| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "FRANCISCO GOYA EZRA POUND": |
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Francisco Goya and Ezra Pound, 2001.
An introduction to the lives and works of artist Francisco Goya and poet Ezra Pound.
1,454 words (approx. 5.8 pages), 7 sources, MLA, $ 48.95
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Abstract
The paper discusses the life histories of Francisco Goya and poet Ezra Pound. It analyzes Goyas "El 2 de Mayo," "The Colossus," and "Saturn Devouring His Son" and Pound's poems "MEDITATIO," "The Cantos," and "These Fought in Any Case". The paper also includes replicas of some of Goya's paintings.
From the Paper
"The two artists chosen for this paper fall into the innovative or creative section of the arts. Firstly, Ezra Pound is known for his modernistic style and is also known for exchanging ideas and allowing other credited artists to critique his work. His style was derived from Japanese and Chinese literature called Imagism, this touched on accuracy, precision, and a traditional rhyme scheme (Academy, 1). Francisco Goya, also known as ?the Father of Modern Art,? influenced the world with his works. His general feeling of bitterness towards the world was predominantly shown in his works. Due to the fact that Ezra Pound and Francisco Goya are both brilliant artist many parallels can be drawn between the two."
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Ezra Pound: Translation, Theory and Language, 2005.
An investigation into translation theories with a focus on Ezra Pound's translation of Chinese poetry.
4,022 words (approx. 16.1 pages), 8 sources, MLA, $ 108.95
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Abstract
Everybody has problems in translation. This paper attempts to clarify concepts and theories in translation theory - from Walter Benjamin to Ezra Pound - and focuses on Ezra Pound's translation of Chinese poetry and how Pound became a successful translator in modern poetry. It looks at how Pound's attention to detail and foreignizing technique made him a very vivid and innovative translator of the 20th century. The paper discusses some of Pound's translation strategies as well as explaining them by giving specific examples from his best known work "Cathay".
From the Paper
"First of all, it is worthwhile to define 'translation'. In dictionary, to translate has several meanings. To translate is "to express or be capable of being expressed in another language or dialect", or "to express or explain in simple or less technical language", or "to interpret or infer the significance of (gestures, symbols, etc.)", or "to transform or convert", or "to move or carry from one place or position to another". Within the limits of these definitions, one can easily understand that the practice of translation is not simple as it seems. Rather, it is a sophisticated matter since it involves number of things, when translating something to something else-this can be a word, a gesture, a movement, or something else. Interestingly, translation can be seen as an "interpretation"; generally, the word interpretation is used in literary circles for an attempt to clarify and explain literary works. "
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Ezra Pound, The River-Merchants Wife, 2002.
This paper examines Ezra Pound's, "The River-Merchant's Wife: A Letter".
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper examines Ezra Pound's, "The River-Merchant's Wife: A Letter". It examines techniques such as metaphor, simile, personification, word choice, repetition, and recurring motifs or patterns and how these help to create meaning (theme) and secure a response from the reader.
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Irony in Ezra Pound's Poetry, 1996.
Poet's uses of irony to critique society, politics, religion & self in Cantos 80 & 81.
2,250 words (approx. 9.0 pages), 4 sources, $ 79.95
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From the Paper
Of the great modernist poets, Ezra Pound stands apart as the most elliptical. His omnivorous learning, obscure allusions and frequent obtuseness make much of his work inaccessible to the general reader. For Pound's poetry to be readily understood, if such a thing is possible, a reader ought to be familiar with Eastern and Western philosophies, politics, history, several languages and the poet's own life. Even then, comprehending Pound's meaning in a given poem requires diligence and a willingness to allow for great ambiguity. His central work, the Cantos, represents Pound's greatest achievement, containing his most profound comments on the world and his art in all their learned and abstruse glory.
Within this collection of poems, Pound sought to trace the world's history using a Ulyssean/Dantesque framework. The poet..."
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Francisco Goya's "The Junta of the Philippines", 1999.
Analyzes content & political & cultural background & significance of 1815 painting.
1,800 words (approx. 7.2 pages), 6 sources, $ 63.95
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From the Paper
" Goya's The Junta of the Philippines (1815) at the Goya Museum at Castres is the largest work the artist ever painted (327 x 417 cm). The painting depicts the Spanish king, Ferdinand VII, presiding over a meeting of the Real Compa??a de Filipinas [Royal Company of the Philippines], a publicly-held trading company. Once the subject has been identified, however, the work remains strikingly unusual. The painting features a group of men seated at a raised table who face a room in which, on either side of a broad expanse of carpet, two groups of men face each other, ranged in rows of chairs. Another man stands at the left, in the doorway to the room. The painting is remarkably difficult to read because the solemn air of the Junta (or board of directors) at the high table contrasts with the variety of types of men in the chairs who, for the most part, seem to exhibit 40 different.."
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"A Draft Of XXX Cantos" ( Ezra Pound ), 1995.
Analyzes 30 cantos' style, narration, themes, form, allusions and philosophy.
2,250 words (approx. 9.0 pages), 1 source, $ 79.95
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From the Paper
"In The Cantos Ezra Pound wrote a poem in which he tried to include the whole world. He used many languages, ideas from many traditions, and quotations from some of the greatest works of literature. In the first group of poems, which are called A Draft of XXX Cantos, Pound begins with Greek literature and goes to Chinese philosophy and then to nineteenth-century economic ideas. Canto I is about Odysseus and his men who are involved in one of their adventures from Homer's Odyssey, the ancient Greek poem that was the first work of European literature. Canto XIII deals with a conversation between the Chinese philosopher Kung (another way of saying Confucius) and some of his followers. The teachings, or sayings, of Confucius are the basis of a whole way of thinking and believing in many parts of Asia. Canto XIX is set in modern times and the narrator and an American businessman ..."
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Portraiture in Goya and Moroni, 2008.
A comparative analysis of Giovanni Battista Moroni's "Gian Lodovico Madruzzo" and Francisco de Goya's "Portrait of General Jose Manuel Romero".
1,322 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses how Giovanni Battista Moroni's "Gian Lodovico Madruzzo" and Francisco de Goya's "Portrait of General Jose Manuel Romero" exhibit a number of similarities and differences. It looks at how both paintings depict a similar type of subject in the same medium of oil on canvas as well as how, despite these similarities, the paintings are quite different in terms of style and the ways that the subject is shown. More specifically, the paper relates that Moroni attempts to show the personal side of his subject while still maintaining respectability. but Goya emphasizes the military and social role of his subject by minimizing his subject's surroundings and maximizing the subject's image within the framed portrait.
From the Paper
"The posing of each figure is also important and is closely related to their placement. The long robes of Moroni's subject are most effective in a standing subject. Here, he poses without implied action of any sort, allowing the long lines of the robe fabric drape naturally around his person. His hands are visible, with his left hand pointing slightly to extend the lines of his arm, again lengthening him within the canvas. Much of the positioning of the subject is done to improve his image within the painting. Much more simply, Goya's subject stands in a formal military pose with his right hand tucked into his sash. This very clear and simple pose does well to again emphasize Goya's ambivalence toward his subject as he attempts to paint him as he truly appears. "
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Romantic Artists: Goya and Delacroix, 2007.
This paper discuses two artists of the romantic movement, Francisco de Goya y Lucientes (1746-1828) and Eugene Delacroix (1798-1863).
1,360 words (approx. 5.4 pages), 4 sources, APA, $ 45.95
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Abstract
This paper explains that, during the romantic movement in Spain and France, which is described as an anti-intellectual movement in both art and literature, artists of this tradition actively commented against the traditions of aristocratic domination of politics and societal norms and supported the rise of nationalism. The author points out that both Goya and Delacroix related their artistic visions and imagination to actual events and made political statements through their depiction of war. The paper explores this theme in Goya's "The Third of May 1808", which he created in response to the tyranny of Napoleon's forces, and in Delacroix's "Massacres at Chios, 1824", which was his objection to the continuing social repression of the professional and peasant classes.
From the Paper
"The decades preceding and following the turn of the 18th century were violent and bloody. It was an era of much political and social upheaval where people, ranging from both intellectual and educated to peasants, began to question the role and power of the aristocracy whom they began to view as irresponsible despots . In particular, the divine right of royalty was questioned along with the rules they imposed upon their subjects as well as the war atrocities they caused. Artists, including painters began to portray the fall out of this political upheaval."
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Revolutionary Art, 2004.
A review of the paintings ?The Third of May 1808? by Francisco Goya, Eugene Delacroix?s ?Liberty Leading the People 1830?, and Ernest Meissonier?s ?Memory of the Civil War (the Barricades) 1849? .
1,403 words (approx. 5.6 pages), 4 sources, MLA, $ 46.95
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Abstract
This paper discusses how revolution and social turmoil have always been accompanied by artistic creation. It examines Francisco Goya?s ?The Third of May 1808,? Eugene Delacroix?s ?Liberty Leading the People 1830,? and Ernest Meissonier?s ?Memory of the Civil War (the Barricades) 1849? and shows how they are three great pieces, which portray the glory and atrocity, the tragedy and humanity, of three revolutions.
From the Paper
"Francisco Goya?s "The Third of May, 1808? tells the story of an execution in the aftermath of the Spanish insurrections that protested Napoleon?s invasion of Spain. In this famous painting, a line of soldiers take aim at a single prisoner. To his left a pile of bleeding corpses demonstrate his inevitable fate. To his right a line of frightened, sobbing prisoners illustrate the immediate backstory for this moment. He is caught in the spotlight between anticipation and culmination, at the very second before death. Yet unlike the living he is not portrayed as frightened or even defeated, but as a gloriously triumphant figure. The scene is painted in dark earth tones, and all the figures have shadowed faces and dark clothes. The only light in the entire picture radiates from the prisoner?s central figure (strictly speaking, he is illuminated by a spotlight, but the still shines brighter than the light itself)."
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Goya and his Paintings, 2006.
An examination of 18 century painter Francisco Jose de Goya y Lucientes, otherwise known as Goya.
1,890 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
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Abstract
This paper examines the life and works of 18th century painter, Goya. It explains that in his youth, Goya was apprenticed by Francisco Bayeu and also motivated by the styles of Rembrandt and Velazquez as their techniques are present in Goya's work. The paper examines some of Goya's works and discusses how these styles are representative in his paintings.
From the Paper
"Despite his success as a painter, Goya's life and style were changed after an infirmity in 1793 left Goya deaf, imbibing him with new cynicism and bitterness. As a result, his post-infirmity paintings wee executed with painful honesty, eventually turning to tragedy and bizarre horrors. Throughout the rest of his life, Goya continued to paint, although he left Spain for Bordeaux, France, in 1824. With the final period of his life spent painting lithographs of scenes of bullfights, Goya died on 16 April 1826, leaving "no immediate successor" (8). Goya has influenced such diverse painters as Picasso and the modernists, and this paper shall analyze four of his works, taken from diverse periods of his artistry."
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"The Third of May, 1808", 2002.
Discusses the modernity of Francisco Goya's 1814 painting.
1,900 words (approx. 7.6 pages), 5 sources, $ 71.95
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Abstract
This paper will argue that, while "The Third of May, 1808" may seem to demand contextualization in terms of historic political and cultural forces - particularly the Napoleonic wars, nationalism and Romanticism -close analysis of the work would suggest that it is best appreciated in isolation from its immediate political and cultural context. From this perspective, Goya's "The Third of May, 1808" is a painting, not of Romantic heroism or of Spanish patriotism, but of simple human suffering in the face of political violence and oppression. As such, it is a painting whose modernity and universal resonance transcends the narrow context of its creation.
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"In a Station of the Metro", 2002.
An analysis of the poem, "In a Station of the Metro", by Ezra Pound.
787 words (approx. 3.1 pages), 4 sources, MLA, $ 28.95
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Abstract
This paper briefly discusses Pound's use of symbolism and imagery in the poem. It looks at the beauty that the poet sees in a Paris metro station.
From the Paper
"Often, one gets lost in the monotony of every day life. Almost like robots, man falls into a pattern of doing the same things every day, from going to school or work, to coming home, to eating dinner. Instead of living lives, man lives routines. Rarely does one stop to notice, appreciate, or think about the beauty in simple things. ?In a Station of the Metro,? by Ezra Pound, expresses the speaker?s sudden realization of the beauty he sees at a subway station in Paris. He watches as people get on and off trains and hurry to their destinations. In the two lines of the Imagist poem, Pound compares these people to something eerily beautiful and delicate??petals on a wet, black bough? (2). Ezra Pound uses succinct diction and symbolism in ?In a Station of the Metro? to convey an allegorical meaning related to rare, overlooked beauty in every day life."
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In a Station of the Metro, 2002.
A discussion of this two line poem by Ezra Pound.
1,810 words (approx. 7.2 pages), 4 sources, MLA, $ 58.95
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Abstract
This paper examines this short poem for its imagery and directness. Each word of the poem is analyzed for its meaning and why it was specifically chosen. A brief background of the poet is also provided.
From the Paper
"Mike Meyer says that "images give us the physical world to experience in our imaginations. Some poems...do just that; they make no comment about what they describe." This definition of images fits perfectly the images found in Ezra Pound's poem "IN A STATION OF THE METRO." The concise two line poem also is an example of Pound at work fulfilling his own dictum for what the ideal Imagist poem should be. In the February 15, 1912 issue of The New Age, Pound said:
We must have a simplicity of utterance, which is different from the simplicity and directness of daily speech . . .This difference, this dignity, cannot be conferred by florid adjectives or elaborate hyperbole; it must be conveyed by art and by the art of the verse structure, by something which exalts the reader, making him feel that he is in contact with something arranged more finely than the commonplace. (Nuwer)
"Just months later, in April, 1913, he published his famous haiku in Harriet Monroe's Poetry."
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International Expansion Strategy for Goya, 2008.
A discussion of the international expansion strategy for the largest Hispanic owned company - Goya.
2,362 words (approx. 9.4 pages), 14 sources, APA, $ 72.95
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Abstract
This paper examines how Goya has established itself as not just a popular brand of Hispanic food products, but also has become the markets' standard of quality and competitiveness. The paper explains that the Goya company has become an icon not only culturally but also commercially. The paper then look at how, in recent years, Latino communities worldwide have become more prominent in consumer markets because of rapid growth in Latin American countries as well as increasing social significance of Latino migrants particularly in North America. Next, the paper then points out that interests in its traditions and culture have created new market opportunities for Latino products in mainstream markets. The paper further explains that as public image and social responsibility become more of an issue for companies, Goya's approach to business has lent them not only market presence but also social relevance. In addition, the writer expresses the belief that there is also a need to develop new competencies to maintain the strategic advantages that have established Goya's success in Latino markets. In conclusion, Goya should assess the environmental forces of its new markets, particularly those that influence the economics, competitiveness and socio-cultural characteristics of the market. The writer suggests that in doing so, the company will be able to prove that there is not only an existing demand for its products but that potential for them is not limited to culture, race, ethnicity or nationality.
Outline:
Introduction
Environmental Forces Prioritized: Economic Forces, Competitive Forces, Socio-Cultural Forces
Understanding Subgroups within the Latino Community
Challenges of Market Diversification
Conclusion
From the Paper
"Economic forces are important to the company's marketing strategy because of its interest in retail markets. The case study of the company presented by Hoffman points out that since the Latino market will represent a substantial chunk of the consumer market, they will exert greater demand for products and may in fact shift the market towards buyers. At the same time, the size of the market will also increase its attractiveness to new players as well as marketing requirements (Goya, 2007a). Thus, it has been important for the company to establish itself as the premiere choice of consumers and to have a great sensitive to the market. According to Andy Unanue, CEO-in-waiting apparent, the company's sensitivity to the shifts in purchasing power and the rate of entry of alternative products has been critical."
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Imperial San Francisco, 2002.
Discusses and analyzes the book "Imperial San Francisco: Urban Power, Earthly Ruin" by Gray Brechin
1,081 words (approx. 4.3 pages), 1 source, MLA, $ 37.95
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Abstract
This paper examines the history of San Francisco as presented in "Imperial San Francisco: Urban Power, Earthly Ruin" by Gran Brechin. It reviews how Brechin discusses the impact the California Gold Rush, San Francisco's elite and powerful, the control of water sources and the shipbuilding industry had on the development of San Francisco.
From the Paper
"Brechin's book, "Imperial San Francisco" is a compelling history of the "City by the Bay," which pulls no punches in San Francisco's rise from sleepy bayside community to one of the most powerful cities in the world. From the preface, where he compares the imperial cities of old and their contados, areas surrounding the city that the city dominates and contribute to the city's well-being and growth, to the last chapter, where he illustrates modern power development in the Bay Area through her educational facilities, Brechin paints a complete and convincing picture of San Francisco's roots and development."
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