, youll never find a soul insideNo life, but nothings diedNo lights, but quite the showJust as long as no one ever knowsAll motion is pantomimeAs waves of plastic fame glow out of fashionYour going out, going out forever unknownThese waves of plastic fame go out of fashionYour going down, going down forever unknown, unknownFrom above a rain of ashes descends.Anathema, I will remain (forever will remain)From below in my seclusionLook up to the sky to see paper wingsAnd watch it burnDancin in the rain of descending ashDancin on your graveIll see youDancin in the rain of descending ashDancin on your dustIll see youId stop it, had you a heart.Id stop it, had you a heart.From above a rain of ashes descends.Anathema, I will remain (forever will remain)From below in my seclusionLook up to the sky to see paper wingsAnd watch it burnFrom above a rain of ashes descends.Anathema, I will remain (forever will remain)From below in my seclusionLook up to the sky to see paper wingsAnd watch it burn

Artist Afi

Song Silver And Cold (Real)

Album

Submitted by Some Guy

Corrected by An AFI Fan

Rated 8.5 ( votes)

I, I came here by day, but I left here in darknessAnd found you, found you on the wayNow, it is silver and silentIt is silver and coldYou in somber resplendance(chorus)Your sins into meOh my beautiful one nowYour sins into me As a rapturous voice escapesI will tremble a prayerAnd Ill beg for forgivenessYou're sins into meOh my beautiful oneLight, like the flutter of wingsFeel your hollow bones rushingInto me, as you're longing to singSo II will paint you in silverI will wrap you in coldI will lift up your voice asI sink(chorus)Cold in life's throwsI fell asleep for youCold in life's throwsI only ask you turn awayCold in life's throwsI fell asleep for youCold in life's throwsI only ask you turnAs you seep into meOh my beautiful one(repeat chorus x)

Artist Afi

Song Bleed Black

Album

Submitted by NamelessAFI

Corrected by

Rated .1 (15 votes)

I am exploring the insideI find it desolate.I do implore these confines now as they penetrate,recreate me.Im hovering throughout time.I crumble in these days.I crumble, I cannot find reflection in these days.(chorus)If you listen (listen, listen) listen close, beat-by-beatYou can hear when the heart stops.I saved the pieces when it broke and ground them all to dust.I am destroyed by the inside.I disassociate.I hope to destroy the outside.It will alleviate and elevate meLike water flowing into lungs, im flowing through these days.As morphine cuts through deadened veinsIm numbing in these days.(chorus)I know what died that night. It can never be brought back to life once again,I know, I know.(repeat)I know I died that night, and Ill never be brought back to life.Once again, I know(repeat)(chorus)

Artist Afi

Song Dancing Through Sunday

Album

Submitted by Some Guy

Corrected by no one

Rated 7.7 (48 votes)

Will you join me in this danceThis dance with misery?Cradled in imposs-, impossibilitySwooning, I am swept awaySwept off my feet and With step-by-stepWe take the leadAs drop-by-drop we start to bleed.(Chorus)Oh we dance in miseryAnd we dance oh And we dance ohOh we dance in miseryAll lost in the arms of our misery ohOh we dance in miseryAnd we dance oh And we dance ohSwept our feet by miseryWe're swept to shadowsWill you lend yourself to beauty that will horrify?Let me hide within your black, the still inside your eyes.Deafened, caught within a cry so sensual.As step-by-step I separate, While breath-by-breath I suffocate.Oh we dance in miseryAnd we dance oh And we dance ohOh we dance in miseryAll lost in the arms of our misery ohOh we dance in miseryAnd we dance oh And we dance ohSwept our feet by miseryWe're swept to shadowsSo who will follow?Who is the lead?I know I'll leave a stainBecause I bleedAs we dance.We all dance.We all have no chance in this horrid romance.I swearOh we dance in miseryAnd we dance oh And we dance ohOh we dance in miseryAll lost in the arms of our misery ohOh we dance in miseryAnd we dance oh And we dance ohSwept our feet by miseryWe're swept to shadows(X)

Artist Afi

Song ...But Home Is Nowhere

Album

Submitted by Lt. L.T. Powell

Corrected by Cheeser001

Rated .8 (40 votes)

Twenty six years andSeems like Ive just begunTo understand my, my intimate is no oneWhen the director sold the show,(Who) bought its last rites?They cut the cast, the music and the lightsThis is my line, this is eternalHow did I ever end up here?Discarnate, preternaturalMy prayers to disappearAbsent of grace, marked as infernalUngranted in dead time, left me disownedTo this nature, so unnaturalI remain aloneTwenty six years oldStill speaking in these tonguesSuch revelations while understood by no-oneWhen the new actor stole the show(Who) questioned his grace?Please clear this house of ill-acquired tasteThis is my line, this is eternalHow did I ever end up here?Discarnate, preternaturalMy prayers to disappearAbsent of grace, marked as infernalUngranted in dead time and left me disownedTo this nature, so unnaturalI remain aloneGive me somethingGive me somethingGive me somethingGive me somethingGive me somethingGive me something realI lay strewn across the floorCant solve this puzzleEveryday another small piece cant be foundI lay strewn across the floorPieced up with sorrowThe pieces are lost, the pieces dont fitPieced together incomplete and emptyThis is my line, this is eternalHow did I ever end up here?Discarnate, preternaturalMy prayers to disappearAbsent of grace, marked as infernalUngranted in dead timeAnd left me disownedTo this nature, so unnaturalI remain aloneThis is my line, this is eternalHow did I end up here?Discarnate, preternaturalMy prayers to disappearAbsent of grace, marked as infernalUngranted in dead timeAnd left me disownedTo this nature, so unnaturalI remain alone

Synesthesia

Heartbreak incarnate

Im nothing if not your memories,

your heartbreak, please let me be your joy and your pain

Someday I will be, Ill be those common words spoken uniquely

Because I may... will forever be floating as you feel

Please let me haunt as scent on your pillow

Letters of past all tear stained and wrinkled

Please let me haunt as scent on your pillow

Letters of past all tear stained and wrinkled

(Just say) Say you will for me (for me), invite me to your memory

(Just sing) Sing again for me (for me) that long forgotten song

Heartbreak incarnate

Im nothing if not your memories,

your heartbreak, please let me be your joy and your pain

Someday I will be, Ill be that waking warmth from a fading dream

Because I will... I may at best, float as you feel

Please let me haunt as scent on your pillow

Letters of past all tear stained and wrinkled

Please let me haunt as scent on your pillow

Letters of past all tear stained and wrinkled

(Just say) Say you will for me (for me), invite me to your memory

(Just sing) Sing again for me (for me) that long forgotten song

(Just say) Say you will for me (for me), invite me to your memory

(Just sing) Sing again for me (for me) that long forgotten song

Let me be all the words, let me be all the words

Let me be all the words, let me be all the words

Let me be all the words echoing comfort

Let me be all the words that youd unsay

Let me be all the words echoing comfort (comfort, comfort, comfort)

Let me be all the words that youd unsay (unsay, unsay, unsay)

Let me be all the words echoing comfort

Let me be all the words that youd unsay

Let me be all the words echoing comfort (comfort, comfort)

Let me be all the words that youd unsay (unsay, unsay, unsay)

Now The World

Summer, I painted a scene that lit the stars for me.

Said I can erase it for you dear.

That summer created those words that came to life in three.

They were denied by you.

Summer I laid down below a glitter adorned night and silently sparkled my own way.

Summer I laid down by you and shared my frail light. You gave the dark to me.

I looked inside to find the one I sent away.

(I wanted this excoriation.)

I nearly froze when I stepped inside to find the flowers turned to gray.

I closed my eyes and kissed them one last time.

(I thrive on this self mutilation.)

Summer, a morning so pale, alone when they found me.

As I remained sleeping I heard them say This summer created a boy of abject misery.

He was designed by you.

I looked inside to find the one I sent away.

(I wanted this excoriation.)

I nearly froze when I stepped inside to find the flowers turned to gray.

I closed my eyes and kissed them one last time.

(I thrive on this self mutilation.)

So like a lost child I will hide, and like a lost lie I will find a way to return to the one who made me.

Cover your eyes and well die together.

Will you cry for me? Will you cry for me, or will you cry with me?

Ive been a lonely one.

Ive had this whole world drained from me.

Am I the only one?

Ive had this world drained from me.

Summer, I painted a scene that lit the stars for me. Said I can erase it for you dear.

Please note that this sample paper on history of cheese is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on history of cheese, we are here to assist you.Your cheap custom college paper on history of cheese will be written from scratch, so you do not have to worry about its originality.

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Ghandi

If you order your research paper from our custom writing service you will receive a perfectly written assignment on ghandi. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality ghandi paper right on time.

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I. Introduction From Gandhi, to Gandhiji, to 'Mahatma' and 'Bapu', Mohandas Karamchand Gandhi has traveled the distance from being the national hero to a legend. Gandhi, in life, was much more. Gandhi was a thinker, a philosopher, and also a statesman. He believed he could lead only if he was a worthy leader. To be a worthy leader he had to be morally strong. As he used to say, "A liar could not teach his pupils to speak the truth, a coward can not train young men to be brave." So to be morally strong, he believed one has to be strong in spirit. To be strong in spirit, one must live in accordance with ones beliefs, by a strict code of conduct. With such an all-encompassing vision of life, every area of human life was of interest to Gandhi. Very little escaped his attention. And a cursory glance would never do for Gandhi. He would mull over a subject, think about it during his periods of silence or incarceration, write about it, discuss it, experiment with it in his own life-- whether it was the subject of fasting, giving up salt in his food, celibacy, abstinence or the use of non-violence as a political tool. II. Gandhi's Early Life Mahatma Gandhi was born on Oct , 186, in Porbandar, India. His parents belonged to the Vaisya (merchant) caste of Hindus. Gandhi was a shy and serious boy and grew up in an atmosphere of religious tolerance and acceptance of teachings of various Hindu sects. When he was 1 years old, he married Kasturibhai, a girl of the same age. The wedding was arranged according to custom by his parents. The Gandhis had four children. At the age of 1, Gandhi traveled to England to study law. In London he began develop his philosophy of life. He also studied the great Indian religious classic the Bhagavad-Gita and also turned to the New Testament of the Bible and to the teachings of the Buddha. In 181 Gandhi returned to India to practice law but met with little success. III. Gandhi in Africa In 18,Gandhi went to South Africa to do some legal work. South Africa was then under British rule. Almost immediately, he was abused because he was an Indian who claimed his rights as a British subject. He saw that all Indians suffered from discrimination. His law assignment was for one year, but he stayed on in South Africa for 1 years to work for Indian rights. Gandhi led many campaigns in South Africa and edited a newspaper, Indian Opinion. As a part of sahyagraha, he promoted civil disobedience campaigns and organized a strike among Indian Miners. Gandhi also worked for the British when he thought justice was on their side. They decorated him for medical work in the Anglo-Boer war. Gandhi fully developed his philosophy of life in South Africa. He was greatly influenced by writings of Leo Tolstoys and John Ruskin but his greatest influence on him was Bhagavad-Gita, which became an unfailing source of inspiration. IV. Spiritual Reality in Africa Gandhi believed that all life was a part of one ultimate spiritual reality. The supreme goal was self-realization; the realization that ones true self was identical with ultimate reality. He believed that all religions contain some element of truth and this accounted for his own religious tolerance. Gandhi experimented with communal living at the Phoenix farm and the Tolstoys farm in South Africa, and later at the Sabramati ashram, in India. There he practiced voluntary simplicity, a way of life designed to offer an alternative to the increasingly competitive, stressful, and violent atmosphere of western civilization. Gandhi himself served as teacher, cook, nurse, and even scavenger. As a social reformer, he fought for the emancipation of women, the removal of the tradition of untouchability (low caste or caste status) and for Hindu Muslim unity. In 114 the government of the Union of South Africa made important concessions to Gandhi's demands, including recognition of Indian marriages and abolition of the poll tax for them. His work in South Africa complete, he returned to India. V. Gandhi returns to India In 115, Gandhi returned to India. Within five years, he became the leader of the Indian nationalist movement. In 11, the British introduced the Rowlatt bills to make it unlawful to organize opposition to the government. Gandhi led a peaceful protest campaign that succeeded in preventing one of the bills. The others were never enforced. Gandhi called off the campaign when riots broke out. He then fasted to make an impression on people and to convey the need to be nonviolent. His belief in the cruelty of imperial rule became more intense after the Amritsar Massacre of April 1,11 where a British general opened fire on an unarmed crowd and 400 people were killed. This made Gandhi even more determined to develop non-violent protest and to win independence through non-violent resistance. Gandhi remained in South Africa for 0 years, suffering imprisonment many times. In 186, after being attacked and beaten by white South Africans, Gandhi began to teach a policy of passive resistance towards the South African authorities. Part of the inspiration for this policy came from the Russian writer Leo Tolstoy, whose influence on Gandhi was great. Gandhi also acknowledged his debt to the teachings of Christ and to the 1th-century American writer Henry David Thoreau, especially to Thoreaus famous essay Civil Disobedience. Gandhi considered the terms passive resistance and civil disobedience as not quite right for his cause. Gandhi coined another term, Satyagraha (Sanskrit, truth and firmness). VI. Indian Cloth One of Gandhis causes was for homespun cloth. Indias cotton was exported to England where it was made into clothing and sold back to India cheap, which meant no profit for the cotton growers. Gandhi boycotted English-made clothing and urged everyone to learn how to make his or her own. Gandhi was often seen spinning cloth on his wheel, and what he made was all he wore. Gandhi began a program of hand spinning and weaving in about 10. He believed that the program helped fight for independence in three ways (1) it aided economic freedom by making India self sufficient in cloth; () it promoted social freedom through dignity of labor; () it advanced political freedom by challenging the British textile industry. VII. Satyagraha In 10, Gandhi announced a new method of civil disobedience, refusing to pay taxes, especially taxes on salt. Gandhi is most famous for practicing non-violence, or passive resistance. He gave it the term Satyagraha, which translates into holding onto truth. Satyagraha was a way of life, a new way to bring about change without violence. Fighting injustice required one to love fellow beings and this love demanded non-violence. Gandhi believed it was necessary to first feel for the oppressed then fight for justice, thus making Satyagraha a truth and justice seeking force. Gandhi knew that fear and hatred would only fuel more of the same, so he fought his wars with nothing more than courage and peace, staying true to himself. This showed that he and his followers were more truthful and courageous than the biggest army; for an army to use weapons on an unarmed crowd, that shows its weakness. VIII. A Free India Gandhi became a leader in the Indian campaign for home rule. Following World War I, in which he played an active part in recruiting campaigns, Gandhi, again advocating Satyagraha, launched his movement of passive resistance to Great Britain. When, in 11, Parliament passed the Rowlatt Act, giving the Indian colonial authorities emergency powers to deal with so-called revolutionary activities, Satyagraha spread through India, gaining millions of followers. A demonstration against the Rowlatt Act resulted in a massacre of Indians at Amritsar by British soldiers in 10. When the British government failed to make amends, Gandhi proclaimed an organized campaign of resistance. Indians in public office resigned, government agencies such as courts of law were boycotted, and Indian children were withdrawn from government schools. Through India, squatting Indians who refused to rise even when beaten by police blocked streets. Gandhi was arrested, but the British were soon forced to release him. Economic independence for India, involving the complete boycott of British goods, was made a corollary of Gandhis movement. The economic aspects of the movement were significant, for the exploitation of Indian villagers by British industrialists had resulted in extreme poverty in the country and the virtual destruction of Indian home industries. As a remedy for such poverty, Gandhi advocated revival of cottage industries; he began to use a spinning wheel as a token of the return to the simple village life he preached, and of the renewal of native Indian industries. Gandhi became the international symbol of a free India. He lived a spiritual and ascetic life of prayer, fasting, and meditation. In 144 the Indian struggle for independence was in its final stages, the British government having agreed to independence on condition that the two contending nationalist groups, the Muslim League and the Congress party, should resolve their differences. Gandhi stood steadfastly against the partition of India but ultimately had to agree, in the hope that internal peace would be achieved after the Muslim demand for separation had been satisfied. India was then split into Muslim Pakistan, and Hindu India. IX. The Salt March One famous protest and march was the Salt March of 10. The British government had made it illegal for Indians to make their own salt, and to many this symbolized Indians depending on the British, just as they depend on salt, for life. Gandhi planned to march with 78 of his followers to a town on the coast where salt lay at the beaches. The march attracted many interested onlookers. Gandhi and his followers endured 40 miles and 4 days of marching, 78 marchers had become thousands. For weeks after, thousands were arrested, beaten and killed, but no one fought back. Finally Gandhi was arrested too, he had a smile on his face the whole time. X. Bhagavad-Gita Growing up Hindu, Gandhi had always had the Bhagavad-Gita close at hand. However it wasnt until he was living in England that he started to grasp its real meaning. It was then that the book began speaking to him and guiding him in all he would do in the rest of his life. It is what guided him to simplify his life and give up worldly possessions; in the Bhagavad-Gita, this is a way to achieve Moksha (set your soul free). One of these possessions Gandhi gave up was sex, for he realized that sex is much more than just physical, it is acting out energy and love. He did not want so much of his energy locked in his sexual drive, so he simply made a choice that he would not let his sexual drive control him anymore. XI. Gandhi on Caste The Indian term for caste is jati, which generally designates a group varying in size from a handful to many thousands. There are thousands of such jatis, and each has its distinctive rules, customs, and modes of government. The term varna (literally meaning "color") refers to the ancient and somewhat ideal fourfold division of Hindu society (1) the Brahmans, the priestly and learned class; () the Kshatriyas, the warriors and rulers; () the Vaisyas, farmers and merchants; and (4) the Sudras, peasants and laborers. These divisions may have corresponded to what were formerly large, broad, undifferentiated social classes. Below the category of Sudras were the untouchables, or Panchamas (literally "fifth division"), who performed the most menial tasks. One of Gandhis main causes was for the liberation of the lower castes. He was always collecting money and asking women to give up their jewels to be sold for money for the poor. They were another reason he had detached himself from possessions and started working the fields. He felt he needed to unite with them. He was embarrassed by the thought of another human serving him; instead, he would serve whomever he was capable of serving at any time. In 1, Gandhi began new civil-disobedience campaigns against the British. Arrested twice, Gandhi fasted for long periods of time. These extended fasts were effective measures against the British, because revolution might well have broken out in India if he had died. In September 1, while in jail, Gandhi undertook a fast unto death to improve the status of the Hindu Untouchables. The British, by permitting the Untouchables to be considered as a separate part of the Indian electorate were committing a great injustice, in the eyes of Gandhi. Mahatma Gandhi was a member of the Vaisya (merchant) caste. Gandhi was the great leader of the movement in India dedicated to eradicating the unjust social and economic aspects of the caste system. XII. The Final Days The last few months of Gandhis life were to be spent mainly in the capital city of Delhi. There he divided his time between the Bhangi colony, where the sweepers and the lowest of the low stayed, and Birla House, the residence of one of the wealthiest men in India and one of the benefactors of Gandhis ashrams. Hindu and Sikh refugees had come into the capital of India from what had become Pakistan. There was much resentment between the Hindus and the Muslims. This easily translated into violence against Muslims. It was partly in an attempt to put an end to the killings in Delhi, and more generally to the bloodshed of the native people. Gandhi was to commence the last fast unto death of his life in an attempt to bring peace to India again. The fast was terminated when representatives of all the communities signed a statement that they were prepared to live in perfect amity, and that the lives, property, and faith of the Muslims would be safeguarded. A few days later, a bomb exploded in Birla House where Gandhi was holding his evening prayers, but it caused no injuries. However, his assassin, a Marathi Chitpavan Brahmin by the name of Nathuram Godse, was not so easily deterred. Gandhi, quite characteristically, refused additional security, and no one could defy his wish to be allowed to move around unhindered. As he was about to mount the steps of the podium, Gandhi folded his hands and greeted his audience with a prayer. Just at that moment, a young man came up to him and roughly pushed aside Gandhi's one protector. Nathuram Godse bent down in the gesture of respect, took a revolver out of his pocket, and shot Gandhi three times in his chest. The crowd then converged on Gandhi's body. The assassin was found and beaten to death by the crowd. XIII. Conclusion Gandhis death was regarded as an international catastrophe. His place in humanity was measured not in terms of the 0th century but in terms of history. A period of mourning was set aside in the United Nations General Assembly, and all countries expressed condolences to India. Religious violence soon waned in India and Pakistan, and the teachings of Gandhi came to inspire nonviolent movements elsewhere, notably in the U.S. under the civil rights leader Martin Luther King, Jr. Dr King took the lessons taught by Gandhi to the oppressed of India, and applied them to the oppression of the blacks in America. Gandhi was a great leader, a loyal countryman, and the foremost proponent for non-violent protest

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ALFRED STIEGLITZ:REVOLUTIONIZING THE ART OF PHOTOGRAPHY

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on ALFRED STIEGLITZ:REVOLUTIONIZING THE ART OF PHOTOGRAPHY. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality ALFRED STIEGLITZ:REVOLUTIONIZING THE ART OF PHOTOGRAPHY paper right on time.

Our staff of freelance writers includes over 120 experts proficient in ALFRED STIEGLITZ:REVOLUTIONIZING THE ART OF PHOTOGRAPHY, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your ALFRED STIEGLITZ:REVOLUTIONIZING THE ART OF PHOTOGRAPHY paper at affordable prices with Live Paper Help!According to John Gould Fletcher, Alfred Stieglitz was a "philosopher, guide, teacher, discoverer of genius, inspirer of the machine age, prophet and Messiah. (Block 764) It would be difficult to argue Fletcher's statement because it was Stieglitz who provided the essential example of the mean by which the artist could reach out to a new and more accurate mode of representing the world of experience. Stieglitz knew that many hardly even considered photography an art and was determined to prove otherwise. Through his many different photography techniques, Alfred Stieglitz revolutionized photography by opposing the traditional standards of art and photography. And since his talent was so enormous, it was not difficult for him to prove that photography was an important art. This father of photography was the man who did the most for art in America.

When Stieglitz was born on the first of January in 1864 no one realized what a genius this young Jewish boy would become. (Block 764) Growing up, Alfred was infused with an appreciation for art by his family and surroundings. His father, Edward Stieglitz, was an amateur artist who was constantly socializing with other artists. The Stieglitz's family home was decorated with prints and art objects of famous artists of the day. At age five, the family relocated to New York City. Stieglitz attended several schools, both private and public. From early on Alfred was observant and sensitive to others feelings. He was also very inquisitive and precocious. He was trilingual by the age of seven, fluently speaking German, French and English. Before the age of sixteen Stieglitz attended the City College of New York where he studied engineering. While living in New York Stieglitz was introduced to his first photograph when he was nine years old. Right away he was fascinated with the process of film development that this photographer has shown him. After the photograph made a print, he began to add carmine to the cheeks explaining that this touchup made subjects look more natural. Alfred immediately disagreed arguing that this effect merely spoiled the clarity of the images photographed. This feeling remained with Stieglitz and intensified as he grew.

In 1881, Edward Stieglitz wanted to give his son a better education and moved the family to Germany. First, Alfred studied at the Realgymnasium in Karsruhe, Germany. Shortly thereafter, he went to study at the Berlin Polytechnic Institute. He began to study engineering. He was quite knowledgeable in the field. One day in 188, while walking through downtown Berlin Stieglitz purchased his first camera on impulse. Shortly, thereafter Stieglitz made his first print and with this began his love for photography. After studying for several more years at the Berlin Polytechnic Institute, Alfred and his family moved back to New York City in 180. While back in America, Stieglitz followed his photography career, which greatly developed over the years in Germany.

Since Steiglitz's introduction to photography at age nine and the purchase of his first camera a decade later, Stieglitz was intrigued by this art form. Soon after he bought his first camera he changed his focus at the Berlin Polytechnic Institute. After conducting many self-directedexperiments, he decided to enroll himself in Herman Wilhelm Vogel's photochemistry class. Vogel became Stieglitz's mentor, teaching him the scientific bases and technical principles of photography. (Zilczer 654) Vogel taught Stieglitz the chemistry of photography and gave him a better understanding the development process.

After Stieglitz decided to pursue photography seriously, he absorbed artistic influences from English photographers, notably P.H. Emerson. Emerson, like Stieglitz in his later years, had rejected the sentimental subjects and manipulated prints of Victorian and pictorial photography, instead he advocated 'truth to nature' in straight photography that captured the appearance and atmosphere of the visible world by respecting the integrity of the of the photographic medium. Stieglitz owed many of his ideas to Emerson. (Zilczer 654)

Alfred Stieglitz took pictures in a time when photography was considered only a scientific curiosity and not an art, but that only caused him to commit to the idea of photography as an art. Stieglitz was quoted saying, "Artists who saw my early photographs began to tell me that they envied me; that my photographs were superior to their paintings, but that unfortunately photography was not an art…. I could not understand why the artists should envy me for my work, yet in the same breath, decry it because it was machine-madetheir…'art' paintingbecause hand-made, being considered necessarily superior…There I started my fight… for the recognition of photography as a new medium of expression, to be respected in its own right, on the same basis as any other art form." (Leggat 1) And with that, he began photographing the unfashionable, of which he had become the leading authority in his field. Stieglitz did not thin that photographs should look like a painter's work. To this end, and partly because of his search for America's essence, he began shooting photographs of the streets of New York City. He searched for unusual subject matter, such as workhorses, muddy streets and emigrants in steerage, trying to record the feeling of life within his photographs. He began to break conventions by insisting upon clarity and detail and by experimenting with strange uses of light. His trademark was sharp contrast of black and white. Stieglitz also realized that fewer objects in a picture drew more attention to the subject. He began to study form rather than subject matter. Stieglitz believed that the function of photography was to provide visual truths, not to give pleasure. Throughout the 180's Stieglitz used his hand held camera to capture candid scenes of New York life. The Terminal, a photogravure of a streetcar driver watering down his horses and Winter on Fifth Avenue, the first pictorial photograph of a snowstorm, anticipated the frank treatment of working-class urban subject matter. (Zilczer 654) As he witnessed New York transform from a quiet city with cobblestone street and horse drawn carriages to a shining symbol of the modern metropolis with towering sky scrapers, he was able to capture the first successful rainy day, snowstorm, and night photographs. Even Picasso, a renowned Spanish artist, was impressed with his work stating that Stieglitz was "one of the most active experimental photographers in the world…this is exactly what I have been trying to say in paint."

Alfred Stieglitz was an experimenter and experientialist by this it is meant that his work was predicted on hypothesis testing and conclusion, as well as a "process of interacting with his environment including materials of tradition and institutions as well as his local surrounding." (Kiefer 7) Stieglitz, being one who has always seen photography as an art and not a weak imitation of other forms of art, always tried to be a perfectionist.A friend once asked him for a duplicate print from a certain negative he had made. "There will be but one print," said Stieglitz, "there will be no duplicates." "A waste print?" the friend asked. "You do not understand," Stieglitz replied patiently, "There will be but one print that will express me. The others will not express me. They will be nothing." (Block 764) Stieglitz's methods reflected his commitment to "straight" photography.

Around 188, he devised a method to control development to produce the effect of a wash drawing. Stieglitz experiments with this pictorial technique. Stieglitz termed his works pictorial rather than artistic because of the aesthetic merit of the photographs. Despite the diplomatic approach, pictorialists were determined to make pictures with the camera, which created images of aesthetic value. Pictorialists used a relatively limited number of subjects that were easily identifiable by the general public. They avoided topical, political or controversial subjects and stuck with figure studies, landscapes and genre scenes. Pictorialists put a premium on domestic subjects and other materials close at hand. The idea that a photographer had to venture to some exotic and faraway place at great expense of time and money was considered absurd, and self-defeating to those intent on creative results. (Peterson 0) Pictorialists believed that photographs should be simple and concise. The photographs should suppress detail. They also believed that one would not have to travel farther than their front yard for find a myriad of subjects, all simple with aesthetic value.

"Stieglitz's early philosophies were firmly grounded in Wissenschaftideologic (the German academic research ideal), photochemical theory and practice, empiricism, perceptual theory, and materialismall legacies from his 1880's Berlin education. In addition, as a young man, he was deeply influenced by German idealists and romantic philosophies." (Kiefer 4) Stieglitz linked together French modernism with advanced American photography and termed the notion "idea photography." It was a concept Stieglitz predicated on the interrelationship of art and science. Although he never concisely defined "idea photography," he used it as a guideline for his work between 107 and 110 and in his gallery, "1."

In 10, after the growing progressive movement in American photography, Stieglitz founded a group concerned with pictorial photography known as the Photo-Secession. The aims of this movement were to draw together American interesting in are to advance photography as applied to pictorial expression, to unite progressive American photographers and to hold exhibitions of all artwork. A month after it's founding, the Photo-Secession group organized an exhibition, American Pictorial Photography, at the National Arts Club in New York to introduce the group. Stieglitz's stand against standardization, institutionalism and commercialism, as well as his high standards, attracted talented young people to his group. Not too long after the group was formed, Stieglitz opened his own gallery, properly name "1" because of it's location at 1 5th Avenue. Here he displayed photographs that were above commercial standards. There Stieglitz found himself acting as an official interpreter for photography, fighting for its right to live as a form of creative expression (Block 765). It was here that Stieglitz was quoted, saying "The result is the only fair basis for judgement. It is justifiable to use any means upon a negative or paper to attain the desired end." And so Stieglitz did.

As Stieglitz grew older, he became less active in the world of photography. He never put down his camera though. Looking at his works, it is obvious that his photographs and choice of subjects matured as he matured. After divorcing once, Stieglitz met Georgia O'Keeffe . O'Keeffe would soon become one of Stieglitz's last, but most involved subjects. These photographs conveyed much emotion and reality of life. He consciously used shapes, lines and tones to portray meaning. The photographs of O'Keeffe were taken over a 0-year period. It is said that in these hundreds of portraits, there were some of is most deeply felt and original contributions to modern photography. At the same time of his O'Keeffe series, Stieglitz began to shoot another series entitles Equivalents, which was photographs of clouds. Stieglitz believed that the moody and ethereal patterns he recorded by turning his camera skyward mirrored his own emotional states (Zilczer 656). Stieglitz used "idea photography" for this series.

In 10 Stieglitz began a final series of photographs of New York as seen from the window if his last gallery, An American Place, and from the window of his room at the Shelton hotel. This final series documented the constructions and transformation of the city, all from mostly the same angle. Sadly, in 17, Stieglitz, plagues by heart trouble, could not longer lift his cameras and stopped taking photographs. Upon his death on July 1, 146 in New York City, O'Keeffe donated most of his work to various museums, as he had instructed. His remains were cremated andhis ashes were secretly spread over Lake George, New York. On that day in July, the world of photography has lost a great father figure.

Stieglitz did many wonderful things to help bring photography to its respectful position it attains today. Photography does not change much within a person. Stieglitz remained true to his pictorialist ideals, as well as his "idea photography" throughout his life. And even he recognized after 50 years.

"Last summer as I was rummaging through the attic in Lake George, to my great surprise, I foundof my old negatives, many in imperfect condition, scratched and battered… At once I began to make prints of them, naturally being most curious to know what they would look like when printed on commercial paper instead of platinum which I had used exclusively for the first 5 years of my career.

When I saw the new prints from the old negatives I was startled to see how intimately related their spirit is to my latest work. A span of 50 years. Should I exhibit in spite of my distaste for showing publicly… There was Photography, I had no choice."

-Alfred Stieglitz (Aperture 18)

Alfred Stieglitz. American Masters. Archive of American Art. http//www.pbs.org/wnet/americanmasters/database/steiglitz_a.html.

Alfred Stieglitz Masters of Photography. Hong Kong Aperture Foundation, Inc., 18.

Bateman, Roberts J. Alfred Stieglitz. 8 Dec. 17. Copyright 16.http//www.geocities.com/broadway/457/stieglitz.html.

Block, Maxine, ed. Current Biography Who's News and Why 140. New York The H.W. Wilson Company, 140.

Gerdts, William H., Art Across American Two Centuries of Regional Painting 1710-10. Vol. 1. New York Abbeville Press, Publishers, 10.vols.

Hagan, Charles. "Stieglitz, Alfred." The World Book Encyclopedia. Vol. 18. 17.

Kiefer, Geraldine Wojno. Alfred Stieglitz Scientist, Photographer, and Avatar of Modernism, 188011. New York Garland Publishing, Inc. 11.

Leggat, Robert. Stieglitz, Alfred. 0 Aug. 001. Photo History. 1 http//rleggat.com/photohistory/history/stieglit.htm.

Newhall, Beaumont. "Stieglitz." The McGraw-Hill Encyclopedia of World Biography. Vol. 10. New York McGraw-Hill Book Company, 17. 1 vols.

Niven, Penelope. "Stieglitz, Alfred." American National Biography. Vol. 0. New York Oxford University Press, 1. 4 vols.

Peterson, Christian A. Alfred Stieglitz's Camera Note. New York Minneapolis Institute of Arts. 1.

Zilczer, Judith. "Stieglitz, Alfred" The Dictionary of Art. Vol. . New York MacMillan Publishers Limited, 16. 4 vols.

"Stieglitz, Alfred." Cambridge Biographical Dictionary Cambridge Reference. Cambridge Cambridge University Press, 10.

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