5 paragraphs. No less than 5 sentences in each paragraph. At least 3 pages long.

Paper needs to open with some sort of general statement about heros and quests. Tie into the movie (Oh Brother Where Art Thou) beginning the 4th sentence.

Discuss the different characters and events that took place in the movie. The Sirens, the bank robber, the KKK scene and such.

Discuss Conflicts:
Man against Himself
Man against Man
Man against Divine spirit / form

Discuss how the songs relate to the theme.

Paper HAS TO discuss about FATE for at least 1 paragraph.

Pay attention to transition in between paragraphs.

Choose any 3 artistic 'techniques' that have been of interest to you from our readings to the current date. Do web site research or other book research to find out more about the technique, how it evolved, what it constitute. Write 2 - 3 pages in which you introduce and discuss this technique. Then discuss the creation of a work of art using this technique, speaking 'in the point of view' of the artist. This may be an 'imaginary' dialogue the artist has with hinself or herself.

By examining the painting by Willem de Kooning, Woman,1, discuss the following elements as well as the components. The paper must be two pages long, typed (#12 Times New Roman) and double spaced. Space, Shape, Lines, other elements and components such as brush strokes, paint,color, texture, and subject matter.
Since in a painting all the elements and components are interconnected,it will be difficult to discuss all elements and components separately. However, for the sake of discussion, you could discuss those things interdependently but make sure that your discussion refers to how those elements and the comonents are related to and connected to overall effect or the outcome of this work.
The paper will be graded upon the following criteria.
Your comments need to reflect your understanding of my lectures, classroom discussions, and reading assignments.
( elements and components of art, modernism art)
Insightfullness and depth of comments
Cohesiveness and effectiveness of the communication demonstrated through the paper which includes that paper must be written without grammatical mistakes.

I have two questions ( I need 150 words response each ) A total of 300 word response to question I highlighted.
Please see question 1 & 2.

1) PROMPT 3 : ( I NEED 150 WORDS RESPONSE) SEE QUESTION BELOW

QUESTION:
Could you give us ONE way in which each painting reflects its time period? My bet is we will find several specific ways in which these paintings reflect the times in which they were created.

It is true that when comparing and contrasting Michelangelo's CONVERSION OF PAUL with that of Caravaggio's, Caravaggio's is much more dramatic. That is part of the culture of the time. Caravaggio uses dramatic features, such as tenebrism(spotlighting)to emphasize the event. He is trying to capture a turning point in Paul's life. Paul does appear to be "reaching out to the heavens for God." The artists of the Baroque period give you a three dimensional photographic realism of their pieces which is what Caravaggio captured.

Michelangelo, on the other hand, used bright, vivid colors and was less dramatic in his portrayal of the CONVERSION OF PAUL. The colors don't seem like what the people in Biblical times would have worn. His was also two dimensional, less realistic.

Both artists include another person in their artwork, perhaps to help Paul after the striking fall to the ground.This is one similarity in the two pieces.

The piece of art I prefer is that of Caravaggio mainly because it's more dramatic and conveys a sense of realism. I also like it because of it's photographic-like quality. Michelangelo's just doesn't seem to capture the story of what happened on Paul's way to Damascus. But both are charateristic of the time periods in which they wer painted..



2) I NEED 150 WORD RESPONSE TO THIS QUESTION:
QUESTION TO ESSAY BELOW:
Since many of you are discussing the placement of Saul in the paintings as well as the close-up versus broad-view perspective of Caravaggio and Michelangelo respectively, I want to ask--why are we shown the rear of the horse so predominantly? And why do my students (not just you all, but overall!) avoid asking -- what is up with the perspective in this piece?!

Push on these images. If you didn't have a response to the horse's rear, I'd say now is the time to ask why...what does that rear have to say to us? What does it say about us as we view art? Don't be afraid to ask, "what is up with the horse's rear being so prominent in the painting."

ESSAY:
In terms of dramatic presentation, it is abundantly clear that Michelangelos rendering of the CONVERSION OF SAUL is far superior to that of Caravaggios rendering of the same painting. This superiority is based upon several facts. First, Michelangelo has long been considered as the quintessential genius of the Renaissance, whether in painting, sculpture or architecture. Second, it was well-known during his lifetime that Caravaggio cared little for the classical masters as compared to Michelangelo. Thus, he drew bitter criticism from many of his contemporaries. One unknown critic even went so far as to called Caravaggio the Anti-Christ of painting (Horst de la Croix, 594). This view of Michelangelos superiority related to the CONVERSION OF SAUL can be supported by comparing several artistic qualities of both artists.
With Caravaggio, his rendering of the CONVERSION OF SAUL was refused on the grounds that it lacked propriety, meaning that the overall presentation of Sauls conversion is more of an accident than a great miracle. The young man who has obviously drunk too has fallen from his horse, yet Caravaggio provides no indication as to who he might be. In essence, the horse in this painting appears to be the centerpiece for our eyes rather than Saul and his conversion. In addition, Caravaggio has paid no attention to the usual dignity appointed to scenes from the holy scriptures (Linda Murray, 156).
In contrast, the rendering of the CONVERSION OF SAUL by Michelangelo demonstrates his tremendous sense of emotion which is presented through his use of light and shadow. The image of Saul, unlike that in Caravaggios rendering, serves as the focus point and clearly defines Michelangelos great respect and admiration for classical motifs and the true representation of biblical events.
Thus, the superiority of Michelangelos CONVERSION OF SAUL is due to his mastery of Renaissance form and style and his adherence to the use of light and shadow which seems to be a natural prerequisite to presenting biblical images and events as they were meant to be viewed.

Work Cited:
de la Croix, Horst and Richard Tansey, Revs. Gardners Art Through the Ages. New York:
Harcourt-Brace-Jovanovich, 1975.

Each student must write a critical book reveiw on a book the student selects. The work is to be summerized making it clear that you read the book-- then the philosophical theme(s) identified, and finally some evaluatory comments are to be included. The paper is to about 1000 words long. I chose Zen and the art of motorcycle maintenance by Robert M. Prisig.

BA Fashion Managament Year 1
UNIT: CULTURAL AND HISTORICAL STUDIES

ASSESSMENT AND PROJECT BRIEF

Fashion provides one of the most ready means through which individuals can make expressive visual statements about their identities. Bennett, A.( 2005). Culture and Everyday Life. London: Sage. p. 96.


Discuss this statement with reference to individual examples.( include images related to the subject ) Taking into consideration the statement above and relate to fashion consumption.


Your essay (2000 words) must be presented in academic format, with bibliography and references.( HARVARD REFERENCING.)
IT SHOULD NOT BE OVER 20% ON TURNITIN.

Your answer should include:
Reference to key themes, debates and concepts covered in the unit
Referenced quotations (using Harvard referencing) from at least four academic texts to support your argument
A critical analysis of examples relevant to your degree subject
The conventions of academic writing

Upon successful completion of this unit you will be able to demonstrate:

1. an awareness of Cultural and Historical Studies as an academic discipline and its relationship with debates concerning fashion and beauty (subject knowledge);

2. an engagement with, and understanding of, relevant academic literature (research) ;

3. critical and analytical skills (analysis);

4. the ability to communicate effectively in an academic style (communication and presentation).

READING LIST:

?Bennett, A. (2005) Fashion, in, Culture and Everyday Life London: Sage.
Short, accessible discussion of the relationship between fashion and social identity, invaluable reading for the essay.

?Church - Gibson, P. (2006) Analysing Fashion, in, T. Jackson, D. Shaw (eds). The Fashion Handbook London: Routledge.
Very short, very readable introduction to the themes covered in this unit.

?Dant, T. (1999) Wearing it out: Written clothing and Material clothing, in, T. Dant, 1999, Material Culture in the Social World Buckingham: University Press.
Useful discussion of many of the key ideas that underpin this unit.

Edwards, T. (2011) Fashion in Focus: Concepts, Practices and Politics. London: Routledge.
Very useful introduction to understanding fashion, introduces many of the key issues that are central to this unit

English, B. (2007) A Cultural History of Fashion in the 20th Century Oxford: Berg.
Self explanatory title, very good at situating specific designers and trends in their broader cultural context

Entwistle, J. (2000) The Fashioned Body: Fashion, Dress and Modern Social Theory Cambridge: Polity.
Hugely useful overview of many of the issues covered in this unit. Do not be put off by chapter one which is far more complex than those that follow.

Kaiser, S. B. (2012) Fashion and Cultural Studies. Oxford: Berg.
Very useful introduction to understanding Cultural Studies approaches to fashion, introduces many of the key issues that are central to this unit ??" well worth buying.

Further reading

Baldwin, E. et al (1999) Introducing Cultural Studies London: Prentice Hall.
Useful and relatively accessible introduction to the main themes of cultural studies, does not focus on fashion but offers a valuable overview of many of the key ideas used to study and understand fashion within a cultural studies approach.

Barker, C. (2000) Cultural Studies: Theory and Practice London: Sage.
Like Baldwin above a useful and relatively accessible introduction to the main themes of cultural studies, does not focus on fashion but offers a valuable overview of many of the key ideas used to study and understand fashion within a cultural studies approach.

Barnard, M. (2007) Fashion Theory: A Reader London: Routledge.
Invaluable and exhaustive collection of readings covering a range of themes considered on this unit, not always introductory, but with very clear section introductions.

Breward, C. (1998) Cultures, Identities, Histories. Fashioning a Cultural Approach to Dress. in Fashion Theory 2 (4).
Sophisticated (and short) introduction to Cultural Studies approaches to studying fashion

Breward, C. (2003) Fashion Oxford: Oxford University Press.
Useful introduction to understanding fashion, introduces many of the key issues that are central to this unit.
Craik, J. (2009) Fashion: The Key Concepts Oxford: Berg.
Very readable textbook that covers many of the issues explored in this unit at an introductory level.

Finkelstein, J. (1996) After a Fashion Melbourne: Melbourne University Press.
Short, lucid and accessible introduction to many key approaches to understanding fashion.

READING LIST ABOUT CONSUMPTION:

- Bocock, R. (1992) Consumption and Lifestyles, in R. Bocock and K. Thompson Social and Cultural Forms of Modernity Cambridge: Polity.
Very useful general discussion of approaches to understanding consumption.

- Miles, S. (1998) Consuming fashion in S. Miles Consumerism as a Way of Life London: Sage.
Useful short overview of some of the key approaches to fashion consumption.

Question 1:

During the Renaissance and Baroque periods the type of patron diversified beyond the church to include private individuals, city governments, and corporate commissions, sponsored by entities such as the Wool Guild. These patrons that were outside of the church were essential to artists to ensure their financial livelihood. Often artists, like Michelangelo, were forced to take commissions and complete works that they did not want to undertake. In 3 well developed paragraphs, discuss:

a.Michelangelo?s version of David was a public monument commissioned by the Florentine city council. How do you see the context of a city government as patron influencing how Michelangelo visualized the biblical hero David?

b.The biblical hero David was a popular subject for sculpture and painting throughout the Renaissance and into the Baroque period. By studying, comparing, and contrasting sculptures of David created in the fifteenth, sixteenth, and seventeenth centuries, you can begin to see the stylistic changes that occurred across these centuries. In 3 well-developed paragraphs, compare and contrast the following 3 sculptures of David:

1.Early Renaissance: Donatello. David. 1430s.
2.High Renaissance: Michelangelo. David. 1504. (Note: Scroll down to image 20-10).
3.Baroque. Gian Lorenzo Bernini. David. 1624?1624.

In your comparison, discuss:
?What specific visual similarities do you observe in these three sculptures?
?What specific differences do you see?
?How has the attitude of David changed between these three representations of David?

Be sure to explain your ideas clearly and support them by discussing specific works of art that you have read about this week, talking about how they illustrate and support your ideas.

Question 2:

In Northern Europe, the group portrait was a popular genre of painting in the Dutch Republic, and Rembrandt was in high demand as a portraitist. In 3 well developed paragraphs, discuss:

a.How did Rembrandt revolutionize the group portrait? Examine his works The Anatomy Lesson of Dr. Nicolaes Tulp and The Company of Captain Frans Banning Cocq (The Night Watch)?

b.Artists like Rembrandt and the other successful Dutch portrait artists laid the foundation for what today is seen as a proper or successful portrait. From the official portrait of Kate Middleton (2013) in England, to the portraits of US presidents, to those of CEOs in major corporations all owe a debt to the work of Rembrandt, Hals, and other seventeeth-century portrait painters. Locate 2 contemporary portraits and discuss the visual characteristics that are inspired by Rembrandt's style.

Be sure to explain your ideas clearly and support them by discussing specific works of art that you have read about this week, talking about how they illustrate and support your ideas.

Respond to both questions as thoroughly as possible, making sure to use information from the readings and the lectures. All responses should be in complete sentence form, using proper spelling and grammar.

This is just a discussion assignment. The Pictures are attached. Thank you.

1) I Need 150 words response:
I think the current American culture (and that of the world as well) would not surprise Montaigne Of Cannibal at all. He notes that each culture seems to feel they are "right" and everyone else is "wrong," and this certainly hasn't changed in today's world. Many Americans seem to think they and their form of government are the best in the world, and others want what we have, even if they don't. We don't take much time to learn about other peoples and cultures, because frankly, I don't think most people care about anyone else but them. We have a very "me oriented" society, and I don't think that would surprise Montaigne either. What he talks about is a society and people who are so sure they are right that they feel superior to everyone else, and that continues today. We are sure of the rightness of our society, but we also are not very interested in others. We will give generously when there is a disaster somewhere around the world, but chances are most of us don't know our next door neighbor. We can be very selfish and self-centered, and I think that comes from being so sure our ideas are right and "good."
We have very lofty principles for this country, from freedom and equality to democracy. However, I don't think a lot of us pay attention to them on an individual basis, because of the qualities Montaigne talks about.Our society has big barriers between races and religions, even if we talk about freedom and equality. We are also the richest country in the world, but we still have crushing poverty in our own country. I think we talk a good talk, but in reality, we have all the problems of other societies, we just try not to think about them, or pretend they don't exist.
References:
(Montaigne, Michel D. "Of Cannibals." Victorian Web. 2003. 26 Jan. 2007. http://www.victorianweb.org/courses/nonfiction/montaigne/cannibals.html).
QUESTION: ( 150 words response ) Do you think that we place values before us in unbending ways when we are less sure of ourselves?


2) I Need 150 words response:
The artists Michelangelo and Hieronymus Bosch both grappled with the fallen nature of the human soul, the relationship of humankind to God, and the relationship of sinning human beings towards one another in the life to come as well as on earth. However, while Michelangelo was able to find goodness and beauty in the human form in his works as an artist, even when depicting the Last Judgment and the Fall of Man, Boschs Garden of Earthly Delights instead shows the ugly consequences of human folly. This stands in sharp contrast to the tragic yet beautiful human images enduring fall from Eden of the Creation of Adam and suffering The Last Judgment Michelangelos images are always recognizably human, unlike Boschs grotesque forms.
Michelangelos Creation of Adam, Michelangelos Last Judgment and Boschs Garden of Earthly Delights all depict divine forces as living actors in the world, judging people who perpetrate sinful actions. They dramatize how human beings held accountable for their wrongdoings. God is the creator and humans as are His sinning children. But while both Adam and Eve are still evidently Gods creations with forms like the divine creator in the painting, Boschs work show humans as hideous, spindly suffering animals. They are presided over by Satan, depicted as a bird sitting in a chair that devours the humans who let sin take control of their free will. In Bosch, Satan figures as prominently as God.
The Garden of Earthly Delights was intended to be a large altarpiece. The center portion of the triptych shows the entire world engrossed in worldly pleasures, which will have terrible consequences after death. Michelangelos works show the suffering faces of sinners, as in The Last Judgment but their final punishment is not as graphically depicted. The sinners merely look horrified, like Adam and Eve of The Creation that they are being cast out of heaven or paradise. That is punishment enough, Michelangelo suggests, one does not need to actually show what will await the sinners in hell.
In all of the pieces is the humans are not clothed. Michelangelos Last Judgment depicts all humans as naked to show mans soul is bared to God, as was true of the origin of Man in the garden. As Man was created naked in ignorance before disobeying God, now Man is naked again before God, at the end of time. But Bosch uses his grotesque sinners nakedness to underline these individuals base and lustful natures and how their shameful acts warrant horrific punishment. They are not clothed because their souls are bare, but because they have lost all the trappings of human civilization.
Michelangelos judging Jesus is a handsome young man with no beard, who looks young and beautiful, and to be estranged from God is thus to be estranged from beauty, while to sin for Bosch is to dwell in ugliness. In all three of these paintings, it is clearly shown that humans are tempted and may give into their baser impulses that estrange them from God. In Michelangelos paintings to lose God is to lose Eden and to lose the beauty of heaven and Christ, while for Bosch, to sin is not merely to lose the chance of eternal happiness, but to suffer in hell for all time.
Michelangelo inspires the viewer to want to become a better human being, and to choose the correct path to become a part of Gods beauty and light. God is worthy of obedience, because He has created a beautiful world, and is beautiful and just. Bosch inspires the viewer to fear God, not necessarily to strive to better ones moral judgment, because the world to come for sinners is so utterly debasing.

REPLY:
I agree with your observation that Michelangelo was able to find goodness and beauty in the human form, even in his depiction of the Last Judgement. You have a point that the nakedness of the figures indicates their soul being bared in God's sight. in Bosch's work, the nakedness of the figures seems to take on a sordid note, and it adds to the debaucher being displayed.

I thought it interesting that over half Michelangelo's painting is given over to the salvation of man, while hell is relegated to the bottom right corner. This is in stark contrast to Bosch's work, that shows a grotesque view of hell, and doesn't show any shred of salvation.

QUESTION: ( I NEED 150 WORDS RESPONSE) ART INTERPRETATION:
The first two things I noticed about Bosch's "Garden of Earthly Delights" was: #1 - The two black figures in the lower two corners. This struck me as odd. I also wonder about the significance of the apples on their heads. #2 - My eye was drawn to the red "A" shape in the center. Is this reminiscent of the scarlet "A" that adulterers were forced to wear? It would seem to fit within the context of the painting.

Compare and contrast the dome construction of the Hagia Sophia, (p. 257, ill. 8.29) with that of the Pantheon, (p. 206, ill. 7.39). How does the Hagia Sophia in its architectural form synthesize East and West in a single, powerful statement?
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For this paper, there is no minimum number of citations that are required. However, if you do use information directly from a source, you must cite the source for your information in a footnote or endnote and include bibliographical information. Exception: the text we use in this class is "Modern European Art" by Alan Bowness. If you use any information from this book, you do not need to cite the source.

The subject of this paper is Ernst Ludwig Kirchner's "Bathers Beneath Trees" and Franz Marc's "Bathing Girls." Both of these paintings are of the same subject, three women in nature getting ready to bathe/swim. Both are utopian visions of what each artist felt was ideal; however, how each artist expressed his sense of utopia is very different. You should compare and contrast these two paintings in terms of the artists' style and use of color. Additionally, you should relate these paintings to others by the same artists. Also, you should compare these paintings to other paintings of utopian idealized places (Gauguin, Rousseau, etc.) in terms of how the different artists figured out what his utopia was.

A former analysis on Francois Boucher's The Toilet of Venus.
Strictly based on visual analysis and no other sources, determine: What does the artist depict? How would you charecterize the composition? Has the artist employed linear or aptmospheric perspective? What about the use of color?How are lines, space, and coors used in the composition? What are the colors' qualities and how do they convey meaning?How does technique contribute to the work? Form larger conclusions about the work's style (i.e are the forms natural in appearance and portrayed realistically? are they idealized?abstracted?) Finally, offer suggestions what you consider the work's meaning or content.

Dear Writer

Please fill in the research proposal application form, ethics application and a defence of the extended research proposal (A2010004)

Please pass on this order to the writer who is writing order no A2010004 ( Extended Research Proposal)

The forms have sent via email as attachments on Sun 20th June 2010 5:30 am AEST

Due Date: 15th August 2010

Must be scholarly

The topic 'Rethinking Curriculum for International Education In Australia'

I have paid for 3000 words

The defence presentation must be based on the extended research proposal (A2010004). It has be presented for 40 mins before the panel

I leave it to the writer to decide the number of pages for the defence of the research proposal. The defence must be scholarly

Thank you

Melville Miranda

In this Unit, we discussed how dance moved from palace to stage. Below, you will comment on the development of other forms.

First Step: Writing (300 words)

Assignment Criteria: Write a short response to the following prompts...
Identify a dance form--other than ballet--that you are familiar with and discuss how it has developed.
How has this dance form changed? Is it more or less significant in culture now?
Provide images and/or video links of the dance form you are discussing. If possible, try to provide examples that demonstrate development or change.
How does the development of the dance form you chose compare or contrast to the development of ballet as presented in this unit?


Second Step: Comment on 3 other posts. Do you recognize the forms they posted about? What are your thoughts?
(about 100 words each)

1. Nicole said
A form of dance that I am familiar with, and used to perform when I was on a Dance Team throughout high school was lyrical. Lyrical is a form of modern dance, which has ballet and jazz combined into it, but you relate it more to the ballet side, with all of its graceful and strong movements but they become relaxed and peaceful to tell a story. It requires lots of technique, form, and facial expressions in this type of dance; also really show the dancers feelings and movement as they are performing. They say that lyrical had emerged in the 1970s after the culture change. It was a new form of dance to really show your emotions through your facial expressions and your actions. Describing lyrical dances means that the dancers are relating their movements to the actual lyrics in the song. It looks as if they are rein acting the movements as the singer is singing! This form of dance has stayed the same, and now in fact it has become more popular in todays society. People who sign up for dance have an option of taking lyrical, just as if they were offered to take ballet, tap, jazz, hip-hop, etc. It really shows how gracefully or strong you can dance and explain the lyrics of a song you are dancing too. Lyrical relates to this weeks section of Balanchine Aesthetic. He felt choreography was a personal response to the music, and this is exactly what you do in lyrical, when you respond to the music through your attitudes and movements. He also used rhythm and texture to spark his moves, and this also relates to the choreography of lyrical, because you are retelling a story. In my eyes lyrical is a great way to take your mood out in dance, or express the way of telling a story about the music, but with your attitude an facial expressions added throughout it makes your piece of dance become beautiful. Here are examples of strong lyrical dances I have found of two different age groups who have performed it.


http://www.youtube.com/watch?v=JjxAtqobNBk


http://www.youtube.com/watch?v=fcjrCP1YXSg



I will let you know about 2nd and 3rd comment very soon


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Customer is requesting that (dmusings) completes this order.

Direct quotes should be avoided. References must be academic. Here is a list of prefered references:
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Saeed, A. and Akbarzadeh, S. (eds). (2001). Muslim Communities in Australia, UNSW Press, Sydney.
Shaw, W. (2007). Cities of whiteness. Blackwell, Malden MA.
Tavan, G. (2005). The long, slow death of White Australia. Scribe, Melbourne.
Taylor, P. (2007) Why we are Australians: 125 defining men, women and moments over three centuries. The Five Mile Press, Rowville, Vic.
Thomas, M. (1999). Dreams in the Shadow: Vietnamese-Australians lives in transition. Allen and Unwin, Sydney.
Tyler, H. (2003). Asylum: Voices behind the Razor Wire. Lothian: South Melbourne
Vasta, E. and Castles S. (eds) (1996). The Teeth Are Smiling. Allen and Unwin: Sydney.
Viviani, N. (1996) The Indo-Chinese in Australia 1975-1995: from burnt boats to barbecues. Oxford University Press, Sydney.
Walker, D. (1999). Anxious Nation: Australia and the Rise of Asia 1850-1939. University of Queensland Press: St., Lucia.
Windschuttle, K. (2004) The White Australia Policy: race and shame in the Australian history wars. Macleay Press, Paddington NSW.
Wise, A. and Velayutham, S. (eds) (2009) Everyday Multiculturalism. Basingstoke, UK, Palgrave Macmillan.

International
Adams, G. et al. 2008. Commemorating Brown: the social psychology of racism and discrimination. American Psychological Association, Washington, DC.
Bauman, Z. (2004). Wasted Lives: Modernity and its Outcasts. Polity: Oxford.
Bennett, D. (ed) (1998). Multicultural States: Rethinking Difference and Diversity. Routledge: London.
Bolaffi, G. et al (eds). (2003). Dictionary of Race, Ethnicity and Culture. London, Sage.
Brah, A.; M. Hickman and M. Mac an Ghaill (eds). (1999). Thinking Identities: ethnicity, racism and culture. London, Palgrave.
Castles, S. and Miller, M. (eds) (2003). The Age of Migration: International Population Movements in the Modern World Third Edition. Hapshire: Palgrave Macmillan
Feagin, J. (2010) The white racial frame: centuries of racial framing and counter-framing. New York, Routledge.

This essay will be in 3 parts:
First;
You will answer the question below( only one paragraph)-with a clear thesis or a main claim-
Also send the key ideas (like an outline with it)
Analyze the object or system, making use of the concepts, distinctions, and arguments explored so far.
Why does the technology have the form factor (i.e. the physical shape, size, and structure) that it has? Is it because the design is the best possible, in some technical sense (e.g., Normans understanding of user-centeredness)? Or are other factors involved in determining the actual design of the object or system?

Second;
Evaluate what you have writen by answering these questions:
-what is the thesis, is the thesis clearly stated?Does it demonstarte the understanding of the Normans understanding of user centerdness?
-Are the ideas presented in a coherent, rational argument?did you give spesific reasons why you are defending should be accepted as the most accurate,adequate or true?
-How does the answer help you, can the curious but uninformed reader undertand the social.moral and political dimensions of the technology that you have chosen to write about?what changes to the content ot structure of your answer would help make a more compelling case?

Third:(which is the most important part)
Revise your writing in light of criticism that you have written. Can you sharpen or simplify your thesis(the claim you are defending)? Can you thinghten the argument-that is, the reasons you are offending in defense of your views? could they be supplemented, or their order changed, so as to make an argument stronger (more persuasive)?
-by revising it write the first part more detailed way.

My english level is ESL 3, so please use easy words and setences please
Thank you.

GUIDELINES FOR RESEARCH PAPER


Building on the close looking that you did in your first paper (the formal analysis), this research paper should investigate and develop aspects of your chosen subject/work of art, considering it in its historical context and in regard to its contemporary implications.


Getting started: Revisit your Formal Analysis paper and look closely again at your work of art. Think about what the various elements of the object might mean, refer to, suggest, etc. Write down questions that come to mind and make a list of issues to pursue. Focus on the subject matter and other issues regarding the work?s historical context more than the artist?s biography. The artist?s biography may have a role in your paper, but this is not your subject. Your work of art is your subject. The quality of your questions is vital and will lead you in interesting and important directions in your research.


Gather reference sources?both images and useful texts.


Look for related objects that you will bring into your discussion. (Google Image Search is great, but don?t forget to scour the books!). Make copies, keep good records of what looks useful.


Texts: Go to the library!!! Do NOT limit yourself to online websites. Begin with the most scholarly recent book on your topic that you can find (does the book have footnotes or endnotes? This is a sign of a scholarly book). Look at the book?s bibliography and footnotes for other relevant sources and go get them. Do online searches for other books and scholarly articles. Read them. Follow up on your list of questions, finding answers. Make notes, writing your own observations (and being careful to distinguish your own words from those of others, noting the source and page number so you can do your footnotes). Consider what thesis would be most appropriate to your subject (see thesis section below).


The final text must be accompanied by footnotes or endnotes and a bibliography (see instructions below regarding format) which include at least six sources other than the textbooks and internet websites (note: journal and periodical databases found on the UI Library website lead you to scans of scholarly sources; these are not considered websites even though you access them electronically). The quality of sources will be evaluated and your choices will factor into your grade since good scholarship uses only the most authoritative resources.


Not all sources are equal. Online sources are easiest to find but vary tremendously in quality. You must be especially skeptical of online sites and evaluate the credibility of everything you read. Is it a site sponsored by a reputable institution? What are the credentials of the author? Is the information accompanied by notes that allow you to verify the information?


Sources can be divided into two basic categories: primary and secondary. Primary sources are materials written around the time of the work of art?s creation, either published or unpublished. These can include diaries, letters, newspaper accounts, critical commentary, etc. Secondary sources are texts written (usually by scholars) more recently, looking back on a subject. It is usually best to begin your search by finding the most scholarly recent book on your topic that you can find. Read it for content, but also look at its bibliography and footnotes for other relevant sources. Look those up and continue the sequence of looking at and for their sources. Soon you will see patterns, both of information and in regard to which sources are the most comprehensive and authoritative (those will be the ones most often cited). These are probably the ones to utilize most thoroughly.


Follow up on your list of questions, finding answers and formulating new avenues for investigations. Make notes, writing your own observations (and being careful to distinguish your own words from those of others, noting the source and page number so you can do your footnotes). Consider what thesis would be most appropriate to your subject (see thesis section of Guide to Analysis).


Make copies, keep good records on what looks useful so you can return to the sources when necessary. Start your bibliography now, ideally entering the information into your records in the proper Chicago Manual Style. This will save you lots of time later.



THINKING BEYOND THE FORMAL ELEMENTS

ICONOGRAPHY

Iconography refers to the work's meaning or content. This can include the subject matter as a whole or parts of an image that have particular connotations or allusions. These can be conventional formulas common to a particular time and place, symbols and attributes that identify figures, or other elements that provide interpretive possibilities to a viewer. They can also be personal forms invented by the artist to express feelings and ideas about a subject. Some iconography will be readily understood; other aspects of its implications may only become clear after research.

1. What are some of the iconographic elements in the work? How are they important to the composition? Which are the most important? What are some of their possible implications either as parts or in regard to the whole? (This can be either a formal or a conceptual issue or both).

2. Are there known sources for the iconography? (possibilities include other art, literature, the artist's life, historical events, religion or mythology, popular culture, etc. See also context below.) Is this important, even vital information for understanding the work? (Most of this section will require research to answer.)

3. How has the artist interpreted the source/s? Are some aspects stressed over others and how does this change the effect? What kind of response does this evoke in the viewer?


CONTEXT

The context of the work's creation and reception can be essential to understanding its significance. This can include the social, religious, political, or historical circumstances which led to its creation, the personal circumstances of the artist, how the work relates stylistically and iconographically to other works of the same period or before it, the nationality, ethnicity, or gender of the artist or patron, the goals and aspirations of either, the intended function or placement of the work, etc. Investigating context requires research.


It is not always possible or even advisable to address all the possible contexts of a work of art. After briefly acknowledging as many as you think appropriate, focus on those or the one that seem most significant. How does the work fit into its context or respond to it? How do we understand it better by knowing these things? The artist?s biography may have a role in your paper, but this is not your subject. Your work of art is your subject.



THE ALL-IMPORTANT THESIS

What is the central issue of your research paper? The thesis presents this issue and is the most important part of a paper to which everything else must relate. Most succinctly, a thesis is a statement (not a question!) that can be argued, often an observation that asserts something (in art historical papers) about the meaning of an image. It can be somewhat speculative or hypothetical (conjecture/interpretation), but should be defensible with information other than opinion.


In art history papers the thesis is often placed after the introduction and formal analysis of a subject and before the discourse gets too far into any research findings. There it serves to offer direction to the information that follows and to suggest the ultimate conclusions that will be developed through the course of the paper.


To develop a thesis (and to figure out for yourself ?What is this paper about??) and to guide your search for good research sources, do the following:


Look closely and repeatedly at the work(s) of art you are considering.


Make lists of questions that occur to you: Why does ___ look this way? What does ___ mean? Where did this image/element etc. come from? Whose idea was this? What was important about this ___ at the time? Why? etc. The list is endless. The better and more probing your questions the more interesting and productive your research (and paper) will be.


Investigate, in research sources (see below), the questions that seem most interesting and promising to understanding the object and its significance. Often these concern iconography and context. Your sources can include a variety of possibilities, both art texts and other sources; ask your professor and/or T.A. if you're not finding helpful sources and answers.


Which of the things you asked questions about seems most important and/or interesting to the work? To you? (The first is most important, but don't pursue something of no interest to you.) Do your preliminary answers answer some questions even as they raise others that you might pursue with additional research? This is a good sign.


What do those issues suggest about your topic/work of art? What does this possibility promise for understanding it better? At this point your answer to this will be a hypothesis.


Work on phrasing this statement effectively. This is your thesis.


A thesis must have several qualities: it is an arguable statement/assertion/premise that promises to reveal something interesting/significant about the subject. The implication, of course, is that through research and your subsequent text you will persuade your reader that your thesis is plausible. The possibilities are broad and will be determined by your particular subject, but seek advice if unsure.


Once into your research, do not give up if you do not find definitive "proof" that your thesis is true. Seek advice or think of other sources to check. Reevaluate your ideas. Rewrite your thesis if necessary. Some premises are better that others, but your main responsibility is to argue your thesis as effectively as possible and with as much evidence as you can find?to create a ?likely story.? Can you persuade your reader that your interpretation is a good one?


CITING SOURCES: NOTES

?Notes? refers to either footnotes or endnotes. Both are equally acceptable. These provide acknowledgment to scholars who have worked before you and allow readers to verify your findings and follow up with additional research. Failure to provide such citations appropriately can constitute plagiarism.


WHEN ARE NOTES NEEDED?

For sentences, phrases, clauses, and paragraphs taken from other sources. These words must be put within quotation marks and accompanied by a note.
For facts, ideas, and interpretations that you derive from sources other than your own mind.


"General knowledge? need not be cited, however, even if you didn't previously know the information. "General knowledge" refers to things that are commonly known to anyone relatively familiar with the subject, not complete newcomers. It requires some common sense to determine what is and isn?t ?general knowledge,? but a rule of thumb is that if you can find information in at least three basic sources on the topic you do not need a note. Even so, it is useful to cite the best comprehensive source (usually the most recent) for a general issue when you first raise it. When in doubt, err on the side of caution and provide a note.


NOTE STYLE:

Note style should be in the Chicago Manual of Style format, note numbers positioned at the end of sentences which refer to numbered notes that are placed either at the bottom of the page or the end of the paper. Do NOT use the social science and science form of notes which places references in parentheses within the body of the paper.


The note numbers in your paper should be sequential, with a corresponding note for each. (Do not, for example, simply type up list of sources, number the entries, and scatter those numbers in your text where those sources are relevant). Word processing programs (e.g. Microsoft Word) will do this for you and keep them numbered properly. Use your ?help? commands for instructions or ask someone (such as your TA) if you don?t know how to insert notes in your paper.


For the format of the notes themselves, refer to Kate Turabian's Guide for Writers or the Chicago Manual of Style (see digested version posted on ICON site under ?Content.?) Proper bibliographic form is described there too. These are basic and essential tools for a university education--learn them.


Feel free to use ?discursive? notes that includes text such as ?This source also includes helpful information on?? Or: ?For additional information see?.? You can also write addition information that is related to your main text, but that does not exactly fit with your narrative.


Do not interrupt sentences with note numbers. Place the numbers at the end of sentences after the punctuation. If the information in a sentence refers to more than one source, simply use one note for both and clarify this in the text of the note (?the information on ___ derives from ___ and the point about ___ is found in ___?).


If you quote or cite something that is quoted in a secondary source (in other words you are finding it through a book written later than the original source) it is important to cite both the original source and the source where you found it. Example: Thomas Cole, ?Essay on American Scenery,? The Crayon (1836), p. 3; quoted in John McCoubrey, Sources and Documents (New York, Abrams, 1969), p. 23.


BIBLIOGRAPHIES

You must also provide a bibliography that lists not only the sources you cite in the notes, but also all the texts you found useful in your research, even if you didn?t quote from them or cite them specifically in your paper. Class lectures should not be included, nor should the textbook for this class.


For the format look through Kate Turabian's Guide for Writers or the Chicago Manual of Style (see digested version posted on ICON site under ?Content.?). Remember that bibliography form and note form is slightly different.


WRITING THE PAPER

Your first paragraph should introduce your topic, explaining briefly its most important and interesting aspects, and should end with a statement that suggests your thesis if not actually stating it.


Turn next to the object itself?the formal analysis. This should be at least a page and a half revision from your first paper and should direct us toward the end of this section toward the issues of the thesis. If you have not already stated your thesis do so at the end of the formal analysis.


The central ?body? of the paper is next. Here you should offer historical information, comparative images, and other aspects of your research that support your thesis and interpretation of your work of art. Everything should advance your argument/develop your thesis. This section can be as many pages as necessary, but this is the core of your paper. By the end of this discussion your reader should be persuaded that the issues you bring to bear on your topic are relevant and important to understanding your image and its larger implications. Write your footnotes/endnotes as you go along.


Conclusion. Revisit your thesis and explain how it helps us understand your work of art more effectively. Summarize the points you have made, and end with some final comments about the significance of these new insights.


Write your bibliography. Read and edit your draft repeatedly, revise and polish.


Include copies of all the images you discuss with full caption information (artist, title, date, medium, collection), and numbered to correspond with your mention of them in your text. Use ?Fig. __? in your text, in parentheses.


On Sun, Dec 3, 2017 at 11:22 PM, Elias Kontopoulos wrote:

Also,

Below is my Rubric for the research paper. Please follow the guidelines and may I please have access to communicate to the writer.

Thanks Elias


GUIDELINES FOR FORMAL ANALYSIS OF VISUAL IMAGES


IMPORTANT:

Good writing matters a great deal and this will factor significantly in your grade! No one (even professional writers) writes well enough to consider the first or second draft a finished paper. Give yourself time to write a draft, set it aside and then return to it for editing and rewriting?several times. See below for writing suggestions and dos and don?ts.


The analysis of a visual image should begin with a careful examination and discussion of its formal qualities. Begin with a basic description of the object to orient your reader to its overall appearance before moving into more analytical observations.


The questions and points under each heading below will not apply to every work, nor is it necessary to follow their order exactly. Part of the effectiveness of your analysis will be in how you choose among them to fit your subject. Although this is in outline form you should frame your observations through paragraphs that are conceptually and grammatically linked. Attention should be given to clear organization so that your analysis is thorough but not repetitious or tedious. Try to be precise in verbalizing your visual impressions and ideas about your subject, always remembering that you must be able to support your opinions with objective observations that can be checked by others. Be sure to distinguish what you actually see from your reactions, tastes, and associations.


Write your paper as a single essay; do not use subtitles or numbers that you find in this outline.


IDENTIFICATION AND INTRODUCTION

Introduce your work of art with the basics. What sort of work is this? (painting, sculpture, etc.) Who was the artist? What is the title, date, location? What is the subject? (Biblical, mythological, historical, genre, portrait, etc.) Give the source of the subject if known. (Hint: it is often useful to rewrite your introduction after you have finished the whole paper and incorporate an indication of your thesis/conclusion that will follow.)


THE ELEMENTS OF FORM

Start with description; do not assume that we can even see the art. Order your ideas logically from most basic and most dominant or important to secondary issues. Then move to analysis which is observing how the elements work together.



General Observations. What are the general shape, scale, and proportions of the work?
Composition. What are the major elements of the composition, and how are they related to each other? Is the composition compact and contained, or are the elements loosely arranged? In a painting, how does the composition relate to the size and shape of the canvas or panel?
Line. Line can be actual or implied. It can function as contour or be suggested by the composition. How is line used by the artist? Be aware of the presence of line in sculpture and architecture.
Color. Describe the colors used and how they are organized and related to each other. Does the color unify parts of the composition? Does it bring planes of implied space closer together or help to suggest recession? Does the color help to focus the viewer's attention on one or more important elements in the composition? Is it natural or artificial? Is it used objectively or is it intended to evoke an emotional response in the viewer? Be aware of the function of color in sculpture and architecture.
Light and shadow. How are light and shadow used to define form and suggest plasticity, or does their absence flatten them? Are light and shadow used to heighten the expressive effect of the work, or do they have some other effect in the work?
Space. What kind of pictorial impression is created--deep recession, shallow, or flat? What devices are used to suggest pictorial space? (If this is line, incorporate with above.) Consider linear and aerial perspective, overlapping of forms, foreshortening, figure-ground and color relationships. In sculpture consider the way the sculpture?s forms are organized and the way they relate to the surrounding space. Is there a primary view? How does the profile of the sculpture change from different points of view? How are voids and recessions used to enhance these effects?
Medium and Technique. Every medium has certain characteristics and properties. How does the medium affect the formal qualities of the work? Consider the texture or the quality of the surface revealed by light. Is it shiny, dull, hard, soft, rough or smooth? How do the medium and technique affect the overall appearance of the work?
Style. (These issues may be part of your general observations above)

a. Are the forms portrayed naturalistically or are they idealized to conform to other notions of physical beauty?

b. Are the forms abstract or have they been derived/abstracted from nature or from some other source? How is this conveyed visually? What is the expressive effect of the stylization?


SPECIAL CONSIDERATIONS FOR ARCHITECTURE

Some of the above categories are relevant to architecture, but also consider the scale and proportion of the building and the architect's articulation of space and mass. These are expressed both in the plan of the building (essentially a map of the floor area), the section (a vertical "cutaway" view) and the elevation (a head-on view of external walls).

1. Are there any special characteristics that are the direct result of the particular structural system?

2. Is an emphasis given to the viewer's experience of the exterior or the interior of a structure, or are they of equal importance?

3. Are the proportional relationships of the parts of the structure based on a certain module (a dimension of which the various parts of the building are fractions or multiples)?

4. Some buildings have a "program" or significance which is directly related to its function in society. How does the design of the structure reflect its function? How does it express certain concepts that are characteristic of the period and the culture in which it was built?


SHAPING YOUR PAPER: THE THESIS

Although this paper is a visual exercise and not a research paper it still should have a thesis which gives your observations and comments focus and provides an overarching ?argument? or rationale.


A thesis is a statement (not a question!) that can be argued, and in art historical papers is a thoughtful observation that asserts something about the meaning or significance of an image. It can be somewhat speculative or hypothetical (conjecture/interpretation), but should be defensible with information other than opinion.


The thesis in your research paper later in the semester will need to be more thoroughly developed and based on research sources as well as visual observations, but even a formal analysis can and should have a thesis. It need not be profound or even particularly original, but should be a statement that asserts what is the most compelling or interesting part of your subject and it should guide the rest of the things you say about your subject throughout the paper.


To develop a thesis (and to figure out for yourself ?What is most significant about this object?) do the following:


1. Look closely and repeatedly at the work of art you are considering.


As you look and write, make lists of questions that occur to you: Why does ___ look this way? What forms or formal elements predominate? What others interact with them or complement them? What is the visual effect of ___? How is that visual effect produced? The possible questions are many, but the better and more probing your questions and observations the more interesting and productive your thesis (and your paper) will be.


Which of the things you asked questions about seems most important and/or interesting to the work? To you? (The first is most important, but don't pursue something of no interest to you.) Try to answer your questions yourself, just through thoughtful looking.


Do your preliminary answers answer some questions even as they raise others that you might pursue with additional research (if this were a longer paper)? This is a good sign.


What do those issues suggest about your topic/work of art? What does this possibility promise for understanding it better? At this point your answer to this will be a hypothesis.


Work on phrasing this statement effectively. That revision will be your thesis.


A thesis must have several qualities: it is an arguable statement/assertion/premise that promises to reveal something interesting/significant about the subject. The implication, of course, is that through the text that follows in your paper you will persuade your reader that your thesis is plausible. The possibilities are broad and will be determined by your particular subject, but seek advice if unsure.


In a short formal analysis paper such as this the thesis should probably be placed at the end of your first introductory paragraph.


EXAMPLE


Jackson Pollock?s Mural (1943), is a very large abstract painting owned by the University of Iowa Museum of Art. Measuring nearly nine by twenty feet, it is a highly abstract, oil on canvas painting dominated by large swirling lines that provide a rhythmic energy to the image. Although many other formal elements contribute to the painting?s visual effects, line is Mural?s most dominant feature and the most compelling part of the work.

This is a very simple and straightforward thesis, but note the way that the last sentence does more than just make an observation. It asserts that one particular feature of the painting is especially important. Of course, in art, there is no absolutely right or wrong, and in this case other aspects of the painting could be presented as the most compelling formal quality (the shallow space, the overall effect of the marks on the surface of the canvas, the energy and rhythm of the brushstrokes, etc.) But whichever quality is selected the implication of the thesis statement should suggest that while other aspects of the image are important and will be discussed in the text that follows, one is especially significant and will be emphasized.


WRITING THE PAPER

Your first paragraph should introduce your topic, explaining briefly its most important and interesting aspects, and should end with a statement that suggests your thesis if not actually stating it.


Turn next to the object itself?the formal analysis. Begin with basic description of the visible elements and then turn to analyzing the component arts and the ways they function visually together in the composition (see outline above for suggestions.)


Conclusion. Revisit your thesis and explain how it helps us understand your work of art more effectively. Summarize the points you have made, and end with some final comments about the significance of these new insights.


Read and edit your draft repeatedly, revise and polish. Include copies of all the images you discuss.


WRITING TIPS

1. Don't put things off till the last minute; it always shows. Compose, set your work aside and read it later with a fresh ear. Revise, rewrite, and go through the process again...and again. Learn to edit diligently; the effort will pay off.


2. Avoid all use of first and second person ("I" and "you). Write in a professional tone in the third person and avoid storytelling. Strive for objectivity. This does not mean that you can't include your own reactions and ideas--just phrase them without using "I" and "you."


3. Don't use the tired and boring constructions such as "First I will do this..." "This paper seeks to (or argues that)...," "The purpose of this paper is to...," or "Now that the basic layout has been presented the analysis can begin." A good thesis will eliminate the need for these. Just do it--enter into the analysis in a way that engages your reader with a sense of purpose.


5. Italicize or underline titles of works of art, just like titles of books. Foreign words and phrases should also be italicized or underlined.


GENERAL GRAMMAR ISSUES OF SPECIAL SIGNIFICANCE:

Tenses. The artist?s actions are past; use past tense for those, but works of art still exist and function in the present; use present tense for their descriptions. Past and present tense in the same sentence is fine if you follow this logic.


The passive voice. (?The sculpture was created in 1834.?) Works of art are vital objects and the creation of art is an active process. Use active verbs: ?Hiram Powers sculpted the work in 1834.?


Awkward sentence structure. Make sure what you have written makes sense. (Read it aloud and ask a friend to read it.)


Word choice. Some words and phrases are more appropriate, more descriptive, and less awkward that others. For example, things are not way back in a picture, they are in the background.


Inactive art/active viewer.

Poor: ?The first thing the viewer notices in this painting is the mountain in the background.? (Two problems: ?thing? is ambiguous and unnecessary, and the ?viewer? is the active agent rather than the painting.)

Better: ?The mountain in the background dominates the scene.?


?There is/are/was/were?? This construction almost always should be replaced with active subjects and verbs. Instead of ?There are many colors in this painting,? try something like ?This painting?s vivid color underscores the compositional structure.?


Dangling participles. Be sure that your phrases modify the correct subject/object. Wrong: ?Focusing on the background, the painting moves into the distance.?

Why? The painting is not doing the focusing.

Better: ?Focusing on the background, the artist carefully indicated a recession into space.?


Redundancy. For example "left hand corner" need only be "left corner."


"Its" and "it's." "It's = it is. Its = possessive.


Inflated and Colloquial Language.

?_______ was the greatest American artist of the nineteenth century.?

?This work is truly amazing/awesome...?

Good art is compelling, but be judicious with your terminology. Scholarly papers should have a degree of restraint and objectivity; strive to avoid everyday speech and don?t inflate your reactions.


KINSEY?S PET PEEVES

Do not call works of art ?pieces.? They are whole. Substitute "object," "work of art," "painting," sculpture," ?image,? etc. for "art piece" or "piece of art."


The dreaded "disembodied eye." Ugh. Sentences that refer to the "viewer's eye" makes it sound as if there is an eyeball walking around and moving through paintings. Find alternatives (the "viewer's gaze" or "viewer's attention"), or avoid the situation altogether by making the work of art the active entity.


?Based off of.? Nothing can be ?based off? anything since a base is, by definition, a foundation upon which things are built or set. Use based ON, or perhaps ?inspired by.?


?Impact.? This is a noun, as in: ?The painting?s impact derives from its vivid color.? ?Impact? should NOT be used as a verb (?The viewer is impacted by??). This is a poor substitute for ?effect? or ?affect? (learn to use these words appropriately). Even worse is the use of ?impact? as an adjective (e.g. ?impactful?). The only correct usage for ?impacted? is in regard to infected teeth that need to be removed, as in ?impacted wisdom teeth.? Yuck. Just learn to use ?effect? and ?affect? correctly.

The essay should go according to this outline:
I. -State the objectives of the paper and the thesis in the first paragraph. Female form/silhouette evolved over time from the late 1800s till now the fashionable figure of a woman today - The female form as a work of art
II. History of fashion photography - thesis
Nude photography in relation to fashion
III. Helmut Newton brief biography
IV. Helmut Newton controversies feminists issues, etc.
V. The difference b/w female pornography and photographing females nude
VI. Helmut Newton how he promoted fashion through his photography
VII. Controversies of fashion in relation to identity - Valerie Steele
VIII. Seduction, empowerment tool for women in the workplace
IX. Was Newton displaying his personality through fashion photography and is it really inappropriate no he is defining himself and is not demeaning towards portraying women
Citations should be used and seen within the paper.
Concluding paragraph

WRITTEN EXERCISE
Visual Analysis and Discussion of a Work of Art

Due in section on Wednesday, February 6, 2008

Description of Assignment
This assignment is designed to help you develop and practice your skills of visual analysis, stylistic attribution, and art historical discussion. In an organized, precisely argued, and well-written four-page essay, please describe, analyze, and discuss one of the three works of art posted on the course website, in the section marked Written Exercises. You will be provided with the medium and basic context for the object; it will be your task to describe it, identify its subject matter and provide a likely title, assign a stylistic label, give a probably date range and, if possible, a region of origin, and discuss its artistic and cultural role. A list of possible artworks, with thumb-nail images, is appended to the end of this assignment sheet.

You should first spend some time looking carefully at your object. Consider the handling of figures, especially the relative degree of naturalism or abstraction (e.g., use of line and patterning, treatment of drapery folds, presence of a body beneath garments, modeling, treatment of proportions); the palette selected and the handling of color; the use of light and shade; the relative scale of figures and objects; the rendering of space (e.g., presence or absence of background elements, depth of field, the relationship of figures to space); and the overall composition. What role does medium play in your objects appearance? Try to identify the artworks subject matter, and offer a plausible title. Then, think about your object in relation to the works of art we have studied: are there specific works with which the object seems to have elements in common? Use these artworks to contextualize your chosen object, and be specific about the nature of the relationship (less good: X looks like Y; better: X resembles Y in the elongated proportions of the figures and the artists use of parallel lines to construct drapery). Finally, comment on the physical setting and/or cultural role of the artwork you have chosen. For whom might it have been made, and what might have been its function or importance?

This is not a research paper; you should be able to complete the assignment based on your own careful observations of the work of art, your readings in Gardners Art through the Ages and for section, and the notes you have taken in class. If you do use information from Gardners Art through the Ages or the section readings, be sure to footnote it appropriately. This also applies if you rely on any other sources, including information on the Internet. A short guide to citations and plagiarism is posted on the course website; you may also find additional information on how to properly cite sources in Barnet, A Short Guide to Writing about Art, especially pp. 327335.

Resources
As you prepare to write this essay, please review chapters 14 in Barnet, A Short Guide to Writing about Art. These chapters will provide you with an introduction to art history writing, and also include both a handy list of questions you might want to ask yourself as you examine your object, and sample art history essays. Copies are available in the bookstore and on Rivera Reserve. Also on Rivera Reserve is Joshua C. Taylor, Learning to Look: A Handbook for the Visual Arts, 2nd ed. (Chicago 1981); this is an excellent introduction to how to examine works. Earlier editions of both Barnet and Taylor are available for checkout in Rivera Stacks. (over)

Format & Grading
Papers must be typed or word processed using a standard 12-point font, such as Times or Times Roman. Handwritten papers will not be accepted. Be sure to number your pages, and to include your name on each page of your paper. Grading will be based on your analysis of the artwork you have selected, and on how clearly and concisely you present your arguments. This includes grammar, spelling, use of language, and organization. This essay will count for 15% of your grade in the course. The grade for a late paper will drop 1/3 of a letter grade per day.



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The paper needs to examine the issue of graphic novels acceptance into the academic world. The paper needs to use Art Speigelman's "Maus" to show how this graphic novel has opened the doors for the acceptance of the graphic form in the literarty academic world. Aslo the reception of "Maus" should be looked at as well. Is it being taugh in class rooms of higher education. Please also include where graphic novels stand in terms of pop culture and in academic settings. The most important part of this paper needs to show the complexities that are ongoing in "Maus". Bye this I mean that the paper needs to be very anyatical of the graphic and atylistic elements as well as the literary techniques that are used ny Spiegelman in "Maus". I have a buch of sources and a samle of my writing that should be very useful. Also Please use in text citations
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THE ARTIST YOU ARE GOING TO WRITE ABOUT IS SARAH LUCAS. PLEASE CHOOSE ONE OF HER ART WORKS FROM "SENSATION" EXHIBITION. AND MAKE SURE THAT THE WORK THAT YOU ANALYZE IS AN INSTALLATION SINCE THIS PAPER IS FOR INSTALLATION CLASS.
In art history papers, you must be able to create an argument about what you see. In short, you have to translate the visual into the verbal. To do this you must first understand the "language" of the discipline- that is, you need to familiarize yourself with the terms and concepts necessary to describe a work of art.
You need to learn not only to describe what you see, but to craft your description so that it delivers some argument or point of view. A good art history paper will not simply offer a haphazard description of the elements of a work of art. You must consider what it is you want to say about a work of art and use your description to make that point.
*It is essential that your assignment takes a form (plan,style..) and comprises the following part: i) introduction ii) development iii) conclusion
*Analyze and explain the historic significance of the selected artist and artwork.
*Assess the characteristics and merits of the selected work.
*Choose and evaluate on the basis of media,processes and meaning.
*Understand the visual arts in relation to history and culture.
*Synthesize creativity and analysis in written form to present their conclusions.

Write a 500 750 word (2 3 Pages) explication of any poem from Chapter 21 Poems for Further Reading of Backpack Literature. Explication is the patient unfolding of meanings in a work of literature. An explication proceeds carefully through a . . . poem, usually interpreting it line by lineperhaps even word by word, dwelling on details a casual reader might miss and illustrating how a works smaller parts contribute to a whole (Kennedy and Gioia 1118). When you explicate, you essentially explain a poem line-by-line.

Please note that it may be tempting to choose a poem that you easily understand, but remember that you need a poem complex enough for you to provide 2 3 pages of explanation. Also take care not to choose a poem that is too long because you will then not be able to go into enough detail in a short 2 3 page essay.

Elements to consider when explicating:
Type of poem
o Lyric, Narrative, or Dramatic
Connotation and Denotations
o Denotations: Dictionary definitions of words
o Connotations: Additional meanings words often gain
The Speaker
Tone (including irony)
Figures of Speech
o Metaphor, simile, personification, overstatement, etc.
Sound
Images
Meter
Form
o Closed (blank verse, quatrain, sonnet, etc.) or Open
Symbols
Your interpretation


Your explication should include the following:
A title. Probably An Explication of Poems Title
The text of the poem, single spaced with every fifth line numbered (Look at examples in your text). This is so I dont need to flip around the book while correcting your essay. The text of the poem does not count towards the 500 750 word (2 -3 page) length of the essay.
While some instructors will have students skip formal introductions in an explication, I do want to see an introduction which introduces the poet, the poem, and gives an overall interpretation of the poem in the thesis statement.
An essay body which explains the poem line-by-line. Be sure to continue to follow the claim-support style (topic sentence support) style of paragraphs common in academic writing. You will need to decide where to begin new paragraphs depending on divisions you can find within the poem. Sometimes the poet will do this for you by dividing the poem into stanzas, but at other times you will need to determine shifts within the poem to determine where to begin the next paragraph.
Parenthetical Citations of quoted lines of poetry in MLA style.
The poem is by Elizabeth Bishop.
It's called "One Art"

The ar of losing isn't hard to master;
so many things seem to filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, tow rivers, a continent.
I miss them, but it wasn't a disaster.

-Even losing you (the joking voice, the gesture
I love)I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.

Choose another artistic representation (literature, film, or visual arts) of the Holocaust (some well-known examples include: Anne Frank??s Diary, Survival in Auschwitz, Schindler??s List, The Pianist, etc.) and compare it with Maus, addressing the form and content, and their influences on the readers/viewers in reflecting the particular historical event.

I want to write asummary in the form of importantpoints e.g 1-2-3....
I want to use my sources only and i want to write points of each sources separate from the other .after reading my sources i want to write the important points by using your own words and easy words.
My sources:

1- The Art of Building Construction in Al-Alkhalaf Village, Saudi Arabia
Tawfiq M. Abu-Gluuzeh (2 papers).( I have attached)

-2 Asir Mountain Villages.( half paper ). (I have attached)
( Published On Tuesday 23 March 2010, 8 Rabi II 1431, Time: 13:42)

-3 The Diminishing Role of Windows from Traditional to Modern
The Case of Jeddah, Saudi Arabia ,Sameer Akbar. (half paper ).( I have attached)

-4 Revisiting Materiality, GC New York.(half paper ).( I have attached)

-5 The pattern of structural transformation of the Saudi Contemporary Neighbourhood: The case of Al-Malaz, Riyadh, Saudi Arabia
Dr. Fahad A. M. Al-Said . (half paper). ( I have attached )

-6 Architectural Decoration in Traditional Houses of Central Region of Saudi Arabia: Symbolism, Abstraction and Tradition, Mohammed Abdullah Eben Saleh .(half paper) ).( I have attached ).

Reference the books:

-7 Wild Things, The material culture of every day life. Judy Attfield (2000).
(please read only Introduction + chapter (1) Things .)( half paper)

-8 The culture of craft (1997) Peter Dormer. (please read only definitions and the status of craft ). ( half paper)

-9 The art of the maker, Skill and it is meaning in art craft and design. (1994).Peter Dormer ( please read only chapter one, What is craft knowledge.
( half paper)



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The human condition
Define the human condition and its diversity.?Using a minimum of three specific examples of art works and artists. ?Discus how visual artist express or exploit aspects of the human condition

Dear Sir/ Madam,

please choose ONE of the given topics.
Words: Approximately 1600.
Sources: At least 3 BOOK sources are needed.
Footnoting: Harvard.


1. Compare and contrast two examples of freestanding sculpture or architecture from each of the Classical and Hellenistic periods. What does such a comparison reveal about the ideas governing the arts in these periods.

2. What are the innovative features of Roman art and architecture? Discuss in relation to three examples of Roman art and architecture?

3. Compare and contrast the depictions of Christ in Early Christian and Byzantine mosaics. How and why do they differ?

4. Gothic architecture is sometimes described as transcendental in nature. What does this mean and how is it evident. Discuss two Gothic churches in your answer.

5. The Renaissance is sometimes described as disciplined and sober compared with the Baroque''s wantonness and lack of restraint. What do you think? Use two examples from each period to support your argument. (so there is four examples in the answer)

6. How important are the effects of colour, light and space to the Venetian artist? Consider one work by each of three Venetian artists in your answer.

7. What do you think of the contention that Rococo is little more than decorative excess, it has nothing to teach us as artists? Use three works of art to support your argument.