The Passage is by Dr. Luther King (Term Paper Sample)

The Passage is by Dr. Luther King
Passage 1
The passage is by Dr. Luther King, "Letter from Birmingham Jail." The keywords are freedom and black. According to Marshall McLuhan, the expression "the medium is the message" refers to how a medium's shape ingrains itself in the message, forming a symbiotic relationship that affects how the message is received (McLuhan et al., 1967). When the world celebrates Dr. King, it recognizes his persistence for racial justice, his fight against violence, and gradualism. He led Americans down the arduous path toward racial justice and many others. Through the current shadow, that accomplishment shines without opposition. What the world celebrates when it honors Dr. King is his persistence on behalf of racial justice — tenacity in equally opposing gradualism and against violence. He and thousands with him drove Americans along the hard journey to racial justice. That achievement radiates unquestioned through the current shadow. In April 1963, King delivered a message from his Birmingham prison cell that served as inspiration for nonviolent protests against racial injustice, which is regrettably still a significant issue nearly 60 years later, but it is also still relevant today for its effective method of resolving disagreements.
King's response to the clergy members is a case study in civil discourse because it went against the all-too-common modern strategy of talking only to people who already agree with one's position and making no effort to engage with the opposition. Instead, King tried to win over his opponents by highlighting common principles. King made connections with other religious leaders in the Judeo-Christian past and appreciated the true good intentions of his critics. King believed that the Southern clergy had departed from tradition and that his method of pursuing justice instead of theirs, was more in line with their shared religious values (King, 1992). by mentioning his participation in the Birmingham branch of the Southern Christian Leadership Conference. Later, he compared himself to the Jewish prophets of the seventh century and the apostle Paul, who joined numerous societies as outsiders to express their opposition against injustice and advance the cause of freedom.
King supported the clergymen's call for conversation but referred to Birmingham's history of unfulfilled promises, failed negotiations, segregation, police brutality and unresolved bombings of homes and churches, and its history of unjustified violence and discrimination. Only by dramatizing these inequities and creating creative tension will negotiations be made possible. In order to distinguish between just and unfair laws, King cited the Augustine writings, Thomas Aquinas, and Martin Buber who was a Jewish Philosopher. He also discussed how segregation laws unfairly damaged people's personalities and souls, gave segregationists provided the isolated an illusion of superiority and a false sense of inadequacy. He gave the clergy insight into how those laws affected Black residents who were "harried by day and tormented by night," "ridden by inner fears and outer resentments," and declined into obscurity in our society. King claimed that rather than white supremacists, the greatest obstacle to Black liberation was moderate republicans like these clergymen who appeared more committed to order and law than justice (King, 1963). The church displayed paternalism and comfort with the existing quo by putting a temporal limit on another person's independence that was far off in the future. King voiced dissatisfaction that religious leaders did not oppose the overall Southern perspective on racial justice. He contrasted their brand of Christianity to that of the earliest followers of Christ, who were notorious for disturbing the peace and calling for justice from a distance.
King flipped the on the clergy script, pushing them to support his fight for justice, a course that would be consistent with their own religious beliefs and be opposed to the extremes of upholding racism as it was or fighting aggressive Black nationalism. His letter urges us to practice civil conversation again and reminds us that individuals who disagree with us are not our adversaries. We may draw on our rich civic and religious traditions to encourage one another to create a shared future. Moeover, Marshall McLuhan (1967) once said that how people would perceive a message depends on its format (for example, written, visual, musical).
Passage 2
The passage is by Berger from "Chapter 1" of Ways of Seeing. The main idea is that Berger emphasizes the process of seeing and how our knowledge affects how we perceive the world. He claims that academics have twisted many images' true meaning, photography has altered it, and monetary value has perverted it. In this chapter, Berger explains what seeing entails and how our knowledge affects how we see the world. He continues by claiming that academics have twisted many images' true meaning, photography has altered it, and monetary value has perverted it.
Images are one method we can attempt to communicate our unique style of seeing to others. What central concept underlies Impressionism painting? In their effort to create works of art that perfectly portrayed their era, the Impressionists abandoned traditional subjects and embraced modernism. Instead than using black lines or other lines of demarcation, they decided to concentrate on how light could convey significance to a specific instant in time. (Impressionist Painting: 1850-1900) "An image is a sight that has been duplicated or reproduced." An image attempts to communicate how its creator experienced a certain moment or event, divorced from the circumstances in which it was initially seen. Berger then makes one of his most well-known claims: "Every image embodies a method of seeing." Despite our desire to believe that images provide mechanically accurate representations of reality, every image—including photographs, which are frequently thought of as such—reflects the "style of seeing" of the person who created it. A painter who, deliberately or unconsciously, highlights particular elements of their subject as they add paint to the canvas is transmitting their way of seeing when they choose what to put in the frame before they take the picture. The same is true for how our perspective affects how we perceive images (Berger, 2021). For instance, when we see a shot containing several subjects, we could be pulled to one in particular (again, a lover as an example)—not because the photographer specifically emphasized them, but rather because we already knew or cared about them.
According to Berger, the power of photographs lies in the fact that they can outlive the things they depict: they maintain the youthfulness of individuals after they have passed away, or landscapes even when they have changed (Berger, 2021). This reality was acknowledged throughout the Renaissance when philosophy began emphasizing individuality. Berger claims that "pictures are more exact and richer than language" because they all implicitly convey the creator's understanding of the visible, not because literature is not a vital historical artifact.
In addition, Berger says that our interpretation of a picture can be influenced by how we observe it just as much as by the artist's intentions. For instance, when we look at a painting, our reaction is influenced by a wide range of presumptions we have learned to make about the worth of art. As a result, we may appreciate (or dislike) the painting depending on our inherited ideas about its beauty, shape, status, and claim to "truth." Berger contends that these presumptions are useless since they conceal the past (Berger, 2021). Although he has not yet proposed a preferred metric, he argues that the relationship between the present and the past, which constitutes "history," is obscured by an art-historical tradition that makes artworks unduly remote. Because the ruling class controls the prevailing narrative of art history, when we look at the past without challenging it, we are exposed to a created history that supports the function of the ruling class.