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Orientalism in Western Art and Music, 2002.
This paper discusses the use of orientalism, the influence of the culture of the Middle and Far East, on Western art and music.
1,650 words (approx. 6.6 pages), 7 sources, MLA, $ 53.95
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Abstract
This paper stresses that, even though Western artists are looking for new ideas when they seek Oriental input, they can only interrupt the Orient through their own Western culture. The author explains that French painter Eugene Delacroix' ?Death of Sardanapalus? and Austrian artist Leopold Carl Muller?s ?The Market in Cairo? are examples of orientalism in Western art. The author states that the Beatles, seeking the teachings of India?s gurus, brought orientalism into modern pop culture.
From the Paper
"The Western World that Delacroix knew lay on the brink of the Victorian age. Painted in 1827, the Death of Sardanapalus speaks to a people already grown accustomed to the strictures of middle-class morality. As older and wilder days ended, North Americans and Europeans were already entering into a new era of strong religious devotion, clean living, and sexual repression. The wanton abandoning of oneself to pleasure like Sardanapalus seemed to be something that was still possible only within the hidden corridors of the seraglio, a place where leering, bearded despots sought freely to satisfy their carnal lusts. The fact that Sardanapalus?s world is about to be consumed in fire is but a fitting moral judgment. Though he can gape at the writhing, sensuous forms of the King?s doomed attendants, the European or North American man can only dream of what he cannot have ? the pleasures of the flesh are condemned hellfire."
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Primitivism and Modernism in Diego Rivera, 2002.
An analysis of the life and works of artist Diego Rivera.
1,953 words (approx. 7.8 pages), 8 sources, MLA, $ 62.95
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Abstract
This paper explains why Diego Rivera holds a unique and intriguing position within the history of art. It shows that because his nationality and his education, his cultural inheritance and his intellectual development, these place him on a perch between two widely differing paradigms of aesthetics and representation. The paper focuses on Diego Rivera?s 1917 composition, "Still Life with Bread and Fruit".
From the Paper
"Rivera?s background and professional artistic training certainly place him in a Western European tradition that stretches from the Renaissance through the period of high modernism. Rivera came of age at a time when modernism itself was in full swing, and it certainly exacted a profound and direct influence on his work. In his early life, Rivera attended a painting school in Spain, traveled significantly throughout Europe, and briefly lived in Paris, where ?he was influenced by post-impressionism, mainly by Paul C?zanne?s art? (?Diego Rivera (1886?1957)?). Indeed, his palette was deeply affected by modernist works of the day, and he heavily employed many modernist techniques and methods during this apprenticeship period as he continued to develop his own style. Before he ultimately returned to Mexico, he even went to Italy to study renaissance painting more formally. His work during this period reflects representative modernist trends and ?shows study and analysis of neoimpressionism, C?zannism, Fauvism and Cubism? (?Biography: Diego Rivera?). While most people are most familiar with Diego Rivera?s mature corpus of works in which he experimented with mural forms that depicted scenes of Mexican peasantry and other traditional scenes, his early work is much more in the European modernist tradition of post-impressionism and cubism. We will briefly examine one such representative work."
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The Telescreen and Camera Lucida, 2002.
This paper compares the telescreen from George Orwell's book ?Nineteen Eighty-Four? and the camera lucida, a primitive camera, from Roland Barthes? book ?Camera Lucida?.
770 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper explains that the true nature of observation, whether through the lens of a camera or the "All Seeing Eye" of a telescreen, depends on the viewpoint of the voyeur, a situation that clearly plays a major role in both ?Nineteen Eighty-Four? and ?Camera Lucida?. The paper points out that Barthes' camera lucida as a mechanical device also projects an image onto a flat surface, much like Orwell's electrical telescreens that project images through a monitor. The author feels that the telescreen and photography eliminate time and distance through its immediacy and "in-your-face" projections, just as, today, a video camera or internet "webcam" perform the same function.
From the Paper
"For Barthes, photographs were triggers that brought out the inner light of thinking and interpretation. In his book, he discusses the intense debate about images, particularly those related to photography, and their role in the development of cultural theory and history. This is quite similar to Orwell's use of images on his telescreens which projected
not only the images associated with "Big Brother" but also those of the culture of Oceania and the government's efforts to supervise all the activities of its citizens. In Camera Lucida, Barthes offers the suggestion that photographs contain an "aura" which reflects lost memories. He mentions that while studying a photo of his mother as a young child, "standing a little back (and) facing the camera," he accidentally discovered the true essence of his long-dead mother. This photograph, as he put it, was a telescope that brought distance and time into reality while also doing the same for his mother."
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Artist Jenny Holzer, 2002.
This paper discusses the work of Jenny Holzer and conceptual art, which includes textual comments on life.
1,335 words (approx. 5.3 pages), 12 sources, MLA, $ 44.95
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Abstract
This paper uses the example of Jenny Holzer?s work ?Truisms? ( NYC Guggenheim Museum) to illustrate her conceptual art. (Illustration included.) The author points out that Holzer?s "Truisms" came about because of her despair of the present-day world where there is little dialogue about people?s widely varying beliefs. The paper states that Holzer?s art distinguishes two strong characteristics of the late 1970 and 1980 artists: The manipulation of gallery and museum spaces as communal locations of the dissemination of political and social commentary and the spread of activist art collections in New York.
From the Paper
"New artistic movements arose during the 1960s and ?70s to challenge and displace modernism in painting, sculpture and other media. By the late 1970s, artists were using conversations, discussions and theoretical texts as the basis for their creative products. One of these styles was conceptualism. Deliberately formed as an approach that no aesthetic formalism could ever embrace, it placed art beyond all limitations and definitions to break the stringent constraints of the previous art history and criticism. Attention was turned toward producing and the manipulation of materials. The result or the final object became secondary and often temporary. The rise of conceptualism corresponded to artistic trends taking place in various parts of the world, as social and political upheaval prompted artists to re-examine traditional forms of representation and question art?s social utility. Much of the art in exhibitions was made to provoke the viewer by disturbing previously accepted ideas about social, political and cultural systems."
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Professor Elliot W. Eisner, 2002.
Discusses the contributions to educational research by Professor Elliot W. Eisner.
1,066 words (approx. 4.3 pages), 3 sources, APA, $ 37.95
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Abstract
This paper briefly covers the educational background of Elliot W. Eisner, professor of Education at and art at Stanford University. The paper goes on to review Eisner's theory about the role of ideologies in the educational system, the primary aims that Eisner believes schools should incorporate into their curriculum, and the views expressed in Eisner's book "The Kind of School We Need."
From the Paper
"Eisner believes that all students should access to the arts in schools, and stresses the importance of including arts in the curriculum. Due to the fact that the school curriculum tells the students is important to learn, students that do not have arts in the curriculum will not see arts as something of importance. This will, ultimately, stunt their cultural growth."
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Edouard Manet, 2002.
A look at the life and work of 1800s French painter, Edouard Manet.
1,856 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
This paper begins by providing a brief biography of Manet. It looks at the style of his first artwork and then discusses two of his famous paintings. The first is "Luncheon on the Grass" painted in 1863 and the second is "Olympia" painted in the same year. The paper then looks at how his art changed towards the end of his life.
From the Paper
"The great painter Edouard Manet, born on January 23, 1832 in Paris has always been recognized with the "Impressionists". He mostly preferred to exhibit his work in the exhibitions that were more moderate and sponsored by the French government. Though, he learned traditional style painting, but his experience with Claude Monet and the other "Impressionists," made his work more natural and spontaneous by using meaningful outlines, severe lighting contrasts, with daring colors and rich texture to depict the world around him (Gray, 1983).
Although, he was well educated, yet did not excel within the academic atmosphere and instead showed interest towards drawing and the arts. After serving in the merchant marines in 1850, Manet joined the studio of Thomas Couture and studied until 1856. There the old masters, especially Velazquez and Goya, influenced him. However, he opined that art of one should always reveal and indicate ideas and ideals of the present instead of the past (Gray, 1983).'
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Sculpture and Form in Ancient Egypt and Greece, 2002.
Examines how ancient Egypt influenced early Greek culture, as can be seen through works of art from the time period.
1,462 words (approx. 5.8 pages), 7 sources, APA, $ 48.95
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Abstract
Ancient Egypt had a significant impact on early Greek culture, as can be evidenced by enduring artifacts. Egyptian sculptures, primarily created for the pharaohs or high-ranking officials and essentially religious in function, significantly influenced the form and style of statues of the early Archaic Age. Poses were rather rigid and very conventional and facial expression was confined to the typical Egyptian half smile. The paper shows that over time, Greek artisans began developing their own approach. By the late Archaic and definitely prior to the beginning of the Golden Age or Classical Period, artwork started to reflect evolving philosophies and ideals and to celebrate the human figure. Sculptures portrayed more elaborate features and less static stances.
From the Paper
"The statues also represented the society?s hierarchy. At the bottom of the rung were the slaves, tomb builders and farmers. Further up came the craftspeople, educators, doctors, noblemen and priests. The pharaoh filled more than the role of king and ruler. He was considered a god on earth. (Grant 1990, 23) Egyptians used the size of their statues to illustrate the social order. The pharaoh was larger then life size, scribes and court officials life size and workers and peasants always shown working. The images of the pharaoh, always larger than life, made him appear all the more god-like. The large works of sculpture were often displayed at temples that were built for the pharaoh?s chosen deity."
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Zulu Beadwork and Clothing, 2002.
A brief history of Zulu beadwork and clothing.
808 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
This paper examines how the Zulu nation is the best-known sub-group of the Nguni tribe, which is one of the largest tribal groupings in South Africa and how the Zulus have a rich culture with the traditional handicrafts and the intricate designs of their beadwork being especially noteworthy. It describes the history of the Zulu beadwork and clothing as well as how the beads are made and who makes them, what they are used for and their significance and symbolic meaning in Zulu culture.
From the Paper
"Beadwork is an essential part of the traditional Zulu dress for women. For example, Zulu clothing for Zulu girls is mainly made of beadwork and is usually quite revealing (most unmarried girls go topless with only necklaces and skirts made of beads). Older Zulu women wear clothes that cover their bodies. They, however, decorate their isicholo (a wide hat made of straw) with beads (ubuhlalu). Women also wear isidwaba, a pleated skirt made of cowhide and softened by hand. Younger women sometimes decorate their ?isidwaba? with beads, whereas older women wear it plain. (?Culture of Zulu People.?)"
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Hogarth?s Influence on Fielding, 2002.
A look at the influence that 18th century painter and engraver, William Hogarth had on the writings of Henry Fielding.
1,606 words (approx. 6.4 pages), 6 sources, MLA, $ 52.95
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Abstract
In this paper, the writer states that caricaturist, William Hogarth was able to achieve with his prints and caricatures, what his contemporaries strive to attain through their writings and poems. It looks at how his political agenda was served through his cartoons and engravings, as they depicted a very real picture of the life and society in the 18th century. It looks at how his work influenced Fielding's writings - also filled with a political agenda.
From the Paper
. It is commonly believed that, ?In his masterpieces - "A Harlot's Progress," "A Rake's Progress," "Marriage A-la-Mode" and "Gin Lane" - he created an image of society so resonant and enduring that the adjective "Hogarthian" has come to define 18th-Century England.? (Smith, 9) Henry Fielding was another famous name of those days. He wasn?t just a contemporary of Hogarth?s but was his close friend and staunch supporter. Together they fought against the immorality persisting in their society by highlighting its weaknesses in their works. Smith (1997) adds, ?Hogarth, along with writers like his friend Henry Fielding, pioneered a vigorous, assertively British esthetic that proudly declared its independence from the oppressive weight of classical tradition and unthinking reverence for continental art.?
Fielding was deeply impressed by Hogarth?s courage and brilliance and thus took inspiration from his works for his own writings. Fielding?s famous works include Shamela, Joseph Andrews and Tom Jones, all three of which show prominent signs of Hogarth?s influence."
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"The New Negro? and ?The Black Writer and His Role.?, 2002.
A review of the similarities and dissimilarities found in Alain Locke's ?The New Negro? and Carolyn F. Gerald's ?The Black Writer and His Role.?
1,400 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
Compares Alain Locke's and Carolyn F. Gerald's proposals for a pseudo-militant black arts movement. Looks at how both authors view the self-image of the average black person as one that has been forced upon them by the white majority. The paper goes on to discuss how both authors see the need to change and recreate the black self-image, and their differing views on how to approach the task of creating this new image.
From the Paper
"The main difference between Locke and Gerald is the way in which they approach the new image-making task at hand. For Locke, it is entirely a creative process. He seeks to find whatever meaning in white culture that ought to be (for black culture has, after all, left parts of its meanings floating about in white space, such as musical influences). He additionally seeks to create new meanings that can interact healthily with white culture, to create a new American culture. Gerald is far more nihilistic. Her focus is more on destruction and the (justifiable) wrath of her people. Attempted culture creation in the presence of the white discourse has only led to failure and frustration. The white discourse must be destroyed."
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Arts in the Learning Process, 2002.
The paper is a research proposal to evaluate arts in the learning process.
2,370 words (approx. 9.5 pages), 6 sources, APA, $ 72.95
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Abstract
This paper is a research project to prove that by including the arts actively in the learning process, students learn more comprehensively and efficiently than by the traditional methods of teaching. The author feels that this research is important because by incorporating the arts, such as dance, movement, drama, visual arts and music, in the curriculum of her students, she will diversify the curriculum and provide her students with the best possible chance for success. This paper states that the method of research will be qualitative/narrative and will use videotaping to measure results.
Table of Contents
Introduction
Statement of the Problem
Research Questions/Journey Leading to Research Questions
Significance of Study
From the Paper
"Dance, drama and music are but a few examples of teaching tools that engage a student?s sense of sound, touch, feeling and emotion. Intelligence cannot simply be measured by assessing the ability of students to produce written material. Many students are in fact, spatially oriented. An engineer for example, is much more likely to create a ?picture? in his/her mind of a project to be completed, rather than write a book about the structure. Education is not a product to swallow without reflection and struggle, nor is it information to pour into a waiting but empty brain."
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?The American Presidency?, 2002.
A review of this exhibition situated at the National Museum of American History in Washington, D.C.
991 words (approx. 4.0 pages), 0 sources, $ 35.95
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Abstract
"The American Presidency" is an exhibit at the National Museum of American History at the Smithsonian in Washington, D.C. This paper discusses the exhibit and shows its importance at conveying information of the presidency in American life, in American history and in the development of a new form of government with the Constitution. The author explains that the exhibit is a chance to see pictures of all 42 presidents, get a sense of their time, a sense of their place in history and an idea of some of their accomplishments. The exhibit conveys this as information, but through the various objects in the exhibit which came from the presidency of each man, the visitor can feel closer to these men as human beings by being in the presence of objects they may have touched and used. The paper also quotes from the booklet which accompanies the exhibition.
From the Paper
"The exhibit says much about the nature of that job--the problems faced, the responsibilities heeded, the legacy created, and the relationship of each man to the history of his time. Some of the objects in the exhibit take the visitor directly to the human being who held office, such as Abraham Lincoln's ink stand (most certainly not different from thousands of ink stands of the period, but with a different aura because of who used it), the military uniform worn by Eisenhower (which gives a good sense of the stature of the man in real terms), or President Grant's carriage. The first thing that strikes the visitor about these different objects is their normal size, for the image we have of these men and their actions is larger than life, while the objects they used are quite normal and remind us that they were only human beings after all."
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Exploring Interactivity in Computer Games, 2002.
The paper analyzes the nature and role of computer games and focuses on modern additions such as interactivity and streaming technology.
5,433 words (approx. 21.7 pages), 9 sources, MLA, $ 133.95
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Abstract
The paper traces the rise of interactive entertainment and in particular computer games. The paper examines the genre of "Interactive Fiction" whereby interactive games are created in a sophisticated fashion, based on movies and books. The paper looks at the use of broadband and streaming media in the gaming industry. It also details the process involved in creating such games and the attractiveness of interactive games.
Table of Contents
Introduction The Rise of Video Games
Games as a Major Form of Entertainment in Today's World
Studying Games
Games, Media and Interactivity
Exploring interactivity in Video Games and Movies
Home Entertainment Networks
Violence in Games
Are Games Just for Boys
Indiana Jones and Tomb Raider
The Use of Streaming Media in the Gaming and Video Industry
Online World of Games called Linden Lab: An Example of Streaming Technology
Problems Associated with Streaming Technology
What makes Streaming Technology so Successful
Conclusion
References
From the Paper
" In 1999, more than 20 billion game sets and software were sold, surprisingly more than the Hollywood box office for the first time in history. This just tells us that more and more people are playing games than they were before. This also means that more people are playing games instead of watching movies or even reading books. Making games the most popular form of entertainment on planet Earth. This also makes us see the transformation of digital entertainment into a proper art form."
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The Cultural Patronage of the De' Medici, 2002.
An examination of the contribution of the De' Medici family in 15th century Florence, Italy to the Renaissance.
1,687 words (approx. 6.7 pages), 7 sources, APA, $ 54.95
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Abstract
This paper discusses how in the early 15th century, the city of Florence took cultural command of Italy and inaugurated the Renaissance, a period highlighted by great achievements in the arts and architecture. It looks at how the Medici, bankers to all of Europe, became such lavish patrons of the arts that to this day the name of Medici connotes any generous patron of the fine arts and thus, the history of Florence cannot be separated from the House of the Medici.
From the Paper
"Scarcely any great architect, painter, sculptor, philosopher or humanist scholar was unknown or unaffected by the power and influence of the Medici family. Cosimo de' Medici began the first public library since the ancient world (comparable to that at Alexandria), and it has been estimated that in the course of thirty years that Cosimo de' Medici and other members of his family spent almost $20,000,000 for manuscripts and books, a clear indication of the financial power behind the establishment of humanism in the Renaissance era. However, Cosimo de' Medici, always the careful businessman with a keen eye for what was truly beautiful and worth supporting, was not sentimental about his endowment of art and scholarship, for he once stated that his good works were "not only for the honor of God but (also) for my own remembrance." "
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William Blake, 2002.
A biography of the life and work of the British poet, William Blake.
1,535 words (approx. 6.1 pages), 7 sources, APA, $ 50.95
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Abstract
This paper examines the life and work of William Blake, an extraordinary British poet, painter, visionary mystic and engraver who illustrated and printed his own books. It discusses how Blake believed in the supremacy of the imagination over the rationalism and materialism of the eighteenth century and how this led to misunderstandings that over shadowed his career as a writer and artist. It details his life from his birth in 1757 and his lack of education to his death and burial in an unmarked grave in 1827. It evaluates how Blake's works never became well known in his lifetime, although his influence is apparent in the work of several painters who knew him when he was an old man, particularly Samuel Palmer and how only later generations came to recognize its significance.
From the Paper
"While some of Blake's critics viewed him as a lunatic based on his works n the 1790s. Blake was merely reacting to the lack of liberty and justice of the events during this time. For Blake, the British war with France and the introduction of rigorous laws of civil disobedience were further instances of the hold which the authoritarian forces of Church and State held over the common people. Like Wordsworth, and Shelley and Byron a generation later, Blake was politically both a radical and a libertarian. Blake felt that the forces of youthful rebellion which had promised to usher in a new dawn in human consciousness swiftly gave way to the bloodshed and anarchy of the Reign of Terror and the imposition of new stricter forms of social control in both France and Britain. His works, from 1794 onwards, reflect a sense of the paradoxes and complexities of rebellion although, as his work shows, Blake remained committed to the principles of social, political, and sexual equality. "
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