Tutor profile: Victoria L.
Subject: US History
Why did Sequoyah have a tree named after him?
Sequoyah (sĭkwoi′ə), c.1766–1843, Native North American leader, creator of the Cherokee syllabary, b. Loudon co., Tenn. Although many historians believe that he was the son of a Cherokee woman and a white trader named Nathaniel Gist, his descendants dispute this claim. To most Americans he was known as George Guess; to the Cherokee he was known as Sogwali. The name Sequoyah was given to him by missionaries. A silversmith and a trader in the Cherokee country in Georgia, he set out to create a system for reducing the Cherokee language to writing, and he compiled a table of 85 characters; he took some letters from an English spelling book and by inversion, modification, and invention adopted the symbols to Cherokee sounds. There is some dispute as to when the syllabary was completed. Many historians date its completion at about 1821; Cherokee tradition holds that it was created much earlier and was actually in use as early as the late 18th cent. In 1822, Sequoyah visited the Cherokee in Arkansas, and soon he taught thousands of the Native Americans to read and write. He moved with them to present-day Oklahoma. Parts of the Bible were soon printed in Cherokee, and in 1828 a weekly newspaper was begun. His remarkable achievement helped to unite the Cherokee and make them leaders among other Native Americans. The giant tree, sequoia, is named for him.
What is the definition of subject?
A noun or pronoun can be used as the subject in a sentence. A subject is the person, place, or thing that performs the action (verb). A noun or pronoun can be used as the object in a sentence. An object is the person, place, or thing that receives the action.
Subject: Art History
What is the role of the female gaze, the role of the feminine spirit? Does it have a place in the modern world? Is it truly detectable?
The female gaze has marked itself amongst women photographers, making for images that are bound to the woman behind the camera. Thus, this thesis will make the case for the female gaze in photography as well as an exploration of a feminist aesthetic. While discussing the female gaze, the 20th century works of prominent and influential female photographers, Martha Rosler, Ana Mendieta, and Nan Goldin will be included. Rosler is known for her fusion of domestic idealism and barbaric war scenes as protest. The work of Mendieta is concentrated with the perils and vulnerability of womanhood. Goldin, whose work exists as intimate as a reflection, will also be considered. This thesis proves to examine the role of the female gaze in the works of these women, as well as photo artistry and society as a whole. Furthermore, from the inception of photography, women have held an undeniable and consistent role in the medium’s development beginning in the 19th century. Thus, the vital history of women in photography will be used to frame the essay to illuminate the path women have taken in the history of photography. As an understanding of how women impacted the development of the medium is cultivated, the discussion of the complexities of the female gaze in photography can begin. It is here the questions, the defense, and the celebration of woman photographers can transpire.
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