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Arts and Crafts Movement, 2006.
A look at how the arts and crafts movement impacted on interior design and designers.
2,475 words (approx. 9.9 pages), 2 sources, $ 97.95
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Abstract
This paper analyzes changes in interior design brought about because of the arts and crafts movement in the nineteenth century, noting that the movement made changes specifically in terms of the design of interiors, including the design of furniture. The movement was shaped by William Morris, best-known for the design of the Morris chair but also for being a leader in this artistic movement.
From the Paper
"The arts and crafts movement was a reaction to the opulence and weight of design in the Victorian era. This movement made changes specifically in terms of the design of interiors, including the design of furniture. The movement was shaped by William Morris, best-known for the design of the Morris chair but also for being a leader in this artistic movement. In the nineteenth century, the Industrial Revolution changed the nature of manufacturing and so also affected the nature of design. The Victorian style that prevailed in the nineteenth century featured heavily ornamented interiors containing many pieces of furniture, collections of ornamental objects, and surfaces covered with fringed cloths. "
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"The Craft": Film Analysis, 2006.
Applies concepts and theories of adolescent development to the character of Sarah in the movie "The Craft".
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
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Abstract
This paper focuses on the main character of Sarah from the movie, "The Craft", and how she exhibits contradictory traits and behaviors. The paper demonstrates the complex character of Sarah by examining five sets of developmental issues.
From the Paper
"The main changes in adolescent are cognitive, biological, and social. During adolescence, there are changes in thinking abilities and a transition to more adult social roles (Steinberg, 2005). Cognitive changes are especially important since adolescents think differently about themselves, relationships, and the world. These changes establish the context for adolescence. They also are part of the context of "The Craft", along with such social realities as extreme meanness and racism."
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"The Craft ", 2002.
A review of the movie, "The Craft", focusing on the central theme of forbidden knowledge.
2,115 words (approx. 8.5 pages), 5 sources, MLA, $ 66.95
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Abstract
This paper discusses the film, "The Craft", and explores the argument that the quest for knowledge beyond what is natural, inevitably leads to disaster. Arguments to disprove this theory are introduced, showing that modern thought may be more likely to condone our pushing the boundaries of knowledge than older, more conservative schools of belief. The paper examines the religious, sexual, natural, psychological and political aspects of searching for forbidden knowledge or power, as it relates to the film?s Gothic tradition.
From the Paper
"Certainly, the first part of Bonac?s statement is an accurate depiction of the four girls? decision to attempt to invoke Manon. Sarah, the newcomer, is ignorant of her inherent powers; the others understand their potential for witchcraft but lack the necessary power (the ?fourth? corner). Their wishes are innocent and harmless enough: the bullied Rachelle wants Laura to leave her alone, scarred Bonnie wishes for beauty, and Sarah hopes for Chris?s love. Nancy wishes initially for ?a smaller butt?, and Sarah is told by Bonnie that Nancy really wishes she were not ?white trash? (this latter wish being understandable when we see her home situation). However, finally she wishes for Manon to possess her, to ?fill? her."
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Medieval Towns: Crafts and Guilds, 2005.
A review of an article by Gervase Rosser about the economic and work culture dynamics of medieval communities.
2,373 words (approx. 9.5 pages), 6 sources, MLA, $ 72.95
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Abstract
This paper reviews Rosser's article about how medieval crafts and guilds functioned in a society in medieval England. The paper also talks about Rosser's effort to rebut many of the generalizations, myths, and factually incorrect views that are currently or previously held by scholars and historians of the medieval era.
The Emergence of Guilds and Their Impact on Workers and the Economy
The Rise of the Guilds in Social Power and Community Prominence
Were Guilds the Historical Framework for the Genesis and Evolution of Formal Organizations?
The Decline of the Crafts and Guilds
Weird Things about Medieval English Life and Times
Biographical Sketch of Gervase Rosser
From the Paper
"Rosser goes to enormous lengths to make clear why he is explaining the misconceptions and misunderstandings with reference to how life in the working world of Medieval England really took place. Rosser is a writer of obvious skill when it comes to deep scholarly thinking; he is a writer who more often than not takes the intellectual high road. But Rosser also apparently realizes that the reader may not be able to climb every step of the way with him on his scholarly ascent, so he takes brief moments to define his terms in more lay-friendly language."
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Arts & Crafts & Bauhaus Movements, 1996.
Compares 19th Cent. British & 1920s German art schools. Looks at the origins, critiques of society & modernization, leadership, love of beauty & utility.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"The Arts and Crafts Movement, that began in nineteenth-century Britain, and the Bauhaus movement, that started in Germany in the 1920s, had many goals in common. Both movements were interested in uniting all the arts and crafts and giving them equal dignity. Both movements were also deeply concerned with the role of the artist as worker and with the nature of work in general. Most importantly, both movements believed in beautiful design and well-made work as an enhancement of life. The importance of industrialized production and its aesthetic effects was a central question for both movements, but this was also the main point on which they disagreed. Both movements held that the industrialized production of goods had transformed the world. But, while the original Arts and Crafts movement largely rejected the machine age and all its productions, the Bauhaus.."
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"Paradise Lost": Crafting Characterizations, 2002.
An examination of Milton's "Paradise Lost" and his depiction of characters.
1,285 words (approx. 5.1 pages), 1 source, $ 43.95
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Abstract
This paper explores Milton?s use of flattery and condemnation and the role they play in the downfall of Adam and Eve and their subsequent decision to take responsibility for eating the forbidden fruit in his novel Paradise Lost. It also explores his characterization of Adam and Eve and how rich language and metaphor result in a stunning piece of work.
From the Paper
"Milton's Paradise Lost is studded with characters ranging from the devious Satan through to the humanistic, yet wise Eve. Given such a wide breadth of not only characters, but also location, Milton varies his language depending on cast, setting and poetic intention. This is evident when examining the use of flattery and condemnation both of which play large roles in the downfall of Adam and Eve and in their decision to take responsibility for the eating the forbidden fruit."
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Arts and Crafts Movement, 1993.
A look at the philosophy of the architectural school of the late 19th century and the views of the proponents John Ruskin, Louis Sullivan and Augustus Welby Pugin.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"Architecture and Morality
Architects Auguste Welby Pugin, John Ruskin, Louis Sullivan, and the protagonists of the Arts and Crafts Movement would have disagreed with the statement, "Architecture and morality have nothing in common." It is the purpose of this paper to explore the philosophies associated with these architects and the Arts and Crafts Movement and their relationship to the above statement.
The Arts and Crafts movement began as a mid-Victorian reaction to the ugliness and inequality caused by industrialization. It was a sacred search, a quest for a return to quiet beauty, simplicity, and honest craftsmanship (Anscombe, 1981, p. 7). Architecture was seen as a reflection of the health of the society. In the 1880s the designers who chose to..."
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Glass as an Art Form, 2007.
This paper discusses whether glass work can truly be considered as a fine art or if it is relegated to being just a craft.
6,728 words (approx. 26.9 pages), 30 sources, APA, $ 153.95
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Abstract
In this article the writer notes that for many years, glass work has been considered a beautiful craft form, mostly used in pieces as decor or an element of design. The writer discusses why has it been that for so many years, glass has been singled out in this way, even to its exclusion over such sculptural and less beautiful materials such as bronze and stone. The writer discusses the relegation of glass to the field of decoration, craft and design rather than that of fine art. In addition, the writer explores the elements which are necessary for sculptural works to be considered fine art. The writer examines what the recent explosion of interest in glass work has done to improve the image of glass as an art form. Ultimately, The writer looks at who defines the difference between art and craft - whether this is the artist, the critic or the viewer.
Introduction
Background - Definition of Art
Discussion
References
From the Paper
"Such a weighty question probably lies beyond the boundaries of a paper such as this, so for the answers to this question we shall look to the ages and describe on how art has been defined in the past. Robert Collingwood, in his seminal work The Principles of Art made what is probably still considered to be the clearest definition of art. To Collingwood, art was the expression of emotions, and lives in the realm of emotion. Collingwood believed that the expression of emotion via art was a process which moves slowly from the hidden and vague to that which is explicit and clear. To Collingwood, art was the process of exploring emotions, which live within the subconscious of the artist and are not known to the artist beforehand. Collingwood was able to discern art from craft in that he believed that in crafts, the works man, the salesman knew before even the initiation of the project what emotion is being evoked, and that craft is then more calculating and deliberate in it's manner of arousing an emotional response. Ayn Rand also expressed theory surrounding art in several of her essays."
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"The Knitting Sutra", 2006.
This paper reviews Susan Gordon Lydon's novel "The Knitting Sutra - Craft as a Spiritual Practice" and also delves into the private life of the author.
1,005 words (approx. 4.0 pages), 0 sources, $ 35.95
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Abstract
This paper examines the novel "The Knitting Sutra - Craft as a Spiritual Practice," written by Susan Gordon Lydon. The writer of this paper also discusses personal details of the author's background and describes how the art of knitting wove its way through Lydon's life and helped her get off drugs and stay sober. For Lydon, the craft is an obsession, a meditation, a challenge, a chance for peace of mind and a way to quiet the mind. This paper explores the novel's vivid imagery and spirituality. This paper discusses the author's firm refusal to just blindly follow anything, even the patterns for her knitting projects, which makes her a thinking person's rebel. The book is peppered with quotes from an astonishing range of sources including Sitting Bull, singer Boz Scaggs, author Clarissa Pinkola Estes and Grateful Dead drummer Mickey Hart.
From the Paper
"The Knitting Sutra is a story of a woman, as women are rarely seen, one who owns herself. Her humor and passion shine throughout. If you would like to spark your mind and get it swirling with ideas, no matter if you read this through the eyes of a knitter or not, give this thought-provoking, richly written book a try. Susan's insatiable need for enlightenment and spiritual truth may wear you out at times, but it may also challenge your perspective on many, many things. You may even find yourself revisiting that unfinished sweater in your closet or that unfinished story in your desk drawer. The lesson - you never stop learning and you must never stop living...the two are inevitably intertwined."
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Native American Art Review, 2002.
This paper analyzes the art review of a Native American art exhibit at the American Craft Museum.
982 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper discusses ?Changing Hands?, an art review of a major Native American art exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic?s ?authority? to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic?s piece has upon one?s desire to view the exhibit.
From the Paper
"Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
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Negotiable Identities, 2007.
An analysis of Dorinne Kondo's arguments in "Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace".
1,165 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper discusses the construction of identity in modern Japan. It focuses on Dorinne Kondo's argument in her work, "Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace", that identity is a "negotiable" quantity that is continually shifting in response to a range of different forces and contexts. The paper and Kondo discuss this according to the complexities of trans-national Asian identity in a contemporary Canadian context.
From the Paper
"It may be argued, from a personal perspective, that this sense of identity as a shifting and ambiguous process of creation can be seen in the trans-national Asian identity in Canada today. For Asian immigrants, and particularly children of first-generation immigrants, there is a overriding preoccupation with preserving one's heritage identity set against the common accusation that one is a banana (yellow on the outside/white on the inside) or is "white-washed" by mainstream Canadian culture. For many of these children of immigrants, like the employees in the Sato factory or the Okinawans, their own identity is in continual flux as they move between mainstream Canadian society and the more narrow world of the family. Language is a primary signifying factor in this shifting identity in that while many of us speak our native tongues at home with parents and family, the other parts of our lives involved in working or studying or even enjoying free time in Canada necessitates the use of English. While we creatively construct our identities in this process, it must be acknowledged that - as with the Okinawans - there is considerable anxiety as to its implications for our understanding of ourselves."
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Mission Style Furniture Movement, 2005.
An historical view of the Art's and Crafts (Mission Style) furniture movement. Looks at how the style is changing and advancing.
2,510 words (approx. 10.0 pages), 12 sources, MLA, $ 76.95
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Abstract
This literature review research paper examines the history of the Mission Style (Arts and Crafts) furniture and style movement. The brief history of materials and style gives a feeling of how this movement evolved and grew into the Prairie home style, which includes home design. It explains how modern reaction to the computer age has adapted the Mission style furniture to include modern materials and mass production to enable more people the opportunity to enjoy the style, function, and feeling of the original-era furniture.
From the Paper
"The start of the Mission Style furniture era started in San Francisco, California in 1894. This Mission Style movement started in the Mission Communities in California when the Missions were training people to be furniture craftspeople. Often the materials they used were what were available locally. These materials included timber, fine wood, finishes, blacksmith nails, castings and hardware. (Mission Furniture 1980). The furniture built in this Mission Style was and is a blend of form and function that blends the natural beauty and warmth of the materials used."
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Women and Art, 2005.
This paper explores the rise in prominence of the arts and crafts movement.
3,375 words (approx. 13.5 pages), 6 sources, $ 133.95
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Abstract
This paper describes how a revived interest in indigenous and vernacular design of the mid-19th century grew as a result of the convergence of a number of change drivers. The paper relates that this includes the response to industrialization, the economic need for women to earn their own money, women's fight to enter the industrial trades and men's resistance to women to entering the labor world. This essay argues that the movement is in no small way defined by women creators and artisans.
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Witchcraft, 1991.
A general survey of witchcraft, past and present including a discussion of how witches practice their craft, what a real witch is like and types of witches.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"This paper will provide a general survey of witchcraft, past and present. The paper will also discuss contemporary witches, and how they practice their craft. Most experts agree that witchcraft represents "the old, pre-Christian, tribal religion of Europe" (Starhawk Truth or Dare 7). Although witchcraft is commonly associated with the use of magical spells and other anti-social behaviors, experts also agree that true witchcraft is actually nothing more than "a form of nature worship that has long been popular in alternative circles" (Lacher E1-E3). However, it is also acknowledged that there are two basic types of witches. According to the occult writer Marion Weinstein, witches may choose to follow either a negative or positive path in the practice of their craft. The negative path relates to the traditional stereotype of witches who use demons and magical..."
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Shakespeare's Dramatic Art, 1991.
A look at the development of playwright's craft through the early, balanced, overflowing and final Periods. Includes style, structure and themes.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"This study will examine the development of the dramatic art of Shakespeare, through the Early, Balanced, Overflowing, and Final periods.
The Early Period is marked by a lack of balance between the overall dramatic impact of the plays and the power of individual speeches, the latter generally being stronger in contrast. In addition, the plays of the Early Period demonstrate strong plots but weaker characterizations and a lack of psychological subtlety. It is clear in these plays of the Early Period, in contrast with later plays, that Shakespeare was playing and experimenting, exercising dramatic muscles that would be more fully developed in later plays and allow the playwright to create more balanced and flowing plays.
The plays of the Early Period include I, II, III, Henry IV,..."
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