The detail of the muscles of Leda shows the strength of a mother and what it takes to become a mother. This painting does not focus on the persuasion of Zeus, but rather it focuses on the children of a god and how they came to be in the world, from those eggs. The eggs that are laying around are the only object that reveals that the painting is the about Leda and the Swan. The white flowers that are behind Leda can symbolize two different things, one being purity and creation of those children. And the other being the how a delicate thing like the flower can prosper and grow in the dark polluted world that is outside.
As I read the case study of Almeada and baby Anne, I was inspired by her case manager Barbra LaRosa, she provided social care and became the “bridge” between Almeade and the systems. One function of bridging is to narrow the gap between the services being offered and the needs of the individuals who are receiving those services. (Woodside, M. R. (2015). An Introduction to the Human Services, 8th Edition) Ms. LaRosa applied social care to Almeada while she was pregnant with baby Anne, she recognized Almeada's problems in living and since she worked at the school, and Almeada had not returned from summer break, she reached out to her to see what was going on and learn more about her life. Almeada received social care through her pregnancy,
“To be a queen of a household is a powerful thing”, quoted by Jill Scott, which portrays the idea of being the head of a household as a woman. Like Water for Chocolate, written by Laura Esquirel, firmly emphasizes the power that the head of a household could have and use. In this novel, the unavailability of a father in the family led Mama Elena to take the role as a head of household. Mama Elena is a mother of three daughters who treats her youngest daughter overbearingly, due to the Mexican tradition. Although Mama Elena is biologically a woman, she has almost identical characteristics as men do.
First of all, the meaning of a good mother from the book Sula is does not necessarily giving birth. In book Sula, Eva Peace said “Among the tenants in that big house were the children Eva took in. Operating on a private scheme of preference and prejudice, she sent off for children she had seen from the balcony of her bedroom" (37). Eva looks through her window balcony seeing if there are any children being mistreated of any sort. Eva called out to bring in those three children, clearly not hers, but she does anyway because she knows that they are being mistreated by their parents.
Carlos’ hair is “perfect” you could style it differently each day without trying to take out the knots out. Esperanza describes her mother's hair distinctively than the rest of her family's hair. Her mother’s hair is special to her because it gives her mixed emotion. Esperanza illustrates “... my mother’s hair, like little rosettes, like little candy circles all curly and pretty [...] sweet to put your nose into when she is holding you, holding you and you feel safe, the the warm smell of bread before you bake it” (Cisneros 6). Esperanza loves her mother very much, and explains her hair's appearance, like a mother loving her child.
In the end she even fled out of her society in the wilds, she sacrificed her own safety to be with the person she fell in love with and stand up against the government. There are several reasons for her breakout, the day she saw the crypts Lena found out her mother was still alive which means that her aunt and her uncle lied to her the whole time about the death of her mother so she
She felt drawn back to the place where this woman lived with her total of eleven children, all on the verge of starvation and death due to work and food shortages and set about taking a series of photos that led to the final version of Migrant Mother. Lange intended to invoke feelings of empathy from her subject, but the response ended up being far more than expected, with over $200,000 in contributions for the migrant community at Nipomo after the photo was printed by the San Francisco News. This photograph went on to be used for many purposes, including a postage stamp and as propaganda; it has been debated by scholars for decades, even by Lange as to why it was so popular. She was simply trying to show that regardless of how far down it seems a woman has been pushed, she can still be a pillar of strength for those around her. As Gordon points out about the artist herself, "she was exquisitely sensitive to embodied emotion, but she also probably felt the complexity of Thompson 's [the migrant mother] anxiety because it was hers, as well.
She felt as if “every step she took toward relieving herself from obligations added to her strength and expansion as an individual.” This acquired sense of confidence Edna receives briefly leaves her when she comes to realise something about motherhood during the process of Madame Ratignolle’s, her character foil’s, childbirth: that there is a unity between mother and child that she cannot escape. She acknowledges that her small instinct of motherhood prevents her from living a life without her child, but is very much unwilling to regress back to just being “Raoul and Etienne’s mother” and “Leonce’s wife;” to do so would be to give up herself, something she swore she would never do. To defy this, Edna returned to the supple touch of the sea to be
Beneatha, the sister, test the restraints that society puts on women. Lena, Mama, plays the role of matriarch in the Younger family. Ruth Younger does the wifely job of making breakfast for her husband and son. “What kind of eggs you want?” (Hansberry 1913). “I feed my son Lena!” (Hansberry 1921).
The universal knowledge and strength of a mother can become, ironically, an element that provides difficulties in many relationships. The love between a mother and daughter is eternally enchanting and frustrating, invigorating and challenging. Mothers serve as a role model and example to their daughters, providing insight and guidance in every walk of life. Despite the stress many mother-daughter relationships endure, a mother’s advice is imperative. Through examining Amy Tan’s book The Joy Luck Club, Sandhya Shetty’s painting Mother and Daughter, and “Sonnets are full of love, and this is my tome” by Christina Rossetti, the power of a mother’s influence is evident.