Abstract
This paper explains that the documentary film, "Carved in Silence," indicates how poorly America treated Chinese immigrants and how desperately these people wanted to live and work in America. The author points out that the film uses interviews of survivors of Angel Island, workers on the island, and modern-day reenactments to depict the plight of the Chinese immigrants who were forced to stay on Angel Island until their immigration papers were either approved or disapproved. The paper stresses the immeasurable historical value of this documentary, which should be a part of every American history class, because today Angel Island is a California State Park, and most visitors have no idea what really happened there.

From the Paper
"The documentary is short, only 45 minutes or so, but it presents a vast amount of information in that short time. The interviews of people who stayed on Angel Island are quite compelling, but the documentary also uses modern day footage as historic recreations of what life was like on the island, from what the detainees ate, to how they wiled away the long, isolated hours. Some played games, some read, and some wrote poetry, which they carved into the wooden walls of the stark barracks. Many of these poems, "carved in silence," remain in the barracks today, and there is a concerted effort to save them for posterity and for Angel Island visitors to understand and view. The documentary ends with a review of what happened to immigrants after the Exclusion Act was lifted by Franklin D. Roosevelt in 1942, and how Chinese still distrust Americans because of these early practices."

Tags:interview, reenactment, isolated, barracks, value

Abstract
The writer of this paper examines the biblical inspiration behind Durer's well known work of art. "The Four Horsemen of the Apocalypse" are described in the "Book of Revelation," when the seven seals of the book are broken. The woodcut carving depicts four mounted men on an apparent mission of destruction. As the seals are broken, a white, red, and black horse subsequently appear, followed by a pale horse. This paper explores the various interpretations of Durer's carving. According to one commentator, the first white horseman is interpreted as Christ while another sees him as a false prophet. The writer illustrates certain aspects of this particular work of art, by clearly describing three of the powerful riders on their white, red and black horses galloping in the forefront of the carving, while the skeletal horse with the skeletal rider is evident in the background. The writer contends that Durer clearly understood and internalized the images detailed in the text, which resulted in his poignant and accurate depiction, that continues to yield a powerful and eerie resonance to this day.

From the Paper
"In the print, three of the powerful riders on their white, red, and black horses gallop at the forefront of the work. The white horses' rider holds a bow and wears a medieval, peaked hat towards the background, the caped red horse's rider wields a sword, and nearest the foreground the black horse's rider is bareheaded, holding a scale. The skeletal horse with the skeletal man is evidently the pale horse's rider. The specificity of the artist illustrates that Durer knew the Biblical text's images quite intimately and wished to transcribe them in fairly accurate detail. However, the artist translates these images of war, pestilence, famine, and death into medieval terms of his own era-the warrior's crown of the white horse's rider is clearly of the artist's age, as is the garb of the second rider, and the small metal scales held by the third are similar to that of a medieval apothecary, used in weighing grain with weights."

Tags:bible, book, revelation, interpretation, review, art, wood, carving

Abstract
This paper provides a comparison and contrast of two works of art from Ancient Greek and Roman culture. A bas-relief sculptural carving from Greece, "Girl With Doves," is compared and contrasted to a sculptural carving of Endymion and Selene on a Roman sarcophagus.

From the Paper
"The two objects chosen for review in this report are carved sculptures in the style known as bas relief, where sculptural carvings are shallow, compared to high relief carvings that stand out from the background. The first carving is titled "Girl With Doves" and is a marble grave stele created in Greece. The second piece is a Roman sarcophagus carving of Selene and Endymion. Thus, one aspect linking these two works is that both were intended for..."

Tags:artists, death, mythology, detail, youth, love

Abstract
The paper explores how basic elements of petroglyphic art are essential in the carvings used in the "Elephant" art exhibited by ancient North African tribes. The paper asserts that although the tribes that might have been responsible for this petroglyph are not identified due to its extreme remoteness in history, the premise of Mesolithic man is evident in how this animal is carved into the stone.

Tags:art, ancient, painting

Abstract
The discovery and the cataloging of the distribution and significance of the Sheela-na-gig and other architectural antiquities through the Irish Ordinance Survey place the interpretation of these sculptures and carvings in an exciting but problematic light. The purpose of this paper, which investigates some of the problematics of the origins of the Sheela-na-gig's, is to flesh out the central aspects of the Celtic heritage of these figures and to provide a basis for more in-depth discussion of various aspects. The focus is the historical heritage and the way in which this debate impacts the interpretation of the meaning and significance of the figures.

Outline
Introduction: The Problem of Historical Heritage
Early Discoveries and the Irish Ordinance Survey
George Petrie: Antiquarianism and Cultural Nationalism
The Importance of Petrie's Influence
Fethard and the Kiltinan Sheela-na-gig
Patterns of Interpretation

From the Paper
"The origins and antecedents of the Sheela-na-gig are steeped in antiquity. One prevailing view is that these figures relate to the pre-Christian or Pagan heritage of Europe. There is also general agreement that the statues can be seen as part of the stratified accumulation of religious history, with the Christian religion as the latest strata or overlay of the religious and pagan history of the region. This would also imply that the transition from pagan to Christian was not strict and clearly demarcated, with the result that many pagan figures and symbols were retained within the Christian context. Joan Marler verifies this point."

Tags:celtic, irish, religion

Abstract
This paper presents a description of the Red Figure Amphora, dating back to 440-430 B.C. The author examines the mythological paintings and carvings depicted on the amphora, and includes information provided by the legend displayed next to the artwork in the museum. The essay also analyzes the various techniques used in drawing, painting and carving, and goes into great detail about the Greek mythological story of the goddess Demeter and her daughter, Persephone, the subject of the artwork. The paper includes pictures of the amphora.

From the Paper
"The Eleusinian Mysteries, held annually in honor of Demeter and Persephone, were the most sacred and revered of all the ritual celebrations of ancient Greece . They were instituted in the city of Eleusis , some twenty-two kilometers west of Athens , possibly as far back as the early Mycenaean period, and continued for almost two thousand years. Large crowds of worshippers from all over Greece (and later, from throughout the Roman Empire ) would gather to make the holy pilgrimage between the two cities and participate in the secret ceremonies, generally regarded as the high point of Greek religion. As Christianity began to spread, the Mysteries were condemned by the early Church fathers; yet the rites continued for hundreds of years more and exercised considerable influence on the formation of early Christian teachings and practices."

Tags:demeter, persephone, hector, attica, zeus, underworld, athens, mythology, greece, homer, rites, kore

Abstract
This paper examines how the art of scrimshaw is an art of idle hands that dates back to the early part of the 19th century, when sailors on long, idle, whaling expeditions would use the leavings of the hunt to create art. It looks at how the art was mostly made from the teeth end bone of the whale, the non-desirable portions of the kill, and how scrimshaw is carving away lines and then darkening them with ink to create a contrasting picture. It also examines how some sailors became very proficient and were able to create very detailed representations of their subjects, often nautical themes, but also patriotic themes, portraits of women, and, sometimes, even erotic art. These pieces were often bartered around the world as an early form of currency.

From the Paper
"The whale was desired mainly for its blubber, used to make lamp oil and its baleen, the plastic of the 19th century, used to make products like corset boning and fishing rods. (Paszkiewicz 1) Mostly made from the teeth end bone of the whale, the non-desirable portions of the kill, scrimshaw is carving away lines and then darkening them with to create a contrasting picture. Some sailors became very proficient and were able to create very detailed representations of their subjects, often nautical themes, but also patriotic themes, portraits of women and sometimes even erotic art. These sailors faced countless dangers and could sometimes be gone for as long as five years, the need to recall home, fill idle hours and even create gifts and expressions of love for those back home, or even fulfill erotic desires through the mind, filled the idle hours with the development of this sensational folk art."

Tags:whale, bone, sailors

Abstract
This paper discusses prehistoric art in the context of two particular features: one, the most dominant forms of this art are "portable" graphics, suggesting that iconic art was mobilized throughout geographic areas, and second, that much of this artwork is intextricable from technological innovations in carving, etching, "pecking/chipping" and shaping various mediums such as bone, ivory, horns, antlers, and softer stones.

Abstract
This essay will take the form of a review of a recently published book entitled 'Bienfait: The Saskatchewan Miners' Struggle of '31', written by Stephen L. Endicott. It revolves around the famous miner's strike of 1931, and portrays the miners' struggle for better pay and living conditions and their unassailable attempts at getting unionized and carving out an improved milieu for themselves, and their eventual success.

Abstract
Discusses aesthetic sophistication of Bamun peoples of Fumban (historical capital of Bamun Kingdom) in Cameroon. Social and culture complexity of the people. Linguistic diversity. History of the various ethnic groups. Religioius beliefs & influence of European Missions & Colonization. Artwork. Works of Bamun artisans (Carving, weaving, embroidery, metalworking, leatherworking, pottery).

From the Paper
"This paper takes as its point of departure a figure standing 63 inches tall crafted of wood, textile, glass beads, cowrie shells and brass in the late 19th century by the Bamum peoples of Fumban in the Grassfields region of Cameroon (85-8-1, gift of Evelyn A.J. Hall and John Friede, on display at the National Museum of African Art). The complex symbolism and beautiful artisanship of this piece provide a sense of the social and cultural complexity of this people and the aesthetic sophistication of the group.

Cameroon is often described as a "racial crossroads" because of its more than 200 different ethnic groups, although this linguistic wealth can in fact be simplified to some extent because almost all of the languages can be divided into three main linguistic groups: the Bantu-speaking people of the south, the ..."