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offering flowers, symbols of peace. These images expose more of the complexities of the current situation, perhaps more transparent than “Flower Child at the Pentagon". However, observing the women on the right, in such a similar composition to “Flower Child at the Pentagon", we see Kasmir’s innocence, confidence, and well-meaning reflected. In 2012, riots broke out in Romania due to health care reform. 4 While health care was regularly a point of tension in Romania, citizens were enraged to find that a popular official of the health ministry who was respected for improving emergency health care, Raed Arafat, was resigning largely because of disagreements with Traian Băsescu, the center-right president. The protesters became so violent that the prime minister resigned from his position. A young boy stands in front of what appears to be his father, still gripping him with his left hand, extending his right arm out towards the line of military personal facing him. He holds a white, heart-shaped balloon. None of the uniformed people’s faces are visible. They wear black from head to toe. Their helmets also have a clear shield that drops down in front of their eyes. The uniformed anonymity is similar to the soldiers in “Flower Child at the Pentagon", but they are on the defense as they were in Ukraine. In the background of the photo, onlookers are much clearer than they have been in previous photos. A woman stares with her mouth open at the little boy’s gesture. The man behind the boy smiles up at the soldiers; he seems to admire his son’s offering. It is easier to identify innocence in the young boy. The issue becomes again deceivingly simple here, as it was in “Flower Child at the Pentagon". Kasmir was just a high school student dressed in a flower dress, giving someone a daisy, asking someone to please stop the fighting. Here, a young boy 4 This photograph can be viewed here: http://image.slidesharecdn.com/loveinthetimeofprotest-141009125546- conversion-gate01/95/love-in-the-time-of-protest-50-638. jpg?cb=1413247906. dressed in a crown hands a heart-shaped balloon to a soldier, not without the support of his father. Once again, the individuals facing the soldiers, offering their innocence, stand on the right, reaching to the left. This image is noticeably different from the preceding four in that the intended benevolent subject on the right is not alone. The boy seems to take center stage—he is still the figure offering something to the armed bodies on the left. We are asked to reflect on the relationship between the boy and his father. We wonder what their relationship has to do with how culture, politics, injustices, and inequalities are communicated and shared across generations. Conclusion The photographers who captured the images taken in Ukraine and Romania may or may not have known about “Flower Child at the Pentagon.” Perhaps they recognized the similar composition and act of the event and captured it with their lenses. Perhaps they captured the event because it was significant on its own. However, the similarities are there whether they were intended or not. Innocence stands with its offering on the right, reaching out to the anonymous uniformed military on the left. This relationship becomes complicated as rifles turn into shields, and roles are not as easily distinguished. Nonetheless, we see reflections of “Flower Child at the Pentagon" in other aspects of the photo, and project new meaning and assumptions onto these appropriations. Not only do these later images take on a significant weight because of their mirroring of U.S. public memory, but “Flower Child at the Pentagon" seems to change as well. We cannot look back without bringing our present experience and knowledge with us, complicating the perhaps originally simple and obvious interpretation of the image. “Flower Child" stands in for more than just the Vietnam War. While the image certainly reflects a specific time and counterculture, its meaning broadens to facilitate our understanding of later conflict, such as depicted in these photos from Ukraine and Romania. As viewers, we are invited to view ourselves in these images to help us confront and reflect on the crises and contradictions inherent in our own communities. DEPAUL UNIVERSITY 151
WORKS CITED Aristotle, and W. Rhys Roberts. Rhetoric. Mineola, NY: Dover Publications, 2004. Print. Curry, Andrew. “Flower Child.” Smithsonian. N.p., Apr. 2004. Web. 14 June 2016. “Flower Power.” The Famous Pictures Collection. N.p., 17 May 2013. Web. 14 June 2016. Hariman, Robert, and John Louis Lucaites. “Performing Civic Identity: The Iconic Photograph of the Flag Raising on Iwo Jima.” Quarterly Journal of Speech 88.4 (2002): 363-92. Web. 15 June 2016. Hariman, Robert, and John Louis. Lucaites. “Public Culture, Icons, and Iconoclasts.” No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy. Chicago: U of Chicago, 2007. 25-48. Print. 152 CREATING KNOWLEDGE
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D E PAUL UNIVERSITY Creating Knowle
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2016 EDITOR Warren C. Schultz ART J
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86 Amy Reece Outrages on the Women
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FOREWORD Dear Students, Colleagues,
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articles written by African-America
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FIGURE 1 An advertisement for Dr. F
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FIGURE 4 An advertisement for G&T R
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BIBLIOGRAPHY Byrd, Ayana, and Lori
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Renaissance. Hired as a replacement
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techniques, he was able to gain som
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high became popular amongst white a
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Calloway’s white audience thought
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Allison Nolden | Untitled DEPAUL UN
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in the way they were decorated. In
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FIGURE 3 FIGURE 4 stepped into Wes
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goods to connect them to a “simpl
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are homemade from fresh ingredients
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Francesca Martiono | San Gimignano
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him? I fed him, I changed his cloth
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2: You-Did-It-To-ME Then the King w
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Mary desired faithfulness and Marth
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What did Jesus Christ thirst for on
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of support to counter the isolation
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cross-racial sisterhood that sugges
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Prince’s husband makes to buy her
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implications of life in bondage. As
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Angela Brown | Sharper Image DEPAUL
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Um dieser Zeit wurde der moralische
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der moralischen Weltordnung gewesen
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Willie Burton | Untitled DEPAUL UNI
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FIGURE 1 Issue 1 of Simbolul, with
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FIGURE 3 Cover of the first edition
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the fabric of society. Tzara moved
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Alicia Moran | Temporal Process DEP
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The Chicago Plan Commission played
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Old Chicago” criticized the grid
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They criticized the grid as being d
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a source of authenticity.” 38 Whe
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Yuting Wei | Sunset DEPAUL UNIVERSI
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Douglas Voigt (the Skidmore, Owings
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ates as part of Lakeside’s TIF ob
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esidents are resigned about Lakesid
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Legacy Capital Partners, LLC. 2012.
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as the symbols of men honour, if th
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The victims of hair cutting were of
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Lady Augusta Gregory, a prominent a
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Secondary Benton, Sarah. “Women D
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Angela Brown | Future outta Frame D
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would be defined by traditional gen
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leaves, and the hairdresser succumb
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