Analysis Of Jim Goldberg's ' Rich And Poor '

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In Tobias Wolff’s 1985 short story “The Rich Brother,” we are introduced to two brothers. According to Wolf, you cannot even tell that they are brothers because of their physical differences, but as the story goes into more detail we can tell that they are different in every aspect. One of the major differences is that one is wealthy and the other is always in need of financial assistance. The older brother, Pete, is a successful real estate agent while his younger brother, Donald, works as a painter whenever he can. The two brothers are very different in their belief about what is valuable. Pete is a man that has worked hard and values what he has acquired. His brother Donald, on the other hand, values sharing whatever he has. Even if

In Life at the Bottom, Dalrymple is suggesting that the description of the poor is changing and that using poverty and hunger can no longer fully cover all of the lower class. That new characteristics have risen, that many of the lower class have adopted. That those that are violent, those that have agonies and emptiness, and those that have horrid morals are now the way to depict the lower class. Dalrymple also argues that in order to rise out of the underclass that family ties are needed and without it there is hardly any way to do so. Dalrymple says that many of the issues that plague the underclass comes from a bourgeoisie society, that this upper class of liberals are feeding and fueling all of the problems and mentality that are

The author uses tone and images throughout to compare and contrast the concepts of “black wealth” and a “hard life”. The author combines the use of images with blunt word combinations to make her point; for example, “you always remember things like living in Woodlawn with no inside toilet”. This image evokes the warmth of remembering a special community with the negative, have to use outdoor facilities. Another example of this combination of tone and imagery is “how good the water felt when you got your bath from one of those big tubs that folk in Chicago barbecue in”. Again the author’s positive memory is of feeling fresh after her bath combined with a negative, the fact that it was a barbecue drum.

In order to convey the trait of poverty, Erdrich employs the use of imagery, even the setting reflects their impoverished state. In the beginning of the novel, the road leading towards the reservation is described as having “ruts” and “holes” (11). The surrounding land “was a dull tan – the dry ditches, the dying crops” (11). Erdrich’s visual imagery gives the reader a mental image of a desolate environment. In addition, Erdrich references dust twice on page eleven, giving the impression of the prairies during the dustbowl, which occurred during the 1930’s when the world was going through the Great Depression, allowing the reader to subconsciously connect the environment of the reservation as poor, neglected and bleak. The grim environment creates sympathy for the female characters, many of whom live on the reservation. In addition, there is the alliteration of the letter “d”. This emphasises the poverty in which these characters live in by bringing attention to the “dull”, “dry” and “dying” environment of the reservations. Despite the despondent surroundings, Erdrich’s poetic style pushes the reader to consider this environment as a home, rather than merely a disgusting

While emotions were extremely high in the sense of angst for a better life, photography provided a new sense of reality to Americans and for others around the World. Photography all around the World is unlike anything else of its kind. People are able to tell stories and elicit emotions that bring the audience to that desired response. Throughout the 1930’s, photography from governmental institutions or advancements alone brought a new beginning to the end of a terrible time that Americans all around the nation

Before starting this project, I knew very little about photography, photographers, or exactly how much impact photographical images have had on our society. I have never taken a photography class, or researched too in depth about specific pictures or photographers. This project has allowed me to delve deeper into the world of photography in order to understand just how much influence pictures can have over society’s beliefs, emotions, and understandings’. I have have chosen two highly influential photographers, Diane Arbus and Dorothea Lange, who I have found to both resonate with me and perfectly capture human emotions in way that moves others.

In “Changing the Face of Poverty”, the author Diana George shows different ways poverty is advertised and displayed. She disagrees with the way poverty is addressed and visually represented, in a limited way. I agree with the way she wants people to acknowledge how poverty is being misunderstood.

The first thing I will write about is a person, Jacob Riis. A esteemed author of the book “How the other half Lives”, published in the 1890s. Riis was a pioneer in the time when photography was first starting to catch on. In Riis’s photos he took pictures of people who lived in the slums of the major cities and how they lived. He was termed a Muckraker by our late president Theodore Roosevelt, because journalists like him would, as he would say, rake through all the good things and bad on the ground and only report the bad of the world. But Riis was one of the men of his era

In the article, "Stupid Rich Bastards", the author, Laurel Johnson Black, gives an insight on her life and upbringing in a "poor" family, the effects it had on her, her life goals, and dreams. Black’s article was published in the book This Fine Place So Far from Home: Voices of Academics from the Working Class in 1995. Throughout the article, Black gives an explanation of the conditions in which she and her family lived in, which include her parents having to take on various jobs such as her father being a plumber, junk man, car salesman and her mother—a cook, school crossing-guard and a McDonald 's counter worker as well. With all these jobs, Black also mentioned that the income was still inadequate. Being that her family 's way of living was not the best, her parents decided that one of their children has to make it or go to college, and Black was the one who was going to be the one to do that. She did this with hopes that she would earn more money, be able to make a better life for her and her family, maneuver along with the "stupid rich bastards", talk like them, learn their ways but not be like them, and explain to her family about the lives of the same "stupid rich bastards", people who had or made more money and had better lives or felt better than others. Along with her telling her story, the main purpose of Black’s story is to bring to our attention that she is trying to “keep the language of the working class in academia” (Black 25).

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

In ‘Seeing and Making Culture: Representing the Poor’ by Bell Hooks, issues involving the poor and the rich in the society are brought to light. Hooks addresses issues such as how the poor are viewed in the community, common assumptions about the poor, and how the poor are represented in the media. In her analysis, it is evident that those living in poverty are grossly misrepresented. This misrepresentation affects these people’s daily lives.

of this can be seen from the very first page of her book. Here, she begins to tell the story of traveling back to her old neighborhood, only to find it to be “a distinctly poorer one” than it was in her childhood days (1). To recreate the image for her readers, she presents them with a picture of what she compares to be likened to “a third-world country” She explains that “some of the stores had “rusted iron bars across their windows” while other businesses had been closed down and nailed up. She tells of several houses in the area having “boarded-up windows” and “graffiti, broken glass, and trash” strewn about, even though it appeared people were still living there. By painting a picture for her audience the author is able to virtually take them to the very road she once

Susan Sontag said photographs sends across the harmlessness and helplessness of the human life steering into their own ruin. Furthermore the bond connecting photography with departure from life tortures the human race. (Sontag 1977:64)