...Romanticism vs. Realism The French Revolution brought about enormous change in the world. With the collapse of the absolute monarchy, the rules of society began to shift in favor of the common people. Under the new laws writers and artists were given a considerable amount of freedom to express themselves which did well to pave the way to set a high standard for literature (Gregory, 1915). During the time following the French Revolution, two very different styles of Art were formed; Romanticism emerged in 1820 and lasted until 1865. Realism then took over in 1865 and lasted until 1914. Although the two have very different characteristics, they both share the same beliefs in liberalism and the dignity of the common man. Romanticism evolved at the end of the 18th century as a reaction to the classical, formal compositions of Neoclassicism. Neoclassicism was based on reason, tradition, rules and order. Romantics believed the individual was more important than society, and with the Age of Industrialism upon them, they began to revolt against the conventional beliefs. Romantics viewed industrialization as an attack on humankind as well as Mother Nature. They believed that the industrial revolution was changing the natural order of man, who belonged in the country (Brown, n.d.). Romanticism had no “laws or rules” to follow. Romantic artist preferred emotion over reason, and the natural and mysterious aspects of life appealed to them. Romantics believed...
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...ROMANTICISM AND REALISM Deborah Christman Western Governor’s University ROMANTICISM AND REALISM Both Romanticism and Realism were art movements that began in the 19th century, during a time of war and revolution. Romanticism focused on emotions, injustice, and extraordinary, while Realism characterized the world without glorification. Both began as a response to historic ideas, but they vary in terms of artistic style and political views. In the first part of the 19th century, a new art movement began—Romanticism. Romanticism arose in retaliation of Neoclassicism, which placed restraints on artists and “rules-driven orderliness”. Romantic artists focused more on perception and impression, rather than on the specific object. They included “passion, emotion, and exotic settings with dramatic action”. Their attention was on the Romantic hero (archetype) who rejected normal life and focused on himself. The subjects in their paintings showed the preposterous and untamed side of humans. (Mindedge, 3.18) To display emotion and style, the artists used somber paint colors and displayed Gothic elements. The color red was used quite often as a sunset or in the person’s clothing, while black and gray were used for the skies to display impending doom. The main goals of Romanticism were to portray the battle between man vs. nature and man vs. himself, and also show certain political issues. The types of media used were oil paints and watercolor. The painting techniques...
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...1. Literature of the 17th century. John Milton. “Paradise Lost”. John Bunyan. “Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles...
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...Daimyo… Bushido The Closing of Japan Nobunaga vs. Hideyoshi Matthew Perry Chapter 11: London on September 2, 1666-the great fire destroyed it. Francis Bacon-leading advocate of the empirical method Inductive reasoning Empirical method Rene Descartes Deductive reasoning Deism Johannes Kepler-had made detailed records of the movements of the planets, substantiating Copernicus’s theory that the cosmos was heliocentric (sun-centered), not geocentric (earth-centered) Galileo Galilei-improved the design and magnification of the telescope Geocentric Heliocentric The law of falling bodies (gravity) Pope Urban VIII Giordano Bruno Isaac Newton-computed the law of universal gravitation in a precise mathematical equation, demonstrating that each and every object exerts an attraction to a greater or lesser degree on all other objects The Industrial Revolution Lunar Society-a group of prominent manufactures,inventors,and naturalists met in and around Birmingham each month on the night of the full moon to discuss,chemistry,,medicine,gases,electricity,and every subject that may contribute to the fruitful society. Thomas Hobbes-argued in Leviathan that the people needed to submit to the authority of a ruler to prevent anarchy. The social contract gives up individual sovereignty in exchange for protection from depravity. Absolutism Social contract John Locke-argued that a ruler has limited authority; if the ruler fails to protect the people’s rights, then the people...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...International Relations Theory The new edition of International Relations Theory: A critical introduction introduces students to the main theories in international relations. It explains and analyzes each theory, allowing students to understand and critically engage with the myths and assumptions behind each theory. Key features of this textbook include: • discussion of all of the main theories: realism and (neo)realism, idealism and (neo)idealism, liberalism, constructivism, postmodernism, gender, and globalization two new chapters on the “clash of civilizations” and Hardt and Negri’s Empire innovative use of narratives from films that students will be familiar with: Lord of the Flies, Independence Day, Wag the Dog, Fatal Attraction, The Truman Show, East is East, and Memento an accessible and exciting writing style which is well-illustrated with boxed key concepts and guides to further reading. • • • This breakthrough textbook has been designed to unravel the complexities of international relations theory in a way that allows students a clearer idea of how the theories work and the myths that are associated with them. Cynthia Weber is Professor of International Studies at the University of Lancaster. She is the author of several books and numerous articles in the field of international relations. International Relations Theory A critical introduction Second edition Cynthia Weber First published 2001 by Routledge Second edition published 2005 by Routledge...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Theories of International Relations Third edition Scott Burchill, Andrew Linklater, Richard Devetak, Jack Donnelly, Matthew Paterson, Christian Reus-Smit and Jacqui True Theories of International Relations This page intentionally left blank Theories of International Relations Third edition Scott Burchill, Andrew Linklater, Richard Devetak, Jack Donnelly, Matthew Paterson, Christian Reus-Smit and Jacqui True Material from 1st edition © Deakin University 1995, 1996 Chapter 1 © Scott Burchill 2001, Scott Burchill and Andrew Linklater 2005 Chapter 2 © Jack Donnelly 2005 Chapter 3 © Scott Burchill, Chapters 4 and 5 © Andrew Linklater, Chapters 6 and 7 © Richard Devetak, Chapter 8 © Christian Reus-Smit, Chapter 9 © Jacqui True, Chapter 10 © Matthew Paterson 2001, 2005 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright...
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...GRADUATE DIPLOMA IN INTERNATIONAL RELATIONS AND DIPLOMACY STUDENT GUIDELINE NOTES GLOBAL POLITICAL ECONOMY MODULE Paste the notes here… Political economy originally was the term for studying production, buying and selling, and their relations with law, custom, and government. Political economy originated in moral philosophy (e.g. Adam Smith was Professor of Moral Philosophy at the University of Glasgow), it developed in the 18th century as the study of the economies of states — polities, hence political economy. In late nineteenth century, the term "political economy" was generally replaced by the term economics, used by those seeking to place the study of economy upon mathematical and axiomatic bases, rather than the structural relationships of production and consumption (cf. marginalism, Alfred Marshall). History of the term Originally, political economy meant the study of the conditions under which production was organized in the nation-states. The phrase économie politique (translated in English as political economy) first appeared in France in 1615 with the well known book by Antoyne de Montchrétien: Traicté de l’oeconomie politique. French physiocrats, Adam Smith, David Ricardo and Karl Marx were some of the exponents of political economy. In 1805, Thomas Malthus became England's first professor of political economy, at the East India Company College, Haileybury, Hertfordshire. The world's first professorship in political economy was established...
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...W.B. Yeats's "The Second Coming" W.B. Yeats' poem "The Second Coming" was written in 1919, just one year after WWI ended. The beginning of this poem reflects on how evil has taken over the minds of good Christians, and the world has turned into chaos. It is apparent that Yeats believes that a Second Coming is at hand, and he spends the last half of the poem discussing what that Second Coming could look like. Turning and turning in the widening gyre (line 1) Yeats imagines the world in a cyclical sphere known a gyre (shape of a cone). In Yeats' note on the text, he states that "the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction" (2036). Yeats believes that the two thousand years of Christianity will be coming to an end, and after a violent reversal a new age will take its place. The widening part of the gyre is supposed to connote anarchy, evil, and the loss of innocence. The falcon cannot hear the falconer; (2) The falconer in this analogy is most likely God (or Jesus), and the falcon is the follower (or devotee). Humanity can no longer hear the word of God, because it is drowned out by all of chaos of the widening gyre. A wild falcon can symbolize an unconverted Gentile; someone who has sinful thoughts, and does sinful things. A tame falcon (one who listens to the word of God) is a Christian convert. In the...
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...TRADE JURNAL Leisure Arts in Bookstore Push Milliot, Jim. Publishers Weekly255.41 (Oct 13, 2008): n/a. 1. ------------------------------------------------- Full text 2. ------------------------------------------------- Abstract/Details Turn on hit highlighting for speaking browsers by selecting the Enter button Hide highlighting Abstract TranslateAbstract Craft book publisher Leisure Arts has signed on with Midpoint Trade Books as part of its effort to expand its presence among booksellers. Throughout its history, Leisure Arts has focused its sales operation on crafts stores. Details Subject Book industry; Bookstores; Distributors; Agreements; Distribution channels Company / organization Name: Leisure Arts NAICS: 511120; Name: Midpoint Trade Books Inc NAICS: 422920, 511130 Title Leisure Arts in Bookstore Push Author Milliot, Jim Publication title Publishers Weekly Volume 255 Issue 41 Pages n/a Number of pages 1 Publication year 2008 Publication date Oct 13, 2008 Year 2008 Section Foreword; New Channel Publisher PWxyz, LLC Place of publication New York Country of publication United States Publication subject Publishing And Book Trade, Library And Information Sciences ISSN 00000019 CODEN PWEEAD Source type Trade Journals Language of publication English Document type News ProQuest document ID 197101688 Document URL http://search.proquest.com.ezaccess.library.uitm.edu.my/docview/197101688?accountid=42518 ...
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...shot through with youthful exuberance and a brisk reinvigoration of the filmmaking process. Most agree that the French New Wave was at its peak between 1958 and 1964, but it continued to ripple on afterwards, with many of the tendencies and styles introduced by the movement still in practice today… French New Wave The New Wave (French: La Nouvelle Vague) was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. "New Wave" is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary type style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. It holds that the director is the "author" of his movies...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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