J’Lyrick Woods Writing Assignment #1 AR-170 2-D/3-D 2-D-P.50-Figure 1.4-Mel Bochner, Vertigo This conceptual artist has taken basic elements of art such as lines and color and has created this amazing two dimensional artwork, Vertigo. In this artwork the artist uses regular lines, a rhythm of diagonal lines, and a slight tint of an orange in the background of the actual lines. The different directions, overlapping, and crossing of the lines, help imply the chaos and disorder the artist is trying to reveal through this painting.
These three devices work in tandem, aiding the reader while they learn about the scientific process. The first rhetorical device used in the excerpt is anaphora, the repetition of the word certainty and uncertainty is used to initiate each of the first four sentences. Barry uses this repetition to implant the idea that science is full of self-doubt and overcoming this allows one to become successful. In the first four sentences he says “Certainty creates strength. Certainty gives one something….Uncertainty
It is hard to determine which creator determines the mood in The Watchmen. Alan Moore, the writer, has the responsibility to tell the story from each character’s perspective using a limited amount of space. The illustrator, Dave Gibbons, is able to create moods and emotions by using different styles of action and characters’ expressions depending on the scene. The colorist is able to portray the overall feeling the reader gets from each scene by choosing color schemes that will simulate the mood he desires. These aspects are most important in a graphic novel due to the fact that the written word is fairly limited.
Gilman puts her in a shabby room alone. The narrator writes, “The wall-paper, as I said before, is torn off in spots (Gilman 87).” The room has a yellow, peeling wallpaper with a sub-pattern that is symbolic. The sub-pattern is a woman trying to escape from behind the main pattern. Gilman is using the sub-pattern and main pattern to represent the protagonist and her longing to get out of the "cage" she has been living in.
At that moment, he is able to realize that what he thought to be the only reality was really a copy of the real reality. Again he assumes that the statues and the fire are the most real things out there; completely unaware that there are other things more "real" beyond his cave. However, when the prisoner is dragged out of the cave into the real world he finally understands and learns that there are other things out there that he has not seen yet that makes up the world and reality. He is finally enlightened by the knowledge he received by observing his surroundings beyond his
The painting that I chose to analyze was William Maw Egley’s Omnibus Life in London (1859). Painted on an oil medium, it depicts a scene of an omnibus, a horse-drawn carriage that acted as public transportation, pulled over at a certain stop along a particular route (Tate). In the painting, it features a crowded bus as more people attempt to board it. There are various people from every type of social class, which will be examined during the contextual analysis section to interpret the meaning historically. Also, this paper will analyze the formal structure of the painting through color, lines, space and mass, and composition.
Initially, the narrator is disgusted and irritated by the paper, claiming, “I never saw a worse paper in my life. One of those sprawling flamboyant patterns committing every artistic sin” (339). This reaction mirrors that of a sane person’s--fearing the unknown, they distance themselves from insanity and any iteration of it, seeing it as grotesque and shameful. Yet, as she spends more time in the room, she grows interested in the wallpaper and begins to investigate. She comes to the conclusion that: “I didn 't realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman” (346).
Socrates claims that “what people in this situation would take for truth would be nothing more than the shadows of manufactured objects”. (221) Indeed, if a person sees only two-dimensional shadows, he may never intuit that there could be a three-dimensional interacting in ways that make a lot more sense. We, human beings, live in a three-dimensional space. If we are told that a fourth dimension exists and asked to imagine what does a fourth-dimensional object look like, one will not be able to give an answer.
Secondly, throughout the story, the narrator describes seeing an evolving woman trapped inside of the wall. Although readers can assume that this woman is merely a product of the narrator’s mind, the woman can also be seen as a symbol of the narrator and her feelings of being trapped. Eventually, the woman in the wall aids the narrator in her escape. In conclusion, many elements of the narrator’s increasing madness throughout The Yellow Wallpaper contributed to her freedom from the confines of the room, the confines of society, and the confines of her
He proposes a series of alternate (and very possible realities) that
However, we later see a shift in her feelings towards the wallpaper as she states that she is growing “really fond of the room in spite of the wallpaper” and comes to a realization that it may be “because of the wallpaper” (Par 94) As her opinions on the wallpaper begin to change, the progression of her mental instability becomes increasing visible. She begins to build a relationship with the wallpaper and claims that “There are things in that paper that nobody knows about” (Par 22) her. As this relationship with the wallpaper builds, her sanity begins to slip, and the hallucinations begin in a somewhat minor manor. In her first mention of “the woman” she says that the pattern on the
Nonetheless, the narrator continues to pen her ideas about the wallpaper as it transpired from being perplexing to gaining clarity each day. Amidst arriving at a full conclusion of what the wallpaper depicts, the narrator says she sees “a woman stooping down and creeping about behind the pattern” (Perkins Gilman, 50). As the days passed,
The Seven Rays Theory, although esoteric in itself, contains the basic elements of the incarnation of the powers of consciousness. In other words, it is a psychological profile done from a spiritual perspective. The diagram illustrates the disposition of the seven rays or basic motivations (strength types) of a human psyche. THE SEVEN RAYS
The second dimension emerges from the first one. It is about opening up to a future that is the very image of the past. In other words, it draws upon the image of Palestine before the Zionist project and all struggles as a result of occupation; the image of the original blessed Palestine and the sanctified land. It is an image of recalling the past in an attempt to revive what was destroyed in
According to Zizi Papacharissi in "The virtual sphere: The internet as a public sphere" web technology has the capacity for reestablishing the public sphere, giving the global public the possibility of freely and equally debate various issues. The problem that Papacharissi points to is the instead of promoting a new and equal behavioral patterns, it seems that the global capitalistic trend is still highly influential with the internet following it. For Papacharissi, the conditions for the constitution of a public sphere do not depend only on technology, but also on its users and owners. In did today's technology allows more people to engage in politics but this is still not sufficient, in Papacharissi's view, the reestablish the public sphere.
