The Importance Of Childhood In Medieval Art

James Poses the idea of childhood takes on the identity of systemic cultural practices as they pertain to children's needs and maturity levels. (James 28). Thus there are many societal

As time goes on the aspects and views of individuals change, which is usually caused by their surroundings. These aspects can generally be displayed in various physical forms and actions . During the duration of the 1500’s to the 1700’s major events lead to many to Europeans alter their religious and cultural views which can clearly be seen through their techniques of childrearing. The techniques displayed the mindset of the individuals as views based on the corrupt church transformed into new ideas of enlightenment.

In the book multiple symbols were used to represent childhood. When we think of childhood we think of babies, little boys, and little girls We don't young men and women we think of arcades, balls, and

Our childhood plays a significant role in defining the kind of person that we become and the type of life that we live.

Childhood is a social construct that has been weaved together by societal norms and domineering perspectives. Childhood is not a physical or mental state but an abstraction that has been melded by society as time has progressed. In Karen Sanchez-Eppler’s excerpt titled “Childhood” from the novel Keywords for Children’s Literature, she explains how the attitudes and atmosphere surrounding childhood have vastly changed throughout history to yield the general, modern conception of childhood. Children have been deemed adults in the Middle Ages and childhood has been a vaguely regarded concept. However, as society has become more progressive and developed, an interest in distinguishing the young from the older individuals

At the age of three Walls was cooking her own meals. Her mother Rose Mary Walls thought that in order to survive in the world you have to experience it yourself. She said “Suffering when you’re young is good for you” (28). Rose Mary didn’t raise her children like any other parent did. She didn’t set a curfew for them or discipline them. She was more focused on her artwork, reading, and writing. She thought setting rules for children held them back from freedom. She said, “Rule and discipline held people back and felt that the best way to let children fulfill their potential was by providing freedom” (73). The children didn’t have regular classroom teaching like other children did. They had hands-on experience. For example, while her family traveled to their new homes, they drove through the desert and with that she learned about the stars, the different plants that grew in the desert. She also learned about the different types of rocks and minerals there are in the desert. She conducted experiments children her age wouldn’t do without the permission of their parents and the assistance of an adult. At an early age, she learned about the trading system.

One of the main features of childhood studies is the idea that childhood is socially constructed. This means that not all childhoods are the same and that it may differ depending on the time in which it is taking place, as well as the social environment or the place that it is taking place. This can be seen at the Museum of Childhood, and how different times have shown changes in the way children act, play, dress, or ultimately are treated in society. Additionally it draws on key differences in the human societies affecting different childhoods in any given period or place, and can examine how the childhood in that given period is constructed. Furthermore a social constructionist looks at the consequences of any given factor and the impact it has on children.

REFERENCESBook 1 Understanding Childhood,Chapter 1Block 1 Study Guide and Audio-Visual Notes, Unit 1Video 1 Band 3 "Representations of Childhood"

It was during the Middle Ages (300-1000 AD), that various distinctive forms of art began to emerge in western Europe. A variety of significant mosaics, buildings and other forms of art came from this time that continue to be analyzed in the present. In the book Early Medieval Art, Lawrence Nees successfully provides an intricate interpretation of these various art forms that developed in this time in history while allowing the reader to conceptualize the emerging cultures of the first millennium in Europe. Nees is able to do this by outlining key aspects of the studied works of art that symbolize how life was at this point in history. At the beginning of his book, it is apparent that Nees seeks to provide a less traditional view on art at this time when he states, “I offer a different story of early medieval art in place of the more traditional tale of the decline of Rome and triumph of Christianity”. Nees’ thesis is subsequently inexplicitly stated to analyze the role of tradition in early medieval western art and its transformation as time progressed. By following a non-conventional thesis when writing this book, Nees is able to contribute a new perspective into the overall topic of medieval art.

Childhood as disappearing/not disappearing will be discussed within this essay. There is no universal definition for childhood however in the western culture childhood is a period of dependency, characterised by learning the norms and values of society, innocence and freedom from responsibilities. Sociologists such as Postman and Jenks would argue that childhood is disappearing however Opie and Opie and Palmer would contradict this.

Childhood. A word that should radiate in your memory and not lie with frivolous thoughts or a painful existence.

The concept of childhood, is not a natural state, but it has been socially constructed through society and can only exist in a society that understand the term this has been reinforced through history. Another issue is how much of ‘childhood’ has been socially constructed (created and

Ground-breaking, momentous, and a time of great struggle, the Industrial Revolution was famous for its innovations and infamous for the sobering reality it inflicted upon the standard family. Mid-18th century Britain brought poverty to everyday urban workers. With it, came an increase in child labor like never seen before. In order for a normal family to survive in the urban lifestyle, all members of a family had to work. This included children as young as four years to work as chimney sweepers, miners, and most popularized in 18th century Britain, factory workers. By the year 1800, children under the age of 14 in Britain’s factories accounted for 50% of the labor force (“Industrial Revolution, Child Labor”). Though the number continued to grow, all did not go unaccounted for. Romanticism, an effort opposite the movement, gave recognition to the emotional conflicts overlooked. Romanticism shed light on the daily struggles of the everyday man, woman, and the most neglected up until that period of time, the child. Throughout history, others have written about childhood, but Romantic poets began to question what it meant to be a child. The question, though not answered directly, later became revealed in their works where it exposed their belief systems. The role of the child in British Romantic Poetry represents the early life of Romantic poets, and the qualities they possessed in childhood.

Childhood has its own ways of seeing, thinking, and feeling which are proper to it/ child’s mind considered as a blank state to be inscribed by experience: the infant is often compared to a ‘white paper’ to be written over or to a plastic substance (wax) to be molded

Throughout history, specifically in ancient Rome and Greece, people admired painting to the point where it was taught to every son of respectable families, yet forbidden to the slaves. This goes to show how this form of art in particular was considered fit only to those of high social class. Although it was reserved for the educated and cultured, painting attracted everyone and pleased them equally. In particular, “[n]ature herself delights in painting.”(Alberti 64) Alberti persists in showing us how painting is of nature; he first references nature by saying that Narcissus was the inventor of painting. In the myth of Narcissus, nature plays the role of the artist who paints a portrait so beautiful that Narcissus cannot take his eyes off of it. To further convince the reader of the pleasures painting gives, the author recounts a personal anecdote of how gratifying and relaxing painting can be.