How to Draw and Paint Anatomy: Creating Life-Like Humans and Realistic Animals Pdf
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Rita Nowak Homo Kallipygos 03.10.19
Rita Nowak Homo Kallipygos 03.10.19 - 26.10.19 Mittwoch-Samstag, 12.00-18.00 Matthew Bown Gallery Pohlstrasse 48 10785 Berlin Rita Nowak's exhibition Homo Kallipygos is a series of photographs, of artists and not- artists, shot in Vienna, London and elsewhere. Fraternity, sorority; physical intimacy made compatible with the formality of spectacle; and the allure of the nude body are explored via the motif of the buttocks: the preferred, gender-neutral, erogenous zone of our age. The title of the show derives from the Aphrodite Kallipygos (aka Callipygian Venus), literally, Venus of the Beautiful Buttocks, a Roman copy in marble of an original Greek bronze [1]. Aphrodite's pose is an example of anasyrma: the act of lifting one's skirt to expose the nether parts for the pleasure of spectators [2]. Nowak's student diploma work, Ultravox (2004), referred to Henry Wallis's Death of Chatterton (1856), since when Nowak has regularly evoked the heritage of figurative painting. Centrefold cites an earlier pin-up, Boucher's Blonde Odalisque (1751-2), the image of a fourteen-year-old model, Marie-Louise O'Murphy [3]. Tobias Urban, a member of the Vienna-based artists' group Gelitin, sprawls not on a velvet divan in the boudoir but on that icon of contemporary consumerism, an abandoned faux-leather sofa, installed in a sea of mud. The title suggests that Urban, like O'Murphy, is intended as an object of our erotic fantasy; the pose is subtly altered from Boucher's original, the point- of-view is shifted a few degrees: we see a little less of the face, more of the buttocks and genitals [4]. -
Never Simply Nudity
Never Simply Nudity A Study of the Functions of the Nude Female Figure in Athenian Vase-Painting c. 480-420 BCE Amy Martin Thesis presented in fulfilment of the requirements for the degree of Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Samantha Masters March 2017 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2017 Copyright © 2017 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Abstract Recent studies regarding the motif of the nude female figure on Athenian red-figure vases of the 5th century BCE have caused much controversy among contemporary scholars. Whereas the nude male figure on Athenian vases is generally perceived by scholars as representative of heroic, ritualistic or civic nudity, the female form’s nude state remains ambiguous in comparison. In an attempt to uncover the cultural significance behind the appearance of the nude female figure on Athenian vases, multiple scholars have suggested that her utterly exposed state must surely have been indicative of a ‘disreputable’ status, especially that of the hetaira. However, this interpretation is problematic as it ultimately restricts the possible function(s) of the nude female figure to being primarily erotic in nature. -
A Marriage of Friends Or Foes? Radio, Newspapers, and the Facsimile in the 1930S
Journal of Broadcasting & Electronic Media ISSN: 0883-8151 (Print) 1550-6878 (Online) Journal homepage: http://www.tandfonline.com/loi/hbem20 How Real is Too Real for the Law? Realism versus Right of Publicity in Video Game Design Jamie M. Litty To cite this article: Jamie M. Litty (2016) How Real is Too Real for the Law? Realism versus Right of Publicity in Video Game Design, Journal of Broadcasting & Electronic Media, 60:3, 373-388, DOI: 10.1080/08838151.2016.1203314 To link to this article: http://dx.doi.org/10.1080/08838151.2016.1203314 Published online: 01 Sep 2016. Submit your article to this journal Article views: 112 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=hbem20 Download by: [The UC San Diego Library] Date: 22 May 2017, At: 07:16 How Real is Too Real for the Law? Realism versus Right of Publicity in Video Game Design Jamie M. Litty Realistic elements in video game design can inspire an appropriation claim, trademark dispute, or similar lawsuits, even when the underlying immaterial property from the real world was licensed. Video games can be First Amendment-protected expression, however, as in other media, there’s tension between the speech rights of creators and the personal rights of subjects. Furthermore, there’s disagreement from one jurisdiction to another regarding how much mimicry loses protection and how many dissimilarities are transfor- mative enough to be lawful. Analysis of case law reveals a balancing act between protecting video games as expressive works and protecting indivi- duals’ right of publicity. -
CAT's CRADLE by Kurt Vonnegut
CAT'S CRADLE by Kurt Vonnegut Copyright 1963 by Kurt Vonnegut, Jr. Published by DELL PUBLISHING CO., INC., 1 Dag Hammarskjold Plaza, New York, N.Y. 10017 All rights reserved. ISBN: 0-440-11149-8 For Kenneth Littauer, a man of gallantry and taste. Nothing in this book is true. "Live by the foma* that makes you brave and kind and healthy and happy." --The Books of Bokonon. 1:5 *Harmless untruths contents 1. The Day the World Ended 2. Nice, Nice, Very Nice 3. Folly 4. A Tentative Tangling of Tendrils 5. Letter from a Pie-med 6. Bug Fights 7. The Illustrious Hoenikkers 8. Newt's Thing with Zinka 9. Vice-president in Charge of Volcanoes 10. Secret Agent X-9 11. Protein 12. End of the World Delight 13. The Jumping-off Place 14. When Automobiles Had Cut-glass Vases 15. Merry Christmas 16. Back to Kindergarten 17. The Girl Pool 18. The Most Valuable Commodity on Earth 19. No More Mud 20. Ice-nine 21. The Marines March On 22. Member of the Yellow Press 23. The Last Batch of Brownies 24. What a Wampeter Is 25. The Main Thing About Dr. Hoenikker 26. What God Is 27. Men from Mars 28. Mayonnaise 29. Gone, but Not Forgotten 30. Only Sleeping 31. Another Breed 32. Dynamite Money 33. An Ungrateful Man 34. Vin-dit 35. Hobby Shop 36. Meow 37. A Modem Major General 38. Barracuda Capital of the World 39. Fata Morgana 40. House of Hope and Mercy 41. A Karass Built for Two 42. -
THE MOVING FINGER Agatha Christie
THE MOVING FINGER Agatha Christie Chapter 1 I have often recalled the morning when the first of the anonymous letters came. It arrived at breakfast and I turned it over in the idle way one does when time goes slowly and every event must be spun out to its full extent. It was, I saw, a local letter with a typewritten address. I opened it before the two with London postmarks, since one of them was clearly a bill, and on the other I recognised the handwriting of one of my more tiresome cousins. It seems odd, now, to remember that Joanna and I were more amused by the letter than anything else. We hadn't, then, the faintest inkling of what was to come - the trail of blood and violence and suspicion and fear. One simply didn't associate that sort of thing with Lymstock. I see that I have begun badly. I haven't explained Lymstock. When I took a bad crash flying, I was afraid for a long time, in spite of soothing words from doctors and nurses, that I was going to be condemned to lie on my back all my life. Then at last they took me out of the plaster and I learned cautiously to use my limbs, and finally Marcus Kent, my doctor, clapped me on my back and told me that everything was going to be all right, but that I'd got to go and live in the country and lead the life of a vegetable for at least six months. -
The Meanings of Nudity in Medieval Art: an Introduction1
The Meanings of Nudity in Medieval Art: An Introduction1 Sherry C.M. Lindquist Johann Joachim Winckelmann and other early founders of the modern discipline of art history hailed the idealized nude—developed in ancient Greece, adopted by the Romans, and subject to imitation and revival ever since—as a superior, “classical,” distinctively Western approach to representing the human body.2 Such presumptions about the classical nude inform the traditional art historical canon, coloring judgments about other traditions and societies, and distorting our view even of certain eras of Western art history, particularly the Middle Ages.3 In spite of some exceptional studies to be discussed below, the tradition of representing the unclothed body in the Middle Ages, when it is acknowledged at all, has been most often reduced to what is considered a typical medieval Christian ascetic rejection of the body.4 This simplification is frankly astonishing when one considers the complex, multivalent and inventive iconographic contexts in which full or partial nakedness appears in medieval art: biblical stories featuring Adam and Eve, Susannah and the Elders, David and Bathsheba, the rape of the Levite’s wife, the nakedness of Noah, and the Baptism of Christ, among others; the transcendent suffering body in representations of the lives of the saints and Christ; additional narratives that feature holy figures like Martin and Francis divesting themselves of clothes; the lactating Virgin; baptism scenes; birth scenes; bath scenes; medical miniatures; Sheela-na-gigs; illuminations in legal manuscripts addressing cases of impotence, rape, and adultery; Pygmalion’s statue; Venus and other “pagan idols;” demons; hybrid creatures; anthropomorphized sexual organs worn as badges; souls; the dead; the monstrous races; lovers in romances; personifications of Luxuria, and more. -
Simulated Shooting Should Be Punished by NFL ______
_________________________________________________________________________________________________________ + MISCELLANEOUS Simulated shooting should be punished by NFL ________________________________________________________________________________________________________________ I'm waiting to see what the behavior police at the National Football League will do in response to the display of unsportsmanlike conduct at last night's nationally televised Eagles-Giants game. I'm not talking about the sequence of post-whistle skirmishes between the two rivals of the gridiron or the fight that resulted in offsetting penalties on players from both teams. I'm also not referring to the stupid taunts from Eagles DeSean Jackson directed toward the entire Giants team after the receiver pulled in a 50-yard pass right in front of the opponent's bench -- a truly juvenile act that prompted a penalty flag negating the big gain. I'm much more concerned about a spontaneous celebration from Eagles linebacker Brian Rolle midway through the second quarter, a rookie mistake that warrants an NFL sanction. You may have missed it -- the refs apparently did. And the NBC announcers failed to take notice, even when the player's antics were shown on replay. Immediately after he and his defensive mates had cornered a Giants ball carrier several yards behind the line of scrimmage, Rolle jumped up and started mimicking machine-gun fire. With a deliberate back-and- forth sweeping motion, Rolle appeared as if he were aiming and shooting at the Giants home crowd. Had Rolle pointed his imaginary weapon at one of the Giants players, he likely would have been penalized 15 yards for taunting. According to a footnote int the NFL Rule Book, a "machine gun salute" also constitutes taunting, presuming that such a gesture directed at the crowd is included. -
The Renaissance Nude
Large Print The Renaissance Nude The Sackler Wing of galleries Rooms 1 and 2 Do not remove from gallery The Renaissance Nude Royal Academy of Arts The Sackler Wing of Galleries 3rd March - 2nd June 2019 Contents Page 5 Room 1 - Introduction Page 7 The Nude and Christian Art Page 20 Room 2 Page 22 Humanism and the Expansion of Secular Themes Exhibition supported by The Thompson Family Charitable Trust Peter & Geraldine Williams The Sackler Wing of Galleries You are in room 1 3 2 1 5 4 Audio Desk Exit to room 2 1 2 51 3 =showcases Exhibition entrance 3 Multimedia tour room 1 Main commentary Descriptive commentary 100 Introduction Jan Gossaert, Christ on the Cold 1 51 Stone, c. 1530 Dirk Bouts, The Way to Paradise; 2 The Fall of the Damned, 1468-69 Jean Bourdichon, Bathsheba Bathing, 3 Hours of Louis XII, 1498/99 4 Room 1 The 100 Renaissance Nude :KHQ0LFKHODQJHOR¿QLVKHGKLVµ/DVW Judgement’ in 1541, the monumental wall painting in the Sistine Chapel was celebrated as a triumph. The mural’s vast array of nudes, however, soon proved to be so controversial that, shortly after the artist’s death in 1564, Pope Pius IV ordered concealing draperies WREHSDLQWHGRYHUVRPHRIWKH¿JXUHV 8QWLOWKHQWKHQXGHKDGÀRXULVKHGLQ Renaissance Europe. Even in the face of objections and consternation, it had achieved an increasingly dominant role in the visual arts across the continent, with artistic training itself closely focused on the study of the unclothed body. (continued over) 5 It appeared in sacred and secular contexts, from small, intimate objects to PRQXPHQWDOGHFRUDWLYHSURJUDPPHV¿OOLQJ church interiors and stately palaces. -
The Long New Right and the World It Made Daniel Schlozman Johns
The Long New Right and the World It Made Daniel Schlozman Johns Hopkins University [email protected] Sam Rosenfeld Colgate University [email protected] Version of January 2019. Paper prepared for the American Political Science Association meetings. Boston, Massachusetts, August 31, 2018. We thank Dimitrios Halikias, Katy Li, and Noah Nardone for research assistance. Richard Richards, chairman of the Republican National Committee, sat, alone, at a table near the podium. It was a testy breakfast at the Capitol Hill Club on May 19, 1981. Avoiding Richards were a who’s who from the independent groups of the emergent New Right: Terry Dolan of the National Conservative Political Action Committee, Paul Weyrich of the Committee for the Survival of a Free Congress, the direct-mail impresario Richard Viguerie, Phyllis Schlafly of Eagle Forum and STOP ERA, Reed Larson of the National Right to Work Committee, Ed McAteer of Religious Roundtable, Tom Ellis of Jesse Helms’s Congressional Club, and the billionaire oilman and John Birch Society member Bunker Hunt. Richards, a conservative but tradition-minded political operative from Utah, had complained about the independent groups making mischieF where they were not wanted and usurping the traditional roles of the political party. They were, he told the New Rightists, like “loose cannonballs on the deck of a ship.” Nonsense, responded John Lofton, editor of the Viguerie-owned Conservative Digest. If he attacked those fighting hardest for Ronald Reagan and his tax cuts, it was Richards himself who was the loose cannonball.1 The episode itself soon blew over; no formal party leader would follow in Richards’s footsteps in taking independent groups to task. -
Learning to Identify Tolerance Issues Through Literature with Art As a Response
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1996 Learning to identify tolerance issues through literature with art as a response Patricia Ann Rifkin Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Bilingual, Multilingual, and Multicultural Education Commons Recommended Citation Rifkin, Patricia Ann, "Learning to identify tolerance issues through literature with art as a response" (1996). Theses Digitization Project. 1241. https://scholarworks.lib.csusb.edu/etd-project/1241 This Project is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. LEARNING TO IDENTIFY TOLERANCE ISSUES THROUGH LITERATURE WITH ART AS A RESPONSE A Project Presented to the the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Education: Middle Grades Option by Patricia Ann Rifkin June 1996 LEARNING TO IDENTIFY TOLERANCE ISSUES THROUGH LITERATURE WITH ART AS A RESPONSE A Project Presented to the Faculty of California State University, San Bernardino Patricia Ann Rifkin June 1996 proy Reader Date 'A Ga to, (Prindipal, ut ridge Middle School, Second Reader ABSTRACT Despite the vast numbers of articles and statistics that have been published regarding the issue of multiculturalism and diversity we are still sadly short of curriculum to address tolerance issues in the middle school classroom. This project intends to show necessity for and rationale for a tolerance curriculum in the middle school. -
Inter-American Beginnings of US Cultural Diplomacy, 1936-1948. Cultural Relations Programs of the US Department of State: Historical Studies, Number 2
'r ... ( 4- DOCUMENT RESUME ND' 150:051 SOP010 '627 . .1. , AUTHOR , Espinosa, J.- Manuel . TITLE , Inter-American Beginnings of U.S. Cultural Diplomacy, 1936-1948. Culttiral Relations Programs of the U'.S. / . Departient-of State: Historical Studies Number 2. INSTITUTION Bureau of, Educational and -Cultural Affairs (Dept. of ( , State), Washington,sD.C,., ' PUB DATE Dec 76 , ) SNOT! 360p.; For a' related dc ii nt, see SO' 010 626 AVAILABLEFROM°. Superintendent of dpcume s, U.S. Government Printing ' f Office, Washingt6E-D.C. 20402 (Stock No. 044-000-01620-6 $6.20,*ha dbound) . EDRS PRICE . MF-$0.83 HC-$19.41 Plus P tage., DESCRIPTORS American History; Cross Oultufal Studies; *Cultural Exchange; Culture Cbntact; Developing Nationb; Diplomatic ijistory; *Exchange Programs; Foreign Policy; Government Role; rcultural Programs; *International Educat al Exchange; *International Relations; Latin Am fcan Culture; Political Influences; Primary Sources; *Program Descriptions; Program EraluationT Social Influences . IDENTIFIERS *Latin :America ' ABSTRACT . Focusing upon e role of the United States government in furthering educzonal and cultural relations with other nations, the book pres is a history of cooperative exchange . between the United States a Latin America from 1936 -48.' The report, based upon primary source siterial in the foist of communications between the Department of fltite and foreign service posts in Litin America, is presented in Aix major sections. Section I investigates origins of the Pan American Movement-in-the early 1800s and reviews private inter-Aierican cultural exchange, activities before 1930. 'Section II outlines the genesis of the program, reviews the good, neighbors policy, andevaltiatesthe significance of,the 1936 Buenos Aires Conference for the Promotion of. -
Adult Entertainment’ in the UK
This item was submitted to Loughborough’s Institutional Repository (https://dspace.lboro.ac.uk/) by the author and is made available under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Encouraging sexual exploitation? Regulating striptease and ‘adult entertainment’ in the UK Phil Hubbard, Professor of Urban Social Geography, Loughborough University E-mail: [email protected] Biographical detail: Phil Hubbard is Professor of Urban Social Geography at Loughborough University. He is author or editor of nine books, including Sex and the city: geographies of prostitution in the urban West (1999), The Sage Companion to the City (2008) and Key Texts in Human Geography (2008). 1 Encouraging sexual exploitation? Regulating striptease and ‘adult entertainment’ in the UK Abstract Over the last decade, dedicated adult entertainment venues offering forms of striptease have proliferated in the UK. In many locales these venues attract considerable opposition, with campaigners alleging nuisances ranging from noise and drunkenness through to harassment of local residents. Local authorities consider such complaints when they decide whether or not to grant licenses for such venues, but under current licensing laws, are not able to consider objections made on grounds of morality or taste. Focusing on the ongoing opposition to proposed adult entertainment venues in the UK, this paper explores the case made for the reform of licensing laws as they pertain to nude dance venues. In doing so, it notes the lack of empirical evidence suggesting such venues deserve to be treated differently from other spaces of public entertainment, and argues that the impending reform of licensing law is underpinned by possibly flawed assumptions about the gendered and sexed nature of adult entertainment.