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“Power, Privilege, and Difference” a Book by Allan G. Johnson Essay

Allan G. Johnson, the author of the book, Power, Privilege, and Difference, provides vital information about the concept of the systems of power and privilege as applied in societies. In this book, Allan explores how the society preserves privilege, how it interacts with power, and how it can create a difference by interacting with the systems.

In chapter one, he identifies the common problem and posits that all people contribute towards them. I concur with him not only on this opinion, but also on others, as pointed out in chapters two and three.

Allan’s argument that all people are responsible for any problem facing the society is true and to the point. It holds that any change, constructive or destructive must originate from the people.

For instance, race-related problems, sex, and gender are the major problems encountered in every society. They have become part of our daily life such that we hardly realise our connections with them. Basing my argument on how people intermingle with these fields on a day-to-day manner, it stands out that any inconvenience affecting these among other areas must result from the people.

Though Allan focuses his views on the American society, I extend this by treating America as an illustration of a society. This comes from his implication of privilege and power in chapter two. He considers these two as the pillars upon which the entire societal conflicts are built because people have acquired title and given the mandate to handle things they have not worked for. This is true because these favour some on the expense of others.

Not all can be powerful neither can all be privileged. When one has one or both, the rest feel lower-ranked and begin yearning for equality. By so doing, troubles arise affecting the whole society. A way out of this quagmire is people’s cooperation regardless of ranks to influence their society for the better. Neglecting the negative implications of the two words as seen by the society, they ought to bring a change enjoyable by all members of the social system.

In chapter three, the issue of capitalism is brought forward. Every social organization has its own reliable resources, which ought to be distributed uniformly to all the members. Allan points out the problem that is born when this is not the case as capitalism. From my experience, this holds everywhere.

Get your 100% original paper on any topic done in as little as 3 hours Learn More This brings his issue of difference. The society views it as imbalance and rejects it since it seems to be advantageous to some while it is an expense to others. According to it, all social units should be equal. The powerful should ensure that powers are not only felt by some but all in the society. Everyone needs not to treat himself or herself as favoured rather than similar to any other member.

From all the categories of problems faced by the society, man will always play a major part to cause them in as much as he/she lives. From my view, he acts as the force or power behind every activity that happens whether good or bad. He/she is also liable of changing the situation by participating in solving the problems since he/she is able to.

People only need to change their mindsets pertaining to the existence of privileges and power. They need to join hands in discussing these issues openly neglecting the shame-blame notions portrayed by many. To pose a suggestion, they need to look at the present state of the society, identify the prevailing problems, think of their relevant solutions, and then cooperate to implement them.

All these calls for people’s involvement and thus Allan’s opinion that people contribute towards a problem is true though it needs to be broadened to include them as part of the solution.

The Art of Self-Portrait: Rembrandt by Rembrandt Research Paper

Nursing Assignment Help Introduction Since times immemorial, art has been a way of reflecting and interpreting the reality surrounding people in their daily life. In order to comprehend the reality in all its variety, artists have striven to depict as many objects and phenomena as they could only find.

One of the most intriguing subjects for reflecting upon via art is human being, and this fact is confirmed by the vast amount of works of art depicting people. In painting, portrait as a way of contemplation on the human nature has enjoyed enormous popularity for centuries on end.

Artists of various époques, styles, and nationalities have depicted people of all possible ages, social backgrounds, and occupations. Among portraits, the genre of self-portrait appears most attractive due to the specific quality of the artist’s self-reflection present in the paintings.

The present paper focuses on the works of one of the most famous portraitists in Baroque period, Rembrandt van Rijn (1606–1669), whose oeuvre cannot be imagined without a multitude of his self-portraits.

Against the background of the general popularity of portraits in the seventeenth century, the gallery of Rembrandt’s self-portraits stands out as an exciting encyclopedia of the evolution in the artist’s personality. This artistic transformation can be observed through tracing the changes in the elements of the techniques, the style, and the tone in Rembrandt’s paintings.

The art of portrait in Baroque After the rejection of any individualism and the resulting oblivion of the portrait genre in the art of the Dark Ages, the era between the late Middle Ages and the seventeenth century celebrated the renascence of portraiture. The commonly known anthropocentrism that dominated the Renaissance art resulted in a dramatic increase in the artists’ interest to human personality, which in its turn found reflection in the genre of portrait.

Creatively responding to the growing popularity of portrait, artists elaborated on the genre; as a result, a whole range of sub-genres emerged, featuring “full-length portrait”, “three-quarter-length portrait”, and various kinds of “head-and-shoulder portrait”.[1] Within those sub-genres, different poses and positions of the sitters were practised, with the most widespread being the “profile view”, the “three-quarters view”, the “half-length” and the frontal, or “full-face view” (Schneider 6).

Get your 100% original paper on any topic done in as little as 3 hours Learn More In addition to developing variations within the genre of portrait, by the seventeenth century artists had sufficiently expanded the range of their subjects, depicting not only the aristocracy and the clergy, but also members of many other social groups. “Merchants, craftsmen, bankers, humanist scholars and artists” themselves sat for portraits and thus appeared in the public eye (Schneider 6).

The latter addition to the subject range appears especially revealing for our discussion, since it means that artists started to openly depict themselves and thus emphasize their own social significance.

The tendency to individualism and personal identification in painting reflects the general interest to personality in the art that continued the anthropocentric ideas of the Renaissance and developed throughout the Baroque époque. In the literature of the period, one can observe a definite interest to various kinds of autobiographic narrative, and more and more self-portraits appear among the paintings as a kind of autobiographic sketches made by the artists (Schneider 113).

It is noteworthy, however, that the notion of self-portrait as such did not exist at the time, and what we now call a ‘self-portrait’ would then be described as the artist’s “own picture