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A Re-evaluation of the Role of Prejudice in Contemporary Arts, 2003.
An intense study of the role of prejudice in two contemporary 'pop culture' works.
4,492 words (approx. 18.0 pages), 4 sources, MLA, $ 117.95
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Abstract
This essay is a look at the novel "PUSH" by Sapphire and the movie "8mile" and how they both relate to prejudice in the United States. The writer argues that while both works show that prejudice and racism are still a problem for minorities and the underprivileged, they also suggest that these very people, by the strict definition of prejudice, harbor many prejudices of their own and the writer examines the reasons behind that.
From the Paper
"Prejudice is an oft-discussed topic these days is one which regardless of how overplayed and overanalyzed it may seem to be is still a major factor in many of the problems which we deal with as a society. In both Sapphire?s emotionally charged novel PUSH and the popular movie 8 Mile, loosely based on the life of Eminem, the problem of prejudice based on race is examined thoroughly. PUSH especially shows race to be one of the most important factors in the many problems that surround its main character, Claireece Precious Jones. Yet there are many other forms of prejudice besides racism. Defining prejudice is no easy task, but Merriam-Webster?s Dictionary gives an interesting--if not completely comprehensive--definition of prejudice: ?(1) : preconceived judgment or opinion (2) : an adverse opinion or leaning formed without just grounds or before sufficient knowledge b : an instance of such judgment or opinion c : an irrational attitude of hostility directed against an individual, a group, a race, or their supposed characteristics.? (Mirriam-Webster) Therefore one can literally be prejudiced against anyone or anything if one holds an ?irrational attitude? toward them. There are many examples of this, interestingly, in the form of Claireece in PUSH. Although Precious is a victim throughout the novel of prejudice, racial discrimination, taunting and ridicule, she still harbors many prejudices towards other groups of people bringing to the fore the quagmire of why an ?oppressed? person would not feel compassion for other people in a similar situation--an interesting idea that is also examined in 8 Mile--and why sometimes racism is even more common in people who suffer the brunt of its effects; through her many trials and tribulations Claireece does eventually get past many of her prejudices as she seeks to become more learned and is exposed to other groups of people, though. Yet at the end of PUSH Claireece still seems to harbor many prejudices leaving the reader to ponder the significance of what appears to be her enduring lack of understanding of what it means to be prejudiced."
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The Contemporary Fine Art Markets, 2007.
This paper is an anthropological analysis of the contemporary fine art market based on Stuart Plattner's study, titled 'A Most Ingenious Paradox - the Market for Contemporary Fine Art' from "American Anthropologist".
2,270 words (approx. 9.1 pages), 8 sources, APA, $ 70.95
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Abstract
This paper explains that Plattner's article, 'A Most Ingenious Paradox - the Market for Contemporary Fine Art', reports trends in the North American contemporary fine arts markets and in the commodification of fine art that reflect a neo-liberal environment of considerable new wealth and the culture of consumerism. The author points out that Plattner's orientation is one of participant-observation; a person exposed directly to the phenomenon of local fine art businesses and those who produce for them. The paper concludes that the local fine art markets are well established and profitable and that its artifacts may indicate a great deal regarding consumer tastes and behavior.
Table of Contents:
Introduction
An Informal Ethnography
The Decline of Authority
Economic Anthropology and Fieldwork in Toronto
Concluding Remarks
From the Paper
"Few consumers can know much of why one piece of fine art in a local venue costs more than another, as producers know that few seem to purchase with an eye to buying something to appreciate in value, as opposed to buying due to personal preference. In local and regional markets, the artists that Plattner refers to as identity producers can have an involved philosophy towards what they produce of which consumers need not know, featuring ideas of contributing to a total cultural heritage rather than pursuing artistic fame or monetary success."
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Contemporary Christian Art, 2004.
A paper looking at contemporary Christian art in the context of modern Christianity.
900 words (approx. 3.6 pages), 3 sources, MLA, $ 31.95
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Abstract
This paper discusses contemporary Christian art. The paper looks at how the variation in works of Christian art corresponds to the variation in Christian faith. It explains that some Christian art reflects a traditional Catholic perspective and draws on centuries of traditions of Catholic art, while other Christian art reflects the doctrinal practices and emphases of a range of sects, from Quakerism to Pentecostal.
From the Paper
"Contemporary Christian art is much like contemporary Christianity in general. There is as much variation in works of Christian art as there is variation in Christian faith. Some Christian art reflects a traditional Catholic perspective and draws on centuries of traditions of Catholic art. Other Christian art reflects the doctrinal practices and emphases of a range of sects from Quakerism to Pentecostal. And much of what artists might call Christian art because it reflects their own beliefs as Christians might not generally be classified as Christian art by..."
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Constructivism in the Contemporary Arts Classroom, 2008.
A review of Eliza Pitri's article "Teacher research in the Socio-constructivist Art Classroom."
1,006 words (approx. 4.0 pages), 1 source, APA, $ 35.95
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Abstract
This paper discusses an article that explores socio-constructivism, a creative student-centered approach to teaching in today's American arts classroom. The author notes that although the article, "Teacher Research in the Socio-Constructivst Art Classroom" by Eliza Pitri is often repetitive and pedantic and contains a detailed description of the components of socio-constructivism as well as practical instructions for teachers who wish to implement it. The paper concludes with a brief analysis of how the use of this approach might impact pedagogy in the author's school.
From the Paper
"Expanding upon the work of earlier scholars, Pitri maintains that the socio-constructivist approach recognizes that people construct knowledge from the events and phenomena they come across in their lives. Citing a handful of scholars who have devoted themselves to the study of socio-constructivist epistemology and its implications for classroom instruction, Eliza Pitri writes that learners who actively pursue knowledge instead of simply sitting in a desk passively absorbing knowledge as articulated by someone else are learners who aggressively integrate new information and experiences into their pre-existing knowledge base; along the way, they revise and re-interpret "old" knowledge as part of an ongoing effort to reconcile it with "new" knowledge...."
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Contemporary Art And Its Relationship To Its Audience And Society, 2002.
Discusses the arts since 1945.
1,800 words (approx. 7.2 pages), 4 sources, $ 63.95
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Abstract
Discusses the arts since 1945. Wide-ranging styles of artists. Innovative and creative breakthroughs. Emergence of concept of social relativity and a pluralistic society. How the Postmodern world and plurality have redefined the role of the artist. Pluralism of art styles reflecting society. The New Realism as a cumulative creative systhesis. The pluralistic way contemporary artists engage in with their audience.
From the Paper
"The picture of the arts since 1945 is extremely complex with trends toward fragmentation on one the side and multimedia unifications on the other. Radical changes have come about in science, technology, politics, economics, and the arts. Social relativity and the pluralistic society are replacing absolute values and uniformity; and artists are working in styles that vary from wide-ranging freedom to strict formalism, from imaginative abstraction to stark realism, from detached objectivity to passionate expressionistic involvement.
All this has shown that no one approach, solution, attitude, technique, or..."
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Contemporary Art and Society, 2008.
This paper discusses that society has changed significantly and, in parallel, its relationship with art has transformed as well.
1,210 words (approx. 4.8 pages), 5 sources, MLA, $ 41.95
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Abstract
In this article, the writer notes that art institutions have undergone significant changes in the past several decades. These changes are the result of the transformations in society as well as in art. The writer maintains that one way of addressing this relationship transformation is analyzing the position of art institutions that exist within societies and countries around the world. The writer points out that art institutions, like galleries and museums, are places where not only the work of art meets the eye of a critic but also locations where the broader public interacts with it. The writer notes that the public interaction with the artistic world in the art institutions is of crucial importance. After all, whether a work of art is going to survive or not depends a great deal on its public acceptance.
From the Paper
"The art and artistic expression has elevated itself from aesthetic human activity to more intellectual and actively socially involved one. The artists view their role as a socially active one, as members of society who openly and sometimes provocatively challenge the accepted ideas and social values. They are ready to tackle the ethic and social taboos, attitudes and widely accepted believes. This inevitably is result form the fact that the contemporary art works are not created form the void. Rather, the conditions within our society shape the ideas and "products" of artistic activity. The artwork becomes as a result, a part of a dialogue that comprises the culture in our society."
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The Uncanny of Freud, Urban Life, and Contemporary Art, 2004.
A look at Freud's definition of the uncanny as explained in his 1919 paper, "The Uncanny".
2,346 words (approx. 9.4 pages), 27 sources, MLA, $ 72.95
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Abstract
This paper presents an overview of several interpretations of Freud's definition of the uncanny and then takes a look at how it relates to contemporary thought and postmodern theory and art.
From the Paper
"The uncanny is created or emerges in that fissure formed by a tension that results from a collapse of fixed certainties and accepted familiarity. Central elements in the idea of the uncanny, which has been adopted by the post-structural community and by elements of contemporary art, includes the idea of dislocation, de-centeredness, the un-homely and nothingness in place of habitual identity. Furthermore, the meaning of the uncanny has the potential to disturb the logocentric views of modernism."
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Contemporary Art, 2002.
Discuses its relationship to audience and society.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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Abstract
Discusses relationship to audience and society. Art since 1945; radical changes, franmentation, multimedia unifications. Varying styles. Experimentation and consolidation & re-assessment leading to a pluralism of art styles. Post World War II societal changes. Postmodern world. Social plouralism & artists' engagement with their audience. Conventions. Innovations.
From the Paper
"CONTEMPORARY ART AND ITS RELATIONSHIP
TO ITS AUDIENCE AND SOCIETY
The picture of the arts since 1945 is extremely complex with trends toward fragmentation on one the side and multimedia unifications on the other. Radical changes have come about in science, technology, politics, economics, and the arts. Social relativity and the pluralistic society are replacing absolute values and uniformity; and artists are working in styles that vary from wide-ranging freedom to strict formalism, from imaginative abstraction to stark realism, from detached objectivity to passionate expressionistic involvement."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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The Arts, 2002.
A discussion of the role of the arts in contemporary society.
2,408 words (approx. 9.6 pages), 9 sources, MLA, $ 73.95
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Abstract
This paper examines the role of the arts which comprise of the disciplines of the visual arts, music, theater and dance in society and particularly education today. It shows how the arts not only impart a sense of beauty and vitality to the lives of human beings, but how they can also equip students with the necessary skills to flourish in the real world.
Outline and summary:
Introduction
Role of the arts in contemporary society; the recent resurgence of interest in the arts in schools; positive reasons for incorporating arts as mandatory courses in public schools.
Discussion on the significance of arts in society
Impact on human beings and society; historical significance of the artists? legacy.
Historical background of the role of arts in:
Society
The rise of interest in culture after World War II, leading to the division of America: one that is culturally conscious and one that is not.
Schools
The rise and fall of progressive education; attempts by the Clinton Administration to introduce the arts into public schools; gradual restoration of music programs all over America.
Discussion of the question: should arts be considered mandatory courses for public schools?
Pros
Cognitive abilities; imaginative skills; life skills; multiculturalism; improvement in students? academic performance and behavior; becoming a whole human being.
Cons
Positive results in research need to be proven; arts should not always be incorporated in other subjects; lack of funding.
Recommendations for bringing arts courses into public schools: collaboration between arts organizations and with schools; providing high quality education with well-trained teachers; innovative programs between schools and museums
Conclusions: The potential of the arts for improving education and thus our society. Lists briefly the advantages of arts education.
From the Paper
"Throughout history, many artists have been inspired by the world around them to create their works. Their accomplishments are not limited to the exclusive realm of the arts. Cave painters studied the anatomy and movement of the animals they drew. The pyramids built by the Egyptians were created with the accuracy of mathematics (Unsworth 56). Furthermore, The Impressionists? quest for color as reflected light mirrored the scientific discovery of the nature of light rays (Unsworth 56). Altogether, the rich legacy of all the artists provides contemporary generations with a vibrant representation of the human world and inspires us to continue their great work (York 274)."
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Contemporary Music, 2002.
A paper which evaluates contemporary music and what constitutes good and bad contemporary music.
1,049 words (approx. 4.2 pages), 6 sources, MLA, $ 36.95
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Abstract
The paper argues against the cliche that contemporary music is without lasting significance. It shows that contemporary music is made up of a multitude of facets, including jazz, country-western and rock and roll. The paper discusses what constitutes good contemporary music, from its style to the source from which it springs. The paper also explores how one judges the cultural strength of a particular style of contemporary music. Finally, the paper looks at the inventive side of contemporary music, such as the use of instruments and lyrics.
From the Paper
"A good example of contemporary music that served our culture well were the anthems and songs sung on 9/11/2001. A few songs were chosen again and again at ceremonies, gatherings, commemorations and fundraisers, and these songs had an even greater impact than the American flags that were waved in so many towns, in so many homes across the country. Although we have a national anthem, and a beautiful one, simpler songs often won the day. ?God Bless America? could not be more homespun in its words and simple melody. Like a poem of the people, it inspires and reverberates through the cultural fabric. Another song that was almost always performed was ?America the Beautiful.? The melody is simple and memorable, the words evoke the majesty and myth that is America?her spacious skies, her amber waves of grain?and the song inspires emotions that very few Americans can resist."
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, $ 249.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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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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Program Planning and Evaluation, 2007.
An analysis of various evaluation process, based on "Program Evaluation and Performance Measurement" by James McDavid and Laura Hawthorn.
966 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper discusses program planning and evaluation, based on the work "Program Evaluation and Performance Measurement" written by James McDavid and Laura Hawthorn. The paper describes the differences between formative and summative evaluations and their effectiveness. It then discusses the advantages of an internal evaluator over an external evaluator. The paper finally describes the collaborative evaluation process.
From the Paper
"All program evaluations are driven by the users. The potential users have to be identified during the very first stages of the evaluation process. Those users furthermore must be able to fully participate or collaborate in the entire evaluation process. Participation or collaboration means that all of the information needs of each user have to taken into account. At the same time, this type of inclusiveness does not imply that the users should control the program evaluation or determine its eventual outcome. Collaboration might involve many types of users from program managers and agency or department executives to external agencies such as funding services, and general users of the program. Collaborative evaluation can be extremely useful in arriving at conflict resolution and collaborative problem solving processes. As a result of collaborative evaluation, ongoing qualitative and quantitative data can be provided for continual correction and reinforcement in order to ensure success of any program. Participatory evaluation basically ensures inclusive participation, development by all clients in the evaluation process and in the outcomes."
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