Biography of Frances Willard, Temperance Leader

Frances Willard (September 28, 1839–February 17, 1898) was one of the best-known and most influential women of her day and headed  the Womens Christian Temperance Union from 1879 to 1898. She was also the first dean of women at Northwestern University.  Her image  appeared on a 1940 postage stamp and she was the  first woman represented in Statuary Hall at the U.S. Capitol Building. Fast Facts: Frances Willard Known For: Womens rights and temperance leaderAlso Known As: Frances Elizabeth Caroline Willard, St. FrancesBorn: September 28, 1839 in Churchville, New YorkParents: Josiah Flint Willard, Mary Thompson Hill WillardDied: February 17, 1898 in New York CityEducation: Northwestern Female CollegePublished Works:  Woman and temperance, or the work and workers of the Womans Christian Temperance Union, Glimpses of fifty years: The autobiography of an American woman, Do everything: A handbook for the worlds white ribboners, How to Win: A Book for Girls, Woman in the Pulpit, A Wheel within a Wheel: How I Learned to Ride the BicycleAwards and Honors:  Namesake for many schools and organizations; named to the National Womens Hall of FameNotable Quote: If women can organize missionary societies, temperance societies, and every kind of charitable organization...why not permit them to be ordained to preach the Gospel and administer the sacraments of the Church? Early Life Frances Willard was born on September 28, 1839, in Churchville, New York, a farming community. When she was 3, the family moved to Oberlin, Ohio, so that her father could study for the ministry at Oberlin College. In 1846 the family moved again, this time to Janesville, Wisconsin, for her fathers health. Wisconsin became a state in 1848, and Josiah Flint Willard, Frances father, was a member of the legislature. There, while Frances lived on a family farm in the West, her brother was her playmate and companion. Frances Willard dressed as a boy and was known to friends as Frank. She preferred to avoid womens work such as housework, preferring more active play. Frances Willards mother had also been educated at Oberlin College, in a time when few women studied at the college level. Frances mother educated her children at home until the town of Janesville established its own schoolhouse in 1883. Frances, in her turn, enrolled in the Milwaukee Seminary, a respected school for women teachers. Her father wanted her to transfer to a Methodist school, so Frances and her sister Mary went to Evanston College for Ladies in Illinois. Her brother studied at Garrett Biblical Institute in Evanston, preparing for the Methodist ministry. Her entire family moved at that time to Evanston.  Frances graduated in 1859 as valedictorian.   Romance? In 1861, Frances got engaged to Charles H. Fowler, then a divinity student, but she broke off the engagement the next year despite pressure from her parents and brother.  She wrote later in her autobiography, referring to her own journal notes at the time of the breaking of the engagement, In 1861 to 62, for three-quarters of a year I wore a ring and acknowledged an allegiance based on the supposition that an intellectual comradeship was sure to deepen into a unity of heart. How grieved I was over the discovery of my mistake the journals of that epoch could reveal.  She was, she said in her journal at the time, afraid of her future if she did not marry, and she was unsure shed find another man to marry. Her autobiography reveals that there was a real romance of my life, saying that she would be glad to have it known only after her death, for I believe it might contribute to a better understanding between good men and women.  It may be that her romantic interest was in a teacher who she describes in her journals; if so, the relationship may have been broken up by the jealousy of a female friend. Teaching Career Frances Willard taught at a variety of institutions for almost 10 years, while her diary records her thinking about womens rights and what role she could play in the world in making a difference for women. Frances Willard went on a world tour with her friend Kate Jackson in 1868 and returned to Evanston to become head of Northwestern Female College, her alma mater under its new name. After that school merged into Northwestern University as the Womans College of that university, Frances Willard was appointed Dean of Women of the Womans College in 1871 and a professor of Aesthetics in the Universitys Liberal Arts college. In 1873, she attended the National Womens Congress and made connections with many womens rights activists on the East Coast. Womens Christian Temperance Union By 1874, Willards ideas had clashed with those of the university president, Charles H. Fowler, the same man to whom she had been engaged in 1861. The conflicts escalated, and in March 1874, Frances Willard chose to leave the university.  She had become involved in temperance work and accepted the job of president of the Chicago Womens Christian Temperance Union (WCTU). She became the corresponding secretary of the Illinois WCTU in October of that year. The following month while attending the national WCTU convention as a Chicago delegate, she became the corresponding secretary of the national WCTU, a position that required frequent travel and speaking. From 1876, she also headed up the WCTU publications committee. Willard was also associated briefly with evangelist Dwight Moody, although she was disappointed when she realized he only wanted her to speak to women. In 1877, she resigned as president of the Chicago organization. Willard had come into some conflict with national WCTU president Annie Wittenmyer over Willards push to get the organization to endorse woman suffrage as well as temperance, and so Willard also resigned from her positions with the national WCTU. Willard began lecturing for woman suffrage. In 1878, Willard won the presidency of the Illinois WCTU, and the next year, she became president of the national WCTU, following Annie Wittenmyer. Willard remained president of the national WCTU until her death. In 1883, Frances Willard was one of the founders of the Worlds WCTU. She supported herself with lecturing until 1886, when the WCTU granted her a salary. Frances Willard also participated in the founding of the National Council of Women in 1888 and served one year as its first president. Organizing Women As head of the first national organization in America for women, Frances Willard endorsed the idea that the organization should do everything. That meant to work not only for temperance, but also for womens suffrage, social purity (protecting young girls and other women sexually by raising the age of consent, establishing rape laws, holding male customers equally responsible for prostitution violations, etc.), and other social reforms. In fighting for temperance, she depicted the liquor industry as ridden with crime and corruption. She described men who drank alcohol as victims for succumbing to the temptations of liquor. Women, who had few legal rights to divorce, child custody, and financial stability, were described as the ultimate victims of liquor. But Willard did not see women primarily as victims. While coming from a separate spheres vision of society and valuing womens contributions as homemakers and child educators as equal to mens in the public sphere, she also promoted womens right to choose to participate in the public sphere. She endorsed womens right to become ministers and preachers as well. Frances Willard remained a staunch Christian, rooting her reform ideas in her faith. She disagreed with the criticism of religion and the Bible by other suffragists like Elizabeth Cady Stanton, though Willard continued to work with such critics on other issues. Racism Controversy In the 1890s, Willard tried to gain support in the white community for temperance by raising fears that alcohol and black mobs were a threat to white womanhood.  Ida B. Wells, the great anti-lynching advocate, had shown by documentation that most lynchings were defended by such myths of attacks on white women, while the motivations were usually instead economic competition. Lynch denounced Willards comments as racist and debated her on a trip to England in 1894. Significant Friendships Lady Somerset of England was a close friend of Frances Willard, and Willard spent time at her home resting from her work. Anna Gordon was Willards private secretary and her living and traveling companion for her last 22 years. Gordon succeeded to the presidency of the Worlds WCTU when Frances died. She mentions a secret love in her diaries, but it was never revealed who the person was. Death While preparing to leave for New England in New York City, Willard contracted influenza and died on February 17, 1898. (Some sources point to pernicious anemia, the source of several years of ill health.) Her death was met with national mourning: flags in New York, Washington, D.C., and Chicago were flown at half-staff, and thousands attended services where the train with her remains stopped on its way back to Chicago and her burial in Rosehill Cemetery. Legacy A rumor for many years was that Frances Willards letters had been destroyed by her companion Anna Gordon at or before Willards death.  But her diaries, though lost for many years, were rediscovered in the 1980s in a cupboard at the Frances E. Willard Memorial Library at the Evanston headquarters of the NWCTU.  Also found there were letters and many scrapbooks that had not been known until then.  Her journals and diaries number 40 volumes, which has provided a wealth of primary resource material for biographers.  The journals cover her younger years (age 16 to 31) and two of her later years (ages 54 and 57). Sources â€Å"Biography.†Ã‚  Frances Willard House Museum Archives.The Editors of Encyclopaedia Britannica. â€Å"Frances Willard.†Ã‚  Encyclopà ¦dia Britannica, 14 Feb. 2019.

Essay on Why are We Obsessed with Celebrities - 551 Words

Do you ever look in the mirror, pose and say WOW! Im so Beyoncà ©. Or wonder what Brad Pitt would be eating for breakfast? Or ponder whether Miley Cyrus could ever afford proper clothes? Celebrities have become a central fixation in our lives that we often forget to live our own. We idolize them, follow their every move and treat them as modern day demi gods. (PAUSE) Celebrity has become synonymous with cynosure. And no cynosure doesn’t mean an attention seeking hotshot who is willing to do anything for fame. It is a person that becomes the centre of our admiration and attention due to their brilliance. Is it just me or the thesaurus has got it wrong. Our modern day obsession with celebrities raises the question between respect for sheer†¦show more content†¦Rarely do talented individuals have the chance of being famous unless they have created a personal brand. This brand does not necessarily mean talent but the ability to swivel heads, spark gossip and create an explosion on social media. In the music industry, people normally would pay attention to the voice of the singer and the lyrics. Presenting, the number one song on US billboard hot singles 2010.Turn me up x4 yeah x4. (PAUSE) Does that stir your soul? Move you into ecstasies never before experienced? Jam Turn me up, the very first single by Kim Kardashian, sold 14, 000 copies in the first 5 days. It’s not like she was called ‘the worst singer of reality TV’ or anything. does talent matter when it comes to people as cynosure as Kardashians? NO! It’s their fame that counts. In our social media immersed world talent has become extremely subjective. Everyone who has access to YouTube can be deemed celebrity. The fair few celebrities who have become the cynosure of our existence keep us entertained by providing us the chance to become observers who live vicariously through them. Living out our own dreams of fame yearning, ‘giving up’ our own interests and goals in life. welcome to the 21st century. Now this is not to say that all celebrities’ have no talent, but what is the point of being celebrity obsessed wIth individuals whose fame depends on the controversie s they create not the talent they encompass. (PAUSE) I leave this for you to think about, why are weShow MoreRelatedIs Celebrity Worshipping Destroying Our Society?961 Words   |  4 PagesIs Celebrity Worshiping Damaging to Our Society? We all have a favorite celebrity that we like and follow from time to time. But, when does admiration for a celebrity stop and adoration begin? Is it possible to be obsessed with someone you have never met? The answer is yes! Celebrity worship is a type of parasocial relationship, in which a person can become captivated with one or more celebrities. To the point where celebrity worship has become an obsession. 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Special Effects Essay Research Paper Special EffectsWritten free essay sample

Particular Effectss Essay, Research Paper Particular Effectss Written by: Brett Amato Particular effects in gesture images has evolved over the old ages into an involved scientific discipline of semblance and ocular thaumaturgy. The followers is a comprehensive position picturing the quickly spread outing kingdom of filming. In times of old, particular effects in films was limited to an single # 8217 ; s creativeness and the constricting bounds of the tools available. However the consequences of early particular effects Masterss astounded audiences in their age in the same mode that modern creative persons do today. The ability to make an consequence that was trade name new was, and still is, the key to the industry. Techniques range from the expected to the bizarre in order to accomplish a certain image or semblance. Cameramans in the early 1950ss would utilize a black cloth background with white pigment splattered off of toothpicks to imitate a infinite scene in the many science-fiction films made in that epoch. We will write a custom essay sample on Special Effects Essay Research Paper Special EffectsWritten or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page There is besides narratives of a common home base being thrown across a # 8220 ; infinite # 8221 ; background to emulate a winging disk in mid-flight. Although the particular effects individuals of old were strapped with bounds, one of these was non make-up. They relied to a great extent on this prop to portray the many monsters and foreigners in their movies. # 8220 ; Nosferatu # 8221 ; a German movie about the lamia with the same name was a immense success even in America, where 1000s marveled at the intricate particularization of the blood-sucker # 8217 ; s razor-like dentitions, pouching eyes and a pointed olfactory organ and ears. # 8220 ; The Animal from the Black Lagoon # 8221 ; used a slightly new technique of a organic structure suit that the histrion wore along with a mask made of latex gum elastic and froth. Using cooking oil or butter spread on the organic structure and mask gave an sweetening of sliminess added to the monster image. A reasonably recent movie utilizing heavy make-up effects is # 8220 ; An American Werewolf in London # 8221 ; done by the maestro make-up creative person Rick Baker who shows what can be done with a steady manus and a batch of forbearance. Another popular fast one used was strings to pull strings illumination objects. Frequently used in the scientific discipline fiction epoch to demo ballistic capsule or other objects in flight was thin strings attached to illuminations. Audiences did notice the obvious strings but it did non affair at the clip because it was province of the art. The following major discovery in the effects universe was stop-motion life. A procedure by which objects were filmed for a really short period ( 3 or 4 frames ) being altered or moved really somewhat at each interval of # 8220 ; cuts # 8221 ; . # 8220 ; King Kong # 8221 ; and # 8220 ; I was a adolescent wolfman # 8221 ; popularized this time-consuming procedure but was worth the consequences. The adolescent wolfman plan used it to demo the unfortunate male child transforming into a ramping animal. At each cut interval the particular effects # 8220 ; crew # 8221 ; ( normally the manufacturer and a make-up specializer ) would add a small spot more hair to the histrion # 8217 ; s face. When finished, the semblance of turning hair was achieved, although it was jerky. The ground for the jerky consequence is that when utilizing stop-motion the histrion and camera must be kept every bit still as possible. If non, when entering resumes the histrion is non in the same topographic point as when entering was halted earlier. The consequence when screening are # 8220 ; jumps # 8221 ; where the histrion or object moves immediately taking off from the image attempted. # 8220 ; King Kong # 8221 ; the narrative of the elephantine ape in the Big Apple was radical in that it used an early signifier of stop-motion life utilizing clay theoretical accounts ( claymation ) every bit good as a new process called super imposing which would alter particular effects everlastingly. Super imposing in King Kong was created with two physical tapes that were cut apart under magnification. One half ( the underside ) incorporating existent histrions and lt ;< p>actresses while the other top half contained Kong and the stop-motion life. When specially glued together their was an full audience gasping at the immense ape on phase. This was merely done in a brief section of the film due to the trouble. All subsequently movies integrating ace imposure used the more common blue-screen that can take two filmstrips and put one as a background while the other incorporating the person/object is filmed in forepart of a blue-screen that is the canvas for redacting the background movie over it utilizing a simple computing machine plan. # 8220 ; Star Trek # 8221 ; the popular sci-fi telecasting show of the 60 # 8217 ; s and 70 # 8217 ; s used largely ace imposure in it # 8217 ; s particular effects. George Lucas # 8217 ; # 8220 ; Star Wars # 8221 ; trilogy of gesture images was a cinematic chef-doeuvre that set the benchmark for particular effects in films. About 10 old ages in front of it # 8217 ; s clip, # 8220 ; Star Wars # 8221 ; did non present anything new to filming and was uncanny at how popular it became as a ocular effects movie. Industrial Light A ; Magic led and owned by Lucas took bing techniques, analyzed them exhaustively and fine-tuned them in any manner possible. His movies use stop-motion, ace imposing, masks, makeup, elaborately elaborate theoretical account illuminations, animatronics and lighting/pyrotechnic effects. Lucas plants have gone down in history and said to be the best particular effects films of all time. Deriving immense popularity worldwide for it # 8217 ; s ocular effects, it has attracted a immense cult following mostly due to this. An irregular method of ocular imagination is a method called animatronics where steel and plastic # 8220 ; skeletons # 8221 ; are made to copy animate beings, normally. Bantam motors or # 8220 ; servos # 8221 ; are so attached to copy the animate beings musculuss to travel the skeleton and do it walk. Next, many hollow gum elastic tubings are attached to different parts of the skeleton. At the terminals of these tubings are either flexible joints or nail down that respond to force per unit area. When the operator squeezes the bulb, the nog or flexible joints respond by opening or widening. When attached to certain parts of the skeleton, the face for case, many fluctuations in gesture can be achieved depending on how many their are. Finally the skeleton is covered with pelt and embroidering to try at the form of a peculiar animate being. Although the consequences are rather impressive, the drawbacks of this method are that it is outrageously expensive, and two skilled operators are needed to work it to capacity. One does organic structure gesture while the other focal points on facial looks. The films # 8220 ; Jaws # 8221 ; , # 8220 ; Babe # 8221 ; and # 8220 ; Jumanji # 8221 ; used animatronics. The concluding revolution in particular effects has come. The computing machine age has touched the film universe and made a immense impact. Literally anything is possible with the aid of computing machines. Using package and hardware costing in the 100s of 1000s of dollars, 3D mesh object renditions are go forthing all other techniques in the yesteryear. CGI, which stands for Computer Generated Imaging, is the latest manner to acquire precisely what film companies want in their movies. Flawless in visual aspect and disputing existent objects the spectator is frequently left flustered as to if what they are seeing is existent or computing machine generated. Industry giants in this latest technique include Lucas # 8217 ; ILM every bit good as Pacific Data Images. Movies utilizing chiefly CGI include, # 8220 ; Independence Day # 8221 ; , # 8220 ; Terminator 2 # 8243 ; and, of class, # 8220 ; Jurassic Park # 8221 ; . Particular effects have played an indispensable function in the gesture image experience for over 70 old ages and with good ground. Whether it be a home base being thrown across the screen or a computing machine generated Star Destroyer, a clay ape on a composition board Empire State Building or a T-Rex thwacking his caput on the side of your landrover, the art of film semblance will merely discontinue to turn when our heads do.

Taming Of The Shrew Humor Essays - The Taming Of The Shrew, Operas

Taming Of The Shrew Humor In The Taming of the Shrew, Shakespeare creates humour through his characters by creating false realities (as demonstrated by Petruchio's behaviour and attire in the scene of his wedding) and by the use of subterfuge and mistaken identity (shown in the final scenes with the transformation of Kate and Bianca's respective personas). He also uses irony quite extensively, especially towards the end of the play (as can be seen in the final ?wager' scene). The concept that ?things are not always as they seem' is quite evident in the events surrounding, and including, Petruchio's wedding ceremony. This particular scene in the play demonstrates how the use of false realities (a real situation falsely presented in order to deliberately deceive) can be used to create humour. Biondello describes Petruchio's appearance to Baptista, and by doing so sets up the expectations of the audience. He says that Petruchio comes wearing: New hat and old jerkin; a pair of old breeches thrice turned; a pair of boots that have been candle-cases, one buckled another laced; an old rusty sworde...with a broken hilt and chapeless; his horse hipped...with an old mothy saddle (Act III Scene II) This depiction of Petruchio conforms to Shakespeare's technique of using false realities, in order to create humour. This can also be seen in the false identity that Petruchio puts forth in his quest for dominion over Kate (that of the eccentric egomaniac). However, these false realities are not enough by themselves, as the audience has nothing to go by but what they see before them, and so they are not to know that this is not Petruchio's true personality, and so Shakespeare employs another essential element of humour: he lets the audience know what is truly transpiring, while the characters themselves remain oblivious to the truth. He does this using a soliloquy, in which Petruchio states the strategies he shall use in order to tame Kate: She ate no meat today nor none shall she eat...and as with the meat some undeserved fault I'll find about the making of the bed... This is the way to kill a wife with kindness...he that knows better how to tame a shrew, not let him speak (Act IV Scene I) This soliloquy serves to reinforce the fact that ?things are not always as they seem'. So the knowledge gleaned from this soliloquy means that we find the other events involving Kate and Petruchio even more amusing, as we can see that it is nothing more than an elaborate game of chess, instigated by Petruchio. Another example of where we find humour being generated by the fact that ?things are not always as they seem' is the relationship between Kate and Bianca. Here Shakespeare uses the device of mistaken identity and combines it with a strong sense of irony. On the outside, Kate appears harsh, cruel and frightening to all of the characters. Even her father is scared of her monstrous temper, begging anyone to marry her. Yet as her relationship with Petruchio grows, her true identity emerges and our perception of her changes. She becomes much less of a shrew, her mistaken identity, and begins to become more obsequious and agreeable, her true identity. Despite all of her outward appearances, she is truly a good person in her heart. Yet Bianca's scenario is different. She is perceived as a sweet and gentle person, a false conception, devoting herself to her studies and never wanting anything else out of life. Yet once she achieves her goal, to be married, her true self appears. She becomes quarrelsome and apathetic. She becomes almost what her sister was. It is here that Shakespeare once again creates humour through the concept that ?things are not always as they seem'. The irony that comes from seeing the reversal of characteristics and the drastic change in our perceptions of Kate and Bianca provide a sense of amusement, and self-righteous satisfaction at the way the tides have turned. An example of this is in the final scene where Petruchio and Lucentio place a wager on the obedience of their wives (Kate and Bianca respectively). Of course Lucentio loses due to Bianca's disobedience and near-contempt for her husband, while Petruchio and his newly transformed Kate, proceed to win a wager that according to the plot of the play to date, Bianca and Lucentio should have won without question. These scenes were all significant in that they used a wide variety of techniques, such as creating false realities and mistaken identities, as well as the