Communication Strategy Employed By Pop Artist Rihanna Film Studies Essay

Communication Strategy Employed By Pop Artist Rihanna Film Studies Essay In this essay, I will be analyzing how Rihanna has used the media to communicate or portray her different messages through her music. On the other hand, however, there is the media that has its own version of those messages thus, constructing different realities for the perceiving audience. The Media provides information and updates on various happenings and issues on all aspects to the public thus providing them basic knowledge and information to enable them make their own judgments and perceptions such as, social perceptions (Sadaf, 2011). Sadaf (2011) explains social perception as the means in which we make sense of our social world through media representations as it plays an important role in making some issues important and some issues important. I will then discuss Rihannas communication strategy to her audience through her music as well as persona using the narrative theory through communication as a structure. In reality, there is no RIHANNA. Her real name is Robyn Rihanna Fenty. Rihanna is a concept adopted by the music industry to sell music as Wall (2003;153) says, Stars are a form of capital in which a record company invests significant sums of money to gain publicity and reinforce an image they believe will in turn will generate greater sales of that stars records. The stars image however is not real. It is a representation of wider social values and a constructed set of individualness where the audience feels it knows the stars personality but in truth, this image is just a media text. How authentic a star may feel to its audience depends on success of the construction of the stars persona around the different facets of their personality (Wall, 2003; 153). Robyn Rihanna Fenty dropped two of her names and only took on Rihanna because it not only sounds exotic but also there was no Rihanna in the music business. That accorded her authenticity as an artist because when her name was mentioned, people would immediately know which Rihanna it was. Rihanna has thus been able to communicate messages of authenticness through the way she sings dresses and acts while in the public. This is a way for her to tell the public about herself and how her music is supposed to be understood.( Machin,2010;32) This she does through her choice of album names and sleeves from which the audience can make a guess at what she will sound like. Machin (2010; 34) also says that the images used on the album sleeves help communicate certain discourses, values, identities and so on. The chosen typefaces used for the artists name on the sleeve also communicate ideas and attitudes. In my observation, Rihannas public persona and her album sleeves contribute towards her authenticness as a musician but at the same communicating varying messages. Dyer (1987 cited in Tolson 2001) defined authenticity or the act of being yourself as a concept derived from the ideology of individualism where individuals are said to possess an inner irreducible essence. A true self behind whatever public face, or mask they may project. Rihannas authenticness can best be seen in an interview with Oprah on the Oprah Winfrey Show where the viewing audience was teased with a Rihnaana as youve never seen her before opening line. In this interview, Rihanna talks about her life and her relationship with Chris brown. Oprah succeeds in making her cry which is the epitome of the show as through Rihannas tears, the audience is able to feel her emotion. Tim Wall (2003;153) says the audience is made to feel like it knows the stars as individuals but that this experience is mediated through interviews, records, photos but the knowledge obtained about the stars is a product of carefully executed campaign plans all so to encourage the audience buy the stars records and an array of assorted merchandise. However, in the real world, there is no actual audience as they are mere constructions. An audience exists when a certain role has been played out that identifies with certain people who in turn become the audience. (Mafalda 2012) In the interview with Oprah Winfrey, Rihanna played the role of the victim by both the relationship with Chris Brown and in the media. However, the interesting part about the interview was how she turned the story around depicting Chris as troubled and in need of help. While the media had showed her as the victim, she called Chris the victim constructing a different reality for the audience from the one made by the media. Rihanna was able to expand her audience after her publicized domestic violence case with then boyfriend, Chris Brown. The issue was extensively covered by the media in which she was depicted as a vulnerable woman while Chris Brown as a beast. In turn, she used this to earn her more sympathizers and therefore generating a larger audience as she was now looked as a beacon of hope for domestically violated women while Chris Brown lost a few of his own audience as he was now labeled a woman beater. Celebity and scandal are closely linked where scandal is supposed to increase the celebrity quotient of the star. The scandal isnt just about the celebritys life alone but of events that accord them iconicity and notoriety (Nayar, ;113). Rihannas biggest scandal is her involvement with ex boyfriend Chris brown even though he beat her up early in the relationship and not even the fact that he has a girlfriend. Rihanna stirs controversy in her communication through her openness about sex. Wall (2003) suggests that Sexuality and the representation of gender and sexual preference play significant roles in the music and image of individual artists. Rihanna has featured numerous times in mens adult magazines such as GQ and Esquire, also singing a lot about sexual tendencies in songs such as Te Amo in which she plays out a l esbian scene and SM. SM refers to Sadism (S) and Masochism (M) defined by Weinberg (1987) as the frame with which people distinguish their pretend play from actual violence or domination; this frame hinges on the BDSM credo, safe, sane, and consensual. Another commonality is the recurring elements that are played with, including power (exchanging it, taking it, and/or giving it up), the mind (psychology), and sensations (using or depriving use of the senses and working with the chemicals released by the body when pain and/or intense sensation are experienced) (Pawlowski,  2009) In the song SM, Rihanna plays with the media in a way that depicts her first as an object for study. However, she is able to conquer the power from the journalists through BDSM. Edwards (1993) takes the concept of a beauty ideal one step further and contends that the black women featured in music videos exemplify physical characteristics of the tragic mulatto. Many of the black women featured in music videos depict a Westernized beauty ideal of lighter skin, long hair, and blue or green eyes. Previous research findings show that color tone could have some influence in the way a celebrity is perceived and is able to appeal to their audience. People attribute higher status and grant more power and wealth to people of one complexion, typically light skin, within the groups designated as non-white (Hunter 2011) Charles (2009a) suggests that hegemonic representations of white skin are thoroughly rooted in multiple social institutions including education, religion, mass media, and popular culture where images of white beauty do not simply rely on white women with blonde hair and light eyes to sell products. Rihanna uses her body to sell her image, through displaying her femininity recognizable through, for example, edgy clothing that combines frilly, pretty femininity with a masculine style and garments that suggest a more porn-inspired raunch (Levy, 2005). celebrity culture, through the pop musicians (Baker, 2004), provides a rich source of meanings around sexuality. These meanings appear to be heavily saturated by raunchy (see Levy, 2005) representations in music videos where body revealing clothing is accompanied by acts of sexual simulation, self-touching, sexual poses and so on (Jackson, Vares Gill, 2012). She has been able to promote her own personal brand through social networking skills using platforms like twitter, instagram, as well as her uniqueness in her hairstyles, fashion sense, lyrics and attitude. While a good brand elicits thoughts, a great brand elicits feelings. She has been able to create emotional friendships with her fans whom she calls the Rihanna Navy through her social network sites publicizing personal events such as the death of her grandmother whom she called grand gran Dolly. Rihanna has also been able to establish with time an archetype for her brand personality and story. This is in her on camera character as a defiant hardcore girl. This image can be seen in latest albums such as Good girl gone bad, Rated R and Unapologetic. Rihanna has been able to set herself as a brand using her fashion sense, being endorsed by brands such as Armani, Nivea, Oprah, Nike and Clinique increasing her social capital. Her diversity in the brands she promotes suggests her success as a star. However, When celebrities endorse a particular product, the public is more likely to believe in its effectiveness and purchase the product, and when a celebrity particularly endorses a skin-lightening product, they are also endorsing the act of skin-lightening itself, suggesting that their own beauty is attainable and that skin-lightening is a mainstream, culturally acceptable act (Hunter,2011). McCracken (1989 cited in Grace Phang ;4) states that a consumer sees a celebrity endorsing a product and they recognize the essential similarity between the message, product, and celebrity and transfers the meanings of that celebrity to the product simply because Celebrities play roles where their image carries the meanings of those roles. All above factors mentioned have helped her build an identity as a celebrity. However, her Caribbean beats and looks had been around for a while and to succeed as a star she had to undergo a massive change. The duet with Justin Timberlake saw her morph from the girl dancing to Pon De Replay to the woman that invoked desire. This metamorphism in character and identity expanded her fan base. Her identity did not just change with her choice of songs but also her wardrobe. She cut her hair short and dyed it black which also grew a series of metamorphism where it went from cheek length to just one side long the other remaining short, to being boyishly short and finally red. This cutting of her hair was not just fashion sense speaking but she was communicating to an audience. Rihanna has been able to express herself in a variety of ways especially through her dress code, most notably her hairstyles. However, this is a mere strategy to sell her image, as it is a constructed image that the audience associates with her. As observed, all music or movie stars are a mere construction, they are a source of capital for record companies that own them. (Wall,2003;153). A lot of money is invested in Rihanna as the brand, therefore, developing and publicizing her star image is not just to sell individual records as people always need something new to keep them interested but as a brand or commodity (Wall,2003; 154). This practice involves ongoing maintenance of a fan base, performed intimacy, authenticity and access, and construction of a consumable persona. popularity is maintained through ongoing fan management; and self-presentation is carefully constructed to be consumed by others.

B-2 bomber :: essays research papers

WHAT IS THE B-2 BOMBER?   Ã‚  Ã‚  Ã‚  Ã‚  Stealth Aircraft, military aircraft, fighters, and bombers designed to elude detection and tracking systems, such as radar and infrared monitoring. Stealth technology is used to mask unmanned objects such as cruise missiles. The United States is a world leader in developing and deploying stealth technology, although much about its program remains classified.   Ã‚  Ã‚  Ã‚  Ã‚  Stealth technology includes a variety of design features that affect an aircraft signal, also called its signature, on tracking systems. These features include an aircraft shape and the materials used to build it. For example, it is harder for a radar to detect an aircraft that has smooth and rounded curves. Special composite materials or coatings on the surface of an aircraft can absorb or deflect radar signals. Engines placed within the body of the aircraft and exhaust vents may be arranged to mask the heat coming from engines and help hide an aircraft from heat seeking sensors. Reducing the noise and vibrations produced by stealth aircraft may also minimize its acoustic signature. In addition, stealth aircraft are equipped with special electronics for suppressing or confusing enemy monitoring systems.   Ã‚  Ã‚  Ã‚  Ã‚  Since the use of radar during World War II (1939-1945), air forces worldwide have tried to develop methods of confusing radar or making it ineffective. Early attempts at this included the targeted aircraft attempting to electronically jam radar or to release metallic strips to produce false readings. However, in the 1950’s and 60’s, new electronic tracking methods and the new waves devised to confuse them kept pace with one another, prompting military engineers to look for ways to completely mask aircraft.   Ã‚  Ã‚  Ã‚  Ã‚  American aeronautical engineer Clarence L.

A Comparative Study between Johann Sebastian Bach and George Frideric Handel

Johann Sebastian Bach and George Frideric Handel were both Baroque composers who used the Italian and French styles that were the basic language of the Baroque. The study of Bach and Handel is interesting because of their marked similarities and subtle differences. Bach and Handel were of Saxon ancestry. They came from neighboring towns, Bach from Eisenach, Handel from Halle, and were born but one month apart in the same year, Handel in February, Bach in March, 1685 (Young, 1962). They were both masters of concerto in all its forms:sonata;suite;fugue;opera;cantata;both sacred and secular;oratorio;mass;passion.Both Bach and Handel learnt their art by making copies of all the works of acknowledged masters. Bach and Handel were studious copyists throughout their lives. Besides Johann Christoph, Bach took as models the Italians, Frescobaldi, Corelli, Vivaldi, Lotti, Caldara, Legrenzi, Marcello and many others. His special interests led to keyboard music, to violin music and to choral mus ic. Handel, under Zachau, made an anthology of excerpts from Froberger, Kerll,Strungck, Johann Krieger. During his later career he was influenced by Alessandro Stradella, Giacomo Carissimi, Georg Muffatt, Karl Heinrich Graun, Giovanni Clari and others.Though they sound like brilliant stars rising at the same time, they charted their different paths in music according to their individual natures. There was no musical tradition in Handel's family, his father was a prosperous surgeon who intended George Frideric for the Law; on the other hand members of the Bach dynasty had been for generations conspicuous in musical affairs in Thuringiaevering. Bach remained within the boundaries of his Saxon fatherland throughout his life and was a good citizen and was the father of twenty children.Handel, on the other hand was the man of the world, honored all over Europe. He was bold and outgoing in nature. The one tragic similarity in their lives is that they both went blind at the end of their li ves (Young, 1962). While Bach's grave was forgotten, Handel, who died nine years later, in 1759, was laid to rest in the English pantheon, Westminster Abbey. In those days, music was solely written for the sole purpose of immediate performance, its preservation beyond that moment being a secondary consideration. â€Å"Occasional† or commissioned work used to be the rule.Bach wrote his cantatas for the services of St. Thomas' Church in Leipzig, and Handel wrote his operas for special performances and strictly to suit the voices of the personnel that happened to be available. Bach’s work was mostly unrecognized and neglected for many generations till the 19th century. He was recognized as a great musician by the world only 75 years after his death. The later 18th century knew Bach mainly as an instrumental composer who wrote especially for the organ and the piano (Bekker, 1927). People tended to interpret Bach’s from diverse viewpoints.Bach used to be considered a contrapuntist pure and simple, a learned musician who treated music as a sort of mathematics (Bekker, 1927). From this viewpoint, Bach seemed to be principally a servant of the church, a sort of Protestant Palestrina who also wrote secular music. Later it became apparent that he could not after all be counted simply as a composer of Church music, so he was looked upon as a romantic poet. The romanticists, declared that Bach was the archromanticist, and should be interpreted with the utmost feeling and expression.Some felt that Bach's music was inherently emotional (Bekker, 1927). Whatever the angle of perception, Bach came to be regarded as the great builder of musical form. Contrastingly, Handel, the cosmopolitan composer and impresario, was internationally famous in his own lifetime. He was primarily a writer of oratorios (Young, 1962). His instrumental compositions were not considered serious enough for study. The Italian operas which he composed in were considered worthless in the eyes of the critics of that period (Bekker, 1927).Today however, things have changed and Handel's operas are in the repertoire of nearly every great opera-house (Bekker, 1927). Bach used a personal synthesis of the Flemish and Italian styles with German counterpoint, Handel showed a strong early inclination toward the extroverted and dramatic world of Italian opera (Krantz, 2007). In short, it can be said that Bach looked inward and Handel outward. Bach composed cantatas and organ music and, by his genius and talent for seeing holistic symbolism in words and music, he extended the character of his models (Young, 1962).Handel, more fluent, more rhetorical, and a free agent with his way to make in the world seized the formalized patterns of entertainment music in secular cantata, in oratorio, in opera, and in instrumental music (Young, 1962). Both Bach and Handel had different personalities. Bach was an introvert whereas Handel was an extrovert. Handel assimilated the various nati onal styles and specialized in each of them separately. Bach assimilated the various influences with his own personal style and arrived at a fusion of national styles in which the single elements are inseparable (Dorak, 2002).The main works of Handel are his operas, written from an universal perspective for an international public. The main works of Bach are his cantatas, written for the local churches, and his passions, the monuments of his liturgical severity. Handel, being a widely traveled musician has visited many international centers of music. Bach, on the other hand confined himself within the limits of central Germany. Bach’s great works include the Passacaglia and Fugue in C Minor, most of the great preludes and fugues, and the 45 chorale-preludes gathered in Das Orgelbuchlein [the little organ book].His instrumental compositions are the Chromatic Fantasy and Fugue; the English Suites; the French Suites; the Two-Part and Three-Part Inventions; and Book I of the cele brated Well-Tempered Clavier. He also wrote several unaccompanied violin sonatas and cello suites, and the Brandenburg Concertos, recognized as the best concerti grossi ever composed. The St. John Passion was performed (1723) at Leipzig and his Magnificat was presented shortly after he assumed that post.Many more of his superb religious compositions followed: the St. Matthew Passion (1729), the Christmas Oratorio, the sonorous Mass in B Minor, and the six motets. The principal keyboard works of this period were Book II of The Well-Tempered Clavier and the four books of clavier pieces in the Clavierubung and the Goldberg Variations. His last notable compositions were the Musical Offering composed (1747) for Frederick the Great and The Art of the Fugue (1749). In all his positions as choir director, Bach composed sacred cantatas—a total of some 300, of which nearly 200 are extant.There are also over 30 secular cantatas, composed at Leipzig, among them Phoebus and Pan (1731). Th e bulk of his work is religious. In his instrumental and choral works he perfected the art of polyphony, displaying an unmatched combination of inventiveness and control in his great, striding fugues (The Columbia Encyclopedia, 2004a). Handel's 46 operas include much of his finest music; among them are Julius Caesar (1724), Atalanta (1736), Berenice (1737), and Serse (1738), which contains the tenor aria now known as Largo. Handel's opera, ‘Messiah’ was presented in Dublin in 1742.An essentially contemplative work, it stands apart from the rest of his 32 oratorios, which are dramatically conceived, and its immense popularity has resulted in the erroneous conception of Handel as primarily a church composer. Other outstanding oratorios are Acis and Galatea (1720), Esther (1732), Israel in Egypt (1736–37), Saul (1739), and Judas Maccabeus (1747). He also composed about 100 Italian solo cantatas; numerous orchestral works, and the anthem â€Å"Zadok, the Priest† (1727) for the coronation of George II, which has been used for all subsequent coronations (The Columbia Encyclopedia, 2004b).There is one particular text that was set to music by both Bach and Handel. This is Eilt ihr angefocht'nen Seelen in the Passion Oratorio (by Handel) and in the St. John Passion (by Bach). They used the same key and the same pictorial representation of ‘haste', and the choral interjections at dramatic points are also common. Bukofzer, however, has opined that Handel's music is inferior because it lacks the highly individual stamp that distinguished Bach from all other composers (Dorak, 2002). When one considers their particular musical styles, Johann Sebastian Bach's music is not pompous, not theatrical; it is not court music, not gala music.His music was essentially introspective music; he did not think of the audience for whom he composed; his music is the product of his inner reflections. It is an outward expression of his tender feelings. Even in the most grandiose and eloquent moments of his â€Å"Passions† he still remains intimate. Bach’s music thus addressed itself mainly to the connoisseur. Handel wrote for the world, for the court, for the stage. His music is naturally brilliant; he has the gift for clear sonorities and powerful rhythms, which make a physical impression on the crowd, exalt and carry it away.His breadth and simplicity of design make his work illuminating, he is popular. But Bach's art is one that aims to say many things in an instant – in a single word (Landormy & Martens, 1927). This richness sometimes made it difficult for people to understand and appreciate. Handel focuses most on the harmonic clarity of his ensemble; he makes choice of what he wishes to say, he is sober, concise; He prefers to use the simple air of accompanied monody rather than polyphonic complexities (Landormy and Martens, 1927).Dynamic patterns in music were principally of two types: the melodic, which made use mainly of the voice and is known as thorough-bass, and the contrapuntal, which made use mainly of instruments and is mistakenly called polyphony (Bekker, 1927). On the superficial level, one may find that Bach is a composer of instrumental music in contrapuntal style and Handel on the other, a composer of vocal music in thoroughbass style. Some might classify the work of Bach, the pious man as subjective and Handel, the worldly man as an objective type. But these distinctions are not firmly based.Both were religious men who were also practical in their approach. They were both introspective as well as objective and both wrote vocal as well as instrumental music, and both made use of thorough-bass as well as of contrapuntal forms. They figured bass and counterpoint, and although they performed individually, they were also teachers in singing. They even chose to specialize in the same musical instrument: the organ. Bach lead his congregation in the singing of cantatas on Sundays o r the Passions on high holidays at St. Thomas's church at Leipzig much in the same way as Handel conducted his operas and his oratorios (Bekker, 1927).Bach’s music can be termed as intensive melodies whereas Handel’s music can be termed extensive melodies. Bach uses very dense contrapuntal texture with complex and chromatic harmonies. On the other hand Handel uses a simple template for his expressions and hence his work is meant for instant sensuous appreciation. The extensive quality of Handel's melodies allows his music to be amplified whereas this is not possible in the case of Bach's music. Amplification would destroy the transparency of the contrapuntal process. The vocal component of Bach’s music is very difficult to perform.There are disjunct movements and awkward intervals. There is no overlapping between the instrumental and vocal lines. In fact, the free-voiced choral polyphony of Handel and the strictly linear, instrumentally conceived polyphony of Ba ch form the two poles of late Baroque music (Bekker, 1927). Handel considers the flow of ideas more important than elaboration whereas to Bach, elaboration is more important. The fast changing textures in his choral writing clearly indicate that for Handel, counterpoint is only a means to a dramatic end (Krantz, 2007). On the contrary, Bach takes it as an end in itself which must be consistent.By nature of its conception, Handel’s counterpoint reaches its apex through the vocal medium. Handel’s work depends so much on the vocal component so much so even his keyboard fugues seem to call for text and become most excellent in vocal form. This accounts for the success of Handel in vocal music (Krantz, 2007). Bach is more adept at the instrumental form. Bach prefers to submit his choral polyphony to an instrumental standard. To quote Tevfik Dorak: â€Å"In the flexibility of his choral idiom, Handel surpasses Bach in the same measure as Bach surpasses Handel in contrapunta l consistency† (Dorak, 2002).One of the major differences between them lay in their individual conception of tone. A person who conceives tone vocally will also feel instrumental music as vocal, and the person who conceives tone instrumentally will also feel vocal music as instrumental. Some comparative features among the two great masters are as follows (Dorak, 2002):Bach conceived tone instrumentally and Handel vocally.Bach focused a lot on spiritual music and created profoundly religious cantatas, passions and masses. Handel treated even religious theme based oratorios such as the â€Å"Messiah† with a theatrical effect. This was more popular to the middle class audience.The vocal component of his music was used essentially as a melodic instrument with the most intricate demands of counterpoint expected of it. Handel's writing for the voice is completely idiomatic and the freer contrapuntal textures are more vocally conceived and are contrasted with powerful choral w riting.Handel demonstrates the Italian conservatism in his music and uses very simplified form. Bach is conservative in his adherence to the complex polyphonic texture, but progressive in his choice of modern forms, such as the concerto form of Vivaldi. Similarly, the organ style of Handel is clearly influenced by the idiom of the harpsichord as the opposite is true for Bach.Bach is related to the immediate future in his attitude because of modern day focus on instrumental music, while Handel is related to the past. On the other hand the melodic, homophonic figured bass chosen by Handel is more relevant to modern music than Bach's contrapuntal style. Thus both these composers are in some ways relevant to the past and in some other ways relevant to the future. The two great masters of the Baroque period were not beyond criticism.Bach was criticized because he was too intellectual and, paradoxically, because an excess of reason conflicted with the aesthetic precepts of the Age of Reas on. Handel was criticized for exceeding the conventional in the extras which he introduced into his orchestration to underline his dramatic appreciation of scene and situation. Whatever be the criticisms, it remains undeniable that these two masters of Baroque were outstanding in their natural talent. Though they belonged to the same place and same period and produced musical works of similar genre, they differed in their styles of expression.This difference actually was a major asset to these great masters who remained true to their inner beliefs. The honesty of expression combined with their outstanding talents has helped define baroque music.BibliographyDorak, Tevfik (2002). Handel and JS Bach. http://www. dorak. info/music/jsbgfh. htmlBukofzer MF. Music in the Baroque Era. WW Norton & Company Inc. NY, 1974, pp. 345-9.Krantz, Allen (2007). George Frideric Handel. http://www. classicalarchives. com/bios/handel_bio. html Landormy, Paul and Martens, H. Frederick (1927).A History of Music. Charles Scribner's Sons. New York. 1927. The Columbia Encyclopedia (2004a).Bach, Johann Sebastian. Sixth Edition. Columbia University Press. New York. 2004 The Columbia Encyclopedia (2004b).Handel, George Frideric. Sixth Edition. Columbia University Press. New York. 2004. Young, M. Percy. (1962).The Choral Tradition: An historical and analytical survey from the sixteenth century to the present day. W. W. Norton Publishing. New York 1962. Bekker, Paul (1927).The Story of Music: An Historical Sketch of the Changes in Musical Form. Translated by Alice Kortschak and Herter Norton. W. W. Norton and Company Inc. New York. 1927.

Sexism and Feminism in the Late 1800s in accordance...

Everyone can agree that sexism had its talons deep in the flesh of the American mindset during the 1800s and although this is an obvious fact, few people understand just how hostile an environment it was for a woman. Among those few, were the women living in this malicious medium. From corsets to kitchens, housekeeping to health, life was not easy for even the most well-to-do woman. Although not all women decried their situation, a strong-minded minority dropped their oven mits, put their fists in the air, and called out for a change. Equal opportunity, equal right to vote, equal pay, and all around equality is what they demanded. But feminism was not only found at suffrage rallys or Grange meetings, it made its way in to every medium,†¦show more content†¦This is the way things were run in the 19th century, women submissive to dominating men. Women were expected to speak only when spoken to and to follow orders. When even a nine year old knows and follows these rules, albie t subconciously, something is wrong with the society. The story continues along these lines, even going to the extreme of having Sylvia leave her home in the middle of the night to climb the tallest tree in the forest to search for the white heron. Not only losing sleep for this man, but putting herself in a large amount of danger. It is not until the end of the story that Jewwet turns from pointing out sexism, to actively inserting feminist ideals. No, she must keep silence! What is it that suddenly forbids her and makes her dumb? Has she been nine years growing and now, when the great world for the first time put out a hand to her, she thrust it aside for a birds sake? (Jewwet 528). The thing that was holding Sylvias tongue was not just compassion for a bird, but something much deeper. At nine years of age Sylvia, unknowingly, is fighting for womens rights, breaking free from the submissive role that she was supposedly destined to take. Taking up the banner, Sylvia is no longer ju st a sympathetic character, but a symbol for equality and feminism. Sylvia is no longer a person, but an ideal that women everywere can rally around. Jewwtts A White Heron takes the same position, no longer a short story, but a call to women