Stages of Enlightenment in Buddhism

Stages of Enlightenment in Buddhism MODULE 9: The Planes of Realization (stages of enlightenment) Enlightenment is a concept and a word that is commonly used and associated with mediation, the practice of Buddhism and its benefits. Most of the time, it is used in connection with the concept of Nirvana. In most Buddhist texts and literatures, enlightenment can be read to have started with the Buddha himself, thus the term samma-sambodhi is used to apply to the attainment of enlightenment of bodhis or meditators aiming for it. This is the goal of the paths of meditation based on most Buddhist traditions. In the original context, the word bodhi is a Pali and Sanskrit term that is used to refer to a person who has figuratively woken up and understood things. It is also used to point out to a specific level of understanding or knowledge that the Buddha has gained when he experienced his own awakening. This understanding gave him knowledge on to the natural causes of things that contributes to how human and other sentient beings come into their specific existence and also the workings of the mind that contributes to keeping human and other sentient beings trapped into concepts such as suffering, rebirth and cravings. In this sense, the word bodhi can then be connected to gaining a deeper level of understanding on how a person can liberate him or herself from the things that causes him or her to be imprisoned on the three concepts mentioned above. Enlightenment in the Buddhist Traditions The Buddha Siddharta Gautama, is the first recorded being to have attained a level of full enlightenment. This level that he has successfully achieved is written as sammasambuddha in the Pali language (samyaksambuddha in Sanskrit), or what is called as the perfect form off Buddhahood. In the Theravada tradition of Buddhism’s chronicles or the sutta pitaka, there are numerous texts and descriptions about how the Buddha has experienced awakening or enlightenment himself. This can be seen in the seventeeth chapter of the Vanapattha Sutta, the Majjhima. In this specific chapter, it is described how the Buddha has lived his life in the jungle and how from there, he was able to attain a state of awakening or enlightenment. This, the texts show, was done after the Buddha has successfully destroyed the disturbances that occurred in his mind, allowing him to achieve concentration of the mind. This has resulted into him attaining the Vidhyas or the the knowledges. This includes the presence of insight into his past lives, attaining insight into the workings of reincarnation and karma and insight to the presence of the Four Noble Truths. In the texts, the attainment of insight into the Four Noble Truths is what gave enlightenment the other term awakening. This means that any meditator practicing it has already achieved a level of attaining a security from bondage on a supreme nature. Moreover, awakening is also related to having reached the stage of Nirvana, where sufferings are ended and the process of being reborn no longer occurs. In the texts, the Buddha has claimed that the liberation he got from this is certain because the presence of knowledge happening to him has allowed him to develop insight. This have then given him certain freedom, rendering him to be free from rebirths. In teaching this concept to a meditator, the teacher must stress that the presence of awakening means gaining insight into the concepts of rebirth and karma, into the presence of the Four Noble Truths and the elimination of all things which contribute to attaining the state of Nirvana. Only in experiencing this would liberation be certainly experienced by the student. Attaining Awakening or Enlightenment The attainment of enlightenment or awakening at its fullest capacity can be achieved by a meditator by becoming a Buddha and entering into Buddhahood. When faced with this concept, the teacher must first explain to the meditator the various meanings and context of the word Buddha in the Buddhist traditions. Moreover, another term Tathagata should also be explained to the student. This term means â€Å"the thus-gone† and is used as an equivalent to the word Buddha. Reaching full awakening or enlightenment is considered in the Theravada Buddhist tradition to be equated in reaching the stage of Nirvana. This means that when a meditator starts practicing, the teacher should set his or her path to have the ultimate goal of reaching Nirvana. This is also true in other Buddhist traditions as well. This path involves the meditator abandoning the then fetters of his existence and working toward the ceasing of suffering or dukkha. This full awakening or enlightenment is attained by the meditator in four stages. Moreover, Budhaghosa, another authority in the Theravada Buddhist tradition has described another path to attaining enlightenment. In the Visuddhimagga or the Path to Purification, he has described what he calls the Seven Stages to Purification which is based on the Noble Eightfold Path originally described by the Buddha. The difference, however, lies on the fact that Buddhaghosa has emphasized on insight based on the three characteristics of life which are dukkha, anatta and anicca. These concepts are what distinguishes it apart from the four stages of enlightenment where the ten fetters or human existence are abandoned in a gradual manner. The Four Stages of Enlightenment In Buddhism, there are four stages of a progessing nature that is related to the four stages of enlightenment. These stages are important in resulting into the full enlightenment of a meditator as an Arahat. The people who are into either one of the four stages of enlightenment are referred to by the Buddha as the ariya-puggala or the noble people. Conversely, the people within the community of the bikkhu-sangha are called as the ariya-sangha or the noble sanghas. The four stages of enlightenment are the Sotappana, Sakadagami, Anagami and the Arahat. These four stages of enlightenment and their teaching to meditators are central elements in the Buddhist schools such as Theravada tradition. This was chronicled in the sutta pitaka, and how each level are attained were described as well. Apart from the four stages mentioned above, the teacher would have to tell his or her students that there are also other types which describes other stages as well. However, the focus of this module is on the four stages of enlightenment so these four would be the ones that are to be described in detail here. As mentioned in the previous sections, the four stages of enlightenment are the end product or result of the seven purifications that a meditator goes through. This was discussed at great lengths in the Visuddhimagga. The teacher can encourage his or her student meditators to read on excerpts from the Visuddhimagga about the seven purifications, their sequences and how each of these are related to four paths and fruits. Moreover, in the Visuddhimagga, prajna and its importance is also described in detail, as well as gaining insight into anatta and how these are related to liberation and can be attained in the practice of Insight meditation or Vipassana. The four stages of attainment or enlightenment are also associated with occurring in pairs of path and fruit. The following are the path and fruit pairs of the four stages of attainment: The path to stream entry and the fruition of stream entry The path to once returning and the fruition on once returning The path to non returning and the fruition of non returning The path to becoming an arahant and the fruition of becoming an arahant Each of these are described below in their relation to the attaining of enlightenment: The Sotapanna. This is the first stage of enlightenment and is derived from the Pali language (written as Srotapanna in Sanskrit). This term means or is translated to mean the person or the one who enters the streams (apadyate sota). The stream being described here is the super mundane representation of the Noble Eightfold Path and is regarded as the highest form of Dhamma as well. The person who is this stage is also considered to be one who was able to open the eye of the Dhamma (or dhammacakkhu in Pali and dharmacaksus in Sanskrit). The meditator who enters the stream is said to be able reach the state of being an arahant in a span or seven rebirths after he or she has attained opening the eye of the Dhamma. Another aspect that the teacher needs to stress out in teaching this is that the meditator can attain a grasp of the Buddhist doctrines on an intuitive level or what is known as the right view (samyagdrsti in Sanskrit or sammaditthi in Sanskrit). Moreover, the meditator can al so have a complete confidence, or Sadha on what is considered the three jewels of practice namely the sangha, dharma and Buddha. This means that when the meditator passes away, he or she will not undergo rebirth in any plane that is categorically lower than the human plane such as the animal or in hell. The Sakadagami. This is the second stage of enlightenment which is also called the stage of the once returner. The origin of this word is Pali (Sakrdagamin in Sanskrit), which when translates means the once who once comes (sakrt and agacchati, respectively). When explaining what this means, the teacher should tell the student that people who belong in this stage will return once more to the human plane or world one more time in most instances. A person who progresses in this stage after going through the first is said to have abandoned the first three of the ten fetters. Meditators who are in this stage are also seen to display a weaker sense of lust for things, milder feelings of hate, and even weakened delusions. This means that anyone who is considered to be a once-returner would be experiencing rebirths fewer than seven times and that these rebirths usually occur in the higher planes although there would occur a rebirth in the human plane at least one more time. Also, their rebir ths can occur in multiples in the five pure abodes. The Anagami. The third stage, the Anagami (Pali; also Anagamin in Sanskrit), is also known as the stage of the non returner. The word Anagami means one who does not come. These are meditators who have been successful in overcoming sensuality and are deemed not to lower planes such as the human one even after their death. These are those who were rewarded with being reborn in the Suddhavasa worlds or Pure Abodes, which are one of the five special worlds in the Rupadhatu. In these worlds, the meditators are able to attain Nirvana or can even be reborn for another time in a world that is considered to be higher than that of the Pure Abodes. A person who is considered to be a non returner is said to have been able to abandon the five lower fetters of the ten that binds humans to the cycle of rebirth on the human plane. When a meditator has reached the level of the Anagami, they are considered to be well-advanced already. The Arahant. The fourth stage of enlightenment, the Arahant, is related to a person who is fully awakened. This stage is where the individual is seen to have been able to fully abandon all the ten fetters. When this happens, the person would not be experiencing rebirth on any plane or world even after his or her death (Parinibbana in Pali; Parinirvana in Sanskrit) because he or she have escaped samsara wholly. This stage will be attained by a meditator when he or she would follow the path that is given by the Buddha himself. In teaching this, the teacher should tell his or her students that in the Theravada tradition of Buddhism, the word Buddha is reserved for use with Siddharta Gautama Buddha, the first who discovered the path to enlightenment. The Path and the Fruits of Enlightenment Attaining each stage of the path to enlightenment has its subsequent fruit, as mentioned in the previous sections of this module. This is necessary to be included in the teaching of the paths to enlightenment since the fruit of each path and their attainments has to be present and seen in the life of the meditator. This ensures that the attainment of knowledge is set on the right paths as well. In the Theravada tradition, there is a belief that gaining understanding is a sudden process, that it does not come gradually as other disciplines believe it to be. This means that once a meditator enters on a path to enlightenment, its fruits should be realized as well. So when a meditator enters the stages and becomes an Arahat (the liberated one) in the process, it can be said that according to the Vipassana tradition sudden changes should characterize the entire process. The Benefits of Enlightenment An endless cycle of samsara traps an ordinary person who does not have enlightenment (puthujjana in Pali; prthagjanai in Sanskrit). This means that a person is endlessly reborn, live and dies and the cycle is repeated numerous times over. This occurs not only on the human plane but in other various planes as well such as the animal. This can be ended when a person enters the Dhamma and aims for gaining insight and enlightenment. This means that the person would not have to be experiencing this endlessly and be miserable for the rest of his or her existence. As the teacher guides the student into this path he or she would have to set it in their minds that the aim of the entire process, apart from gaining insight is to realize attaining Nirvana. In doing this, the meditator would be transformed from someone who is considered to be an uninstructed being who is oblivious to the truths that practicing the Dhamma brings into an arahant (or the liberated one). This stage of liberation enables the individual to have comprehension of the Four Noble Truths fully and to have experience of Nirvana in the present life. Moreover, in attaining this stage, the concepts that were discussed in detail in this module should be reinforced by the teacher with proper actions and words from someone who has experienced them in a personal level. References: Gomez, Luis O. (1991),Purifying Gold: The Metaphor of Effort and Intuition in Buddhist Thought and Practice. In: Peter N. Gregory (editor)(1991),Sudden and Gradual. Approaches to Enlightenment in Chinese Thought, Delhi: Motilal Banarsidass Publishers Private Limited Warder, A.K. (2000),Indian Buddhism, Delhi: Motilal Banarsidass Publishers Mahasi Sayadaw,The Progress of Insight (Visuddhià ±ana-katha) Bhikkhu Nanamoli; Bhikkhu Bodhi (1995),The Middle Length Discourses of the Buddha. A New Translation of the Majjhima Nikaya Park, Sung-bae (1983),Buddhist Faith and Sudden Enlightenment, SUNY Press Snelling, John (1987),The Buddhist handbook. A Complete Guide to Buddhist Teaching and Practice, London: Century Paperbacks Versluis, Arthur (2001),The Esoteric Origins of the American Renaissance, Oxford University Press Warder, A.K. (2000),Indian Buddhism, Delhi: Motilal Banarsidass Publishers

Frankenstein: A Critical Analysis

A Critical Analysis Author-centered Reading Early 19th century gothic novel, Frankincense, has provided an excellent base for an author-centered analysis, given the prominence of Shelley circumstantial Influence and strong symbolism. Born at the turn of the 18th century in London, Mary Shelley was exposed to venerated authors and their works from a young age. Showing her ability and promise early on In life, she went on to write a number of acclaimed novels, Including Valier and The Last Man.Shelley Imagery compares to the best of 19th century Romantic literature and has helped establish her as one of the time's retreat authors. (Academic, 2009) Through Frankincense, I have Implied Mary Shelley to be strongly opposed to the Idea of ‘playing god' and transgressing the human Limitations. She has used strong Juxtaposition to highlight the horror of the monster, contrasting It to the sporadic scenes of beautiful valleys and mountain ranges.Through her use of this technique, it is c lear that Shelley herself is disgusted with the monster, though she has attempted to justify the actions and behaviors of it throughout. Her personal disgust and rejection of the wretch comes through in the behavior of the characters, with only one, an old, blind man ever coming close to accepting him. As Victor says, â€Å"There can be no community between you and me; we are enemies†. (Shelley, 2000, p. 82) Though the monster had done no wrong, initially, and only desired to be loved, â€Å"l was benevolent and good; misery made me a fiend† (Shelley, 2000, p. 2), he was accepted by none. It seemed thus, that Shelley was trying to show that even if man successfully reached god-like achievements, he and his creation would not enjoy any form of acceptance as the heart of man opposes him to such ghastly and horrific actions. At the beginning of Chapter 5, it is seen that Frankincense calls his creation the wretch' before it had even awoken, How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavourer to form? † (Shelley, 2000, p. 1) Although these words were technically spoken after it occurred, in Frankincense's recount to Walton, Shelley could have chosen to refer to the monster in an objective manner at this point, instead in this subjective way. By doing this, however, the monster Is portrayed as lesser than human, not worthy and is degraded In the eyes f the reader, without any actions of the monster being recounted. As said, Shelley Juxtaposed the monster to the scenic landscapes. This Is technique Is evident here as well, though not in exactly the same manner.The next scene after Frankincense creates the monster, has Frankincense Joyfully re-unlit with Clerical. Recounting the scene between Frankincense and Clerical, Shelley uses exclamation marks to dramatist the situation In order to draw a starker comparison with the previous scene. Then, as quickly as the mo od turned Joyful, It became drastically solemn as the conversation turned to Victors exploits. Nature has also played a large part in the novel and is key to understanding certain elements.Set in the 18th century in Switzerland, the novel's locale draws key inspiration from Shelley circumstance at the time, being that it was conceived in Switzerland, only a few years after it came across strongly in the novel. â€Å"the moon gazed on my midnight labors, while, with unrelated and breathless eagerness, I pursued nature to her hiding places† (Shelley, 2000, p. 39) Shelley has personified nature quite strongly and through words like these, Shelley has established nature as an all-powerful, god-like being.This further enhances the view that she was bringing across the point that no one should attempt to breach nature's omnipotence. In this way, she has likened nature to an all-powerful God. Shelley also re-enforced the power of nature – God – through her language â⠂¬Å"As I stood at the door, on a sudden I beheld a stream of fire issue from an old and beautiful oak which stood about twenty yards from out house; and so soon as the dazzling light vanished, the oak had disappeared, and nothing remained but a blasted stump† (Shelley, 2000, p. 26).What Shelley has done for nature though, she has done the opposite for man. Mary Shelley has brought across humans as being incompetent, insensible beings. When the wretch leaves evidence of Justine killing Will on her person, she is arrested and does not receive a proper trial, being lynched by members of the public. Later on, in an encounter between the wretch and Frankincense, the monster says, muff accuse me of murder; and yet you would, with satisfied conscience, destroy your own creature. Oh, praise the eternal justice of man! † (Shelley, 2000, p. 2) Through this, it would seem that Mary Shelley had become disillusioned with man-kind and its constant endeavourers to ‘play-god', en in advances within science and medicine. Shelley was likely influenced by the times she was in, through influential figures like Jean-Jacques Rousseau who criticized the view that man should exert his influence and superiority over nature by ‘Playing-God'. Shelley was a strong advocate for Rousseau, opposing others like Henry Bacon, who were of the view that Frankincense was of at the start of his time at the University of Inconstant.The Author-centered approach has evolved over the past century and continues to do so, most recently with Farther' Death of the Author of 1967. Instead of viewing the author as the sole influence of the texts' meaning, the contemporary view sees persons taking interest in the author; his/her background and circumstance to discern the link between them and their work (QUA Syllabus, 2011) I first applied Authorial Intent with special consideration given to Wimpiest and Beardsley Intentional Fallacy of 1946.This provided a base for analyzing Frankinc ense without being clouded by the presumed design or intention of the author which according to Wimpiest and Beardsley, â€Å"is neither available nor desirable as a standard for Judging he success of a literary work of art† (Wimpiest and Beardsley, 1946, p. L) Upon reading Intentional Fallacy I saw that Frankincense was a ubiquitous representation of the canonical life of Mary Shelley, not Just the intended meaning she desired. The theory states that, â€Å"an author's stated purpose cannot determine all the legitimate readings that may be made in his/her text. (QUA, 2011) Thus, in keeping with Intentional Fallacy, I recognized the relationship between the author, Shelley, and her text. As I said in my first paragraph, â€Å"Through Frankincense, I have implied Mary Shelley to be tryingly opposed to the idea of ‘playing god' and transgressing the human limitations. † The use of Pullet's â€Å"criticism of consciousness† theory helped establish that the u se of literary devices and her language to bring this point across displays that, as I said in my reading, â€Å"Shelley herself is disgusted with The Monster†.The author-function, specifically the characteristics of attribution and valuation, as introduced by Factual, also led my reading. Valuation states that an author is not defined purely through his/her discourse but, â€Å"It results from a complex operation hose purpose is to construct the rational entity we call an author† (Factual, 1977). Thus I constructed my view of Shelley from her â€Å"profundity or ‘creative' power†.This is seen all throughout my reading, though most profoundly in my final paragraph, where I state that I am of the view that Shelley â€Å"had become disillusioned with man- kind and its constant endeavourers to ‘play-god† However, the complications of this being perceived as Universality may be questioned as different readings are drawn from Frankincense. The char acteristic of Attribution also showed that my previous dead and knowledge of Mary Shelley as a widely acclaimed author and prominent figure, whose work has lasted till current day, influenced my construction of her.The work of Brooks and Pollute, used in conjunction, was a prime dictator in the course of my reading. The main theory I applied was that â€Å"literature is ultimately metaphorical and symbolic. † (Brooks, 1947) Thus, a closer analysis of the words Shelley used revealed the Pantheism in Frankincense. As I said in my reading, â€Å"Shelley has established nature as an all-powerful, god-like being†. I understood the reason Enid this better after a study of Spinning's work, based on Descartes' dualist theory. Spinal brought into play that God, instead of a physical, anthropomorphism's being, is in fact the composition of nature.Pullet's theory of â€Å"criticism of consciousness† â€Å"embodiment of the state of mind† of Shelley (Pollute, 1971). This is important as it guided me to become conscious of Shelley ‘cogitator' and its impact on my construction of her as an author. This type of Close-reading is advocated by New Criticism (Henderson and Brown, 1997), further allowing me to analyses the construction of Shelley sentences and word-use, to detect symbolism and metaphors. This came through in the third paragraph of my reading, when referring to Shelley use of the word Wretch' so early on.Applying Brooks' theory helped me identify the deeper symbolism in this. I was thus able to recognize that the referral to Victor's creation in such a subjective manner had deeper roots, not Just showing Victor's personal disgust but also causing the monster to appear unworthy of ordinary humans â€Å"†¦ The monster is portrayed as lesser than human and not worthy and is degraded in the eyes of the reader†¦ (Reading) I was also able to analyses Shelley use of punctuation, to further enhance the Juxtaposition between the somber references to the monster and the happier circumstances.Brooks' and Pullet's theories also have elements of the text-centered approach in them, with this approach claiming that the text is place where meaning is found (QUA, 2011, p. 4). Here the subtleties between Historical and New Criticism become evident, with old criticism embracing literature as a form of authorial self-expression, Romanticism (Henderson and Brown, 1997). The shift in thinking though of authorial self-expression to inner symbolism and author omniscience makes it hard to fully identify and articulate Shelley intention. My construction of Shelley, though, seemed at first to be invalid with T. S.Elitist's Tradition And The Individual Talent, which espouses that when critiquing a work, one must take into account the other authors of that time (Adams, 1971) In Elitist's words, â€Å"we pretend to find what is individual, what is the peculiar essence of the man†(Elliot, 1921). This would mean that my b elief that the language in Frankincense symbolizes Pantheism is wrong as it is based purely on Mary Shelley. However, upon closer analysis, I realized that in fact, it supported my conclusions. The key example I would like to present is that of Wordsmith and Coleridge, founders of the Romantic Movement in England.Both of them were strong supporters and advocates of Pantheism, helping to bring Rousseau work to recognition through their own writings. Both were also frequent visitors to the Godwin household (A+E Networks, 2012). Thus Shelley would have grown up around the work of these two men, the Venerated authors' I mentioned in my first paragraph. What I saw here, was sound proof that Intellectuality, or as said by Elliot, â€Å"importance of the relation of the poem o other poems by other authors† (Elliot, 1921) played a large part in Frankincense.

Domestic Abuse In An Intimate Relationship . One Hears

Domestic Abuse in an Intimate Relationship One hears about domestic abuse a lot in the news or sees it play out when we watch television shows. It is likely that the majority of people know at least one person who is a victim in an abusive relationship. In the eBook â€Å"Perspectives on Verbal, and Psychological Abuse,† Roland Maiuro states that â€Å"nearly 50% of both men and women have experienced some form of psychological abuse by their intimate partner† (V). In Tod Robbins’s short story â€Å"Spurs,† we witness emotional and physical abuse between Jacques Coube and Mademoiselle Jeanne, a newly married couple that had gotten together for the wrong intentions. There is also emotional and physical abuse seen in Graham Greene’s story â€Å"The Basement†¦show more content†¦There will be times where the victim’s family and friends do not know that they are getting abuse because they try to keep it a secret. Emotional and sexual abuse are easier to hide because there is no evidence for them to speculate that. When family or friends do suspect abuse, the victim has a habit of lying by making up stories that they fell on accident or pumped into something to cause the bruise. Love ones will get suspicious when they continuously see marks on the victim’s body. The victim may come clean and tell the truth but will state that they deserved the abuse because they did not do what was told of them and the victim will reinsure their love ones that the perpetrator loves her. From the story â€Å"Spurs,† Jacques and Jeanne get married when Jeanne finds out that Jacques inherited money and land from his uncle that recently passed away. Not long after the wedding, Jeanne brings emotional abuse into the relationship by calling Jacques names like â€Å"little ape† (Robbins 166). Since Jacques is a dwarf, Jeanne thought it would be easy for her to take advantage of him. 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However, there are hundreds of thousands of men who experience domestic abuse each year. â€Å"On average, nearly twenty people per minute are physically abused by an intimate partner in the United States. For one year, this equates to more than ten million women and men.† (Vieira).

Pleasantville Racism Paper - 959 Words

Thomas Lovsey Mrs. Barker ENGL 1100 Nov. 12, 2015 Not as Simple as Black-and-White â€Å"Discrimination is behavior, intentional or not, which negatively treats a person or a group of people based on their racial origins† (Randall). It is unclear what the exact cause is for people to be prejudiced towards another group of individuals. Racism could perhaps be triggered by having a fear of people who are different, needing to fit in with others who are of a racist mindset, and/or being ignorant of other people’s cultures. In the 1998 movie Pleasantville, it is shown that racism and discrimination towards different people occurs because of sudden changes to an established system and society. In reality, racism is a result of generations of†¦show more content†¦The appearance of color in Pleasantville showed that the town and citizens were undergoing change, and that this change was making the inhabitants feel free and similar to people from the ‘90s. When objects and people around town quickly turned from b lack-and-white to color, many of the older, more traditional citizens of the town resisted the change. Pleasantville mayor Big Bob speaks of the changes, â€Å"up until now, everything around here has been, well, pleasant. Recently certain things have become unpleasant. Now, it seems to me that the first thing we have to do is to separate out the things that are pleasant from the things that are unpleasant† (Pleasantville). Big Bob and a large group of citizens, mostly consisting of the older men of the town, form a group of people trying to keep the town â€Å"pleasant,† or not colored. This group begins putting up signs around town banning colored people, similar to situations that African Americans dealt with before the civil rights movement. They also harass all the colored people on the streets, and even vandalize and destroy Bill Johnson’s shop for having colorful art on the windows. Finally, the group has meetings featuring all the influential non-colore d people in town, and this new assembly draws similarities to Nazism with their symbols and beliefs. Pleasantville shows aShow MoreRelatedLeadership, Policy, And Change : Beyond The Darkroom : Documentary Photography As A Tool For Social Change2001 Words   |  9 Pageslight on systemic issues such as homelessness, poverty, child labor, racism, and hazardous working conditions. Lewis Hine, a photographer hired by the National Child Labor Committee, exposed the somber working conditions facing America’s youth, resulting in a wave of support for federal child labor regulations in the U.S. (Cade, 2013). Gordon Parks’ photos of black Americans from the 1940s to the 1970s made the struggle against racism relatable to TIME Magazine’s mostly white readers (Mason, 2016). Dorothea