This paper presents two essays written by Gordon Wood and Barbara Smith during the nineteenth century on the American Revolution. Both historians have different points of views and interpretation on what this revolution was really about. The purpose of these writings is to give a clear idea of the American Revolution to the readers and to make them closely think on how it affected people’s life and the society. On one hand, the historian wood declared that the revolution ended monarchy and led the society to democracy. He believed that this revolution was a good start to a new life for all Americans.
The small adaptations to traditions was the small drop of encouragement the world needed. When that muse came, a big change in mankind’s view of the world was just getting started. The purpose of this essay is to inform you on how the Renaissance changed man’s view of the world. When the renaissance introduced its customs to the world, mankind adjusted to them
The essay Chicken-Hips by Catherine Pigott is about the experience of the author’s visit to the region of Gambia. In Gambia, the author is exposed to the norms of the local society which are contradictory to the norms of the society of where Pigott is from. The norm talked about in this essay is that of which sets the standard of a women’s image. In Gambia, the ideal image for women is to have large hips whereas the ideal image of a women in Pigott’s society is to be slim. Chicken-Hips is an informal/personal essay classified as a narrative and a comparative/contrast.
Haven Peck is the father of Robert Peck. They are both respectful to momma and Aunt Carrie. Robert and Haven Peck have lots of similarities and differences. Haven Peck is different from Robert Peck. Haven Peck did not get an education.
The French artist François Lemoyne recreates in this drawing recreates the lower half of a human body, which includes a half exposed leg and a protruding suggestion of a knee behind it. He also incorporates a draping fabric over the half-body which do not cover the legs to their entirety and the half-body is suggested to be resting on leveled ground. The master artist uses black and white charcoal, and tinted paper as his medium, this allows him to make fast nonstop lines that, for the most part are not blended, giving the drawing a sense of rapid motion that immortalizes the physical movements of Lemoyne’s hands. The most distinctive characteristics of Lemoyne’s drawing is the variety of line work that are used in techniques throughout the drawing forming areas where the light reflects such as; the fabric, knee, and surface on which the figure rests; and the black areas of shading like
Delvonne Duncombe Amy Landrum FAS 202: Introduction to Humanities II Southern New Hampshire University November 12, 2016 Fellowship is an Essential Ingredient in Building Strong and Meaningful Family Bonds The artworks that I chose for this assignment are Vincent van Gogh's "Potato Eaters, 1885" and Jan Havicksz. Steenen's "The Merry Family, 1668". The theme that is recurrent in both pieces and that I will seek to explore is the family. Additionally, I will use the construct of social media and television to show how these elements have contributed to the breakdown of the contemporary family.
A significant theme that Lynn Hunt explores is representational culture. Specifically, how the family and individual members of the family are depicted through the arts and literature in the advent of the printing revolution. This is a broader theme explored throughout the monograph. Representations of the fallen King, the Band of Brothers, and the Bad Mother through the despised Marie Antoinette. While this is not the main theme of the book, it gives the reader a good idea about the pervading political climate of 18th century France.
A small, portrait painted in oil on masonite board, Clown Head (1952) by Alfred Sessler hangs in the Wright Museum of Art. The painting itself is composed of a sitting ‘clown’ dressed in vibrantly coloured clothing resembling that of Napoleonic military dress. A large, curving crimson hat that mimics the style revolutionary French militia consumes nearly ⅓ of the painting itself, bearing two golden tassel-like bells. The model, who is visibly disproportionate, is pale with decaying features and evident signs of putrefaction— this indicated by his hollowed face, empty and sunken eye sockets, which are bordered by deep clefts and wrinkles and small bubbles Another striking design of the model’s face is his protuberant jaw, which is emphasized
Body and objects are always discussed together in a relational sense. In ‘On Longing’, Susan Stewart discusses the body- object relation by way of scale, arguing that when we are presented with a miniature object we are invited into a different temporal and perceived space. The smallness of the object takes us into a private world and changes our focus from public to private spheres. She explains, “This is the daydream of the microscope: the daydream of life inside life, of significance multiplied infinitely within significance’ . This mode of significance and sphere of miniature scale, Stewart argues, returns us to a childlike state ‘the daydream of life inside life’ suggests the way we would play as children creating a safe domestic space,
Manet debuted, arguably one of his most famous paintings, Olympia at the 1865 Paris Salon. Since its debut, Olympia has been the source of much debate and controversy. The public saw this piece as obscene—a flagrant disrespect to established moral traditions. However, current discussions focus less on the “lewd” nature of this painting and more on the theoretical perspectives explaining why the public viewed Olympia as scandalous. In “Manet’s Olympia: The Figuration of Scandal,” author Charles Bernheimer argues for a Freudian perspective in which sex is the most important factor influencing public opinion.
Even though this story is from the 500 B.Cs, our fashion senses are very parallel; therefore showing, how close she and I’s physical features are
Ginzburg critiques social history, arguing against the idea of broad generalization of social phenomena as a way to understand these issues. On the contrary, critical analysis of a single person can demonstrate these phenomena better. In an analysis of the individual Jean-Pierre Purry in the early 18th century Europe, Ginzburg focuses on Purry’s writing and journals, along with letters he sent to the major governors of countries and trading companies for his source material. These sources place the author's focus solely on the individual, something that social history strays from when incorporating the larger society. Through this historical figure, the author reveals Purry’s plans and justifications for European colonization.
The female body portrayed in Disney movies, highly depends on the socio- cultural believes of how women’s form should look like in the certain period of time (Herbozo et al., 2014). Disney Princesses are representations of Western ideas of a beautiful woman, such as: slim, attractive, and young. The body image of each princess is idealized, where the lead female character has small waits, full bust, and delicate face features (England et al., 2011). For example, because of Cinderella’s small and delicate feet, her identity could have been revealed, and thus this helped her to find the price (Do Rozario, 2004).
Vigée Le Brun’s self-portraits with her daughter extol the joy of motherhood, but not without a subtle narcissistic touch consisting of emphasizing her own good looks.”(61) In the self-portrait Vigée Lebrun compares herself and her daughter to the Madonna and Child. The Madonna is the ultimate figure of feminine virtue and motherhood. By placing herself and Julie in the center of the composition and through use of neoclassical robes the viewer is forced to make the connection. She presents her relationship with her daughter as idyllic.
Like Jones, Cissie Fairchilds emphasizes the economic reasons for the increased interest in fashion during the French Revolution; however, unlike Ribeiro or Jones, she argues that debates over women’s political rights were neither the only nor the most significant causes of the emergence of revolutionary regulations of dress. Instead, Fairchilds focuses exclusively on the policy of consumption and consumer goods, which two notions shaped: the notion that consumers had the right to buy what they wanted and the notion that goods had symbolic, formative and didactic traits that reflected and shaped the consumer’s personality. She examines the Old Regime luxury debates to explain the beginnings of these concepts and how they influenced revolutionary policies concerning dress. Fairchilds focuses primarily on the formative powers of dress used during the early years of the Revolution and hypothesizes that the emerging concept that fashion reflects an individual’s personality emerged from the Revolution’s disregard of the power of
