Cue, English Humanities Media Guide. By- Brown, Robert M

Total Page:16

File Type:pdf, Size:1020Kb

Cue, English Humanities Media Guide. By- Brown, Robert M R E P O R T R E S U M E S ED 012 199 RC 000 991 CUE, ENGLISH HUMANITIES MEDIA GUIDE. BY- BROWN, ROBERT M. AND OTHERS NEW YORK STATE EDUCATION DEPT., ALBANY PUB DATE 65 EDRS PRICE MF-$0.36 HC -$8.B0 220P. DESCRIPTORS- *ENGLISH, *HUMANITIES, INSTRUCTION, CURRICULUM GUIDES, *INSTRUCTIONAL MATERIALS, TELEVISION, *FILMS, *VIDEO TAPE RECORDINGS, CULTURAL ACTIVITIES, TEACHING GUIDES, ENRICHMENT PROGRAMS, SECONDARY EDUCATION, GRADE 9, CURRICULUM ENRICHMENT, PROJECT CUE, ALBANY THIS DOCUMENT IS ONE OF A SERIES OF MEDIA GUIDES SPONSORED BY THE NEW YORK STATE EDUCATION DEPARTMENT UNDER THE CUE SYSTEM. THE ENGLISH HUMANITIES ARE DIVIDED INTO 11 DIFFERENT TOPICS, COVERING AREAS OF COMMUNICATION, VOCABULARY, /ND WORLD CULTURE. WITHIN EACH TOPIC IS A SERIES OF SUGGESTED FILM AND TELEVISION SUBJECTS. A DISCUSSION IS GIVEN ON EACH OF THE SUBJECTS INCLUDING A SYNOPSIS, A STATEMENT OF PURPOSE, SUGGESTED PREPARATION OF THE CLASS, THINGS PUPILS SHOULD LOOK AND LISTEN FOR, AND SUGGESTIONS FOR FOLLOWUP ACTIVITIES AND RELATED ACTIVITIES. A LIST OF PRCDUCERS AND ADDRESSES IS INCLUDED. THIS DOCUMENT IS A LATER VERSION OF ED 003 785. (JM) U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE ttr OFFICE OF EDUCATION (1*. THIS DOCUMENt HAS BEEN REPRODUCED EXACTLY ASRECEIVED FROM !HE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OFEDUCATION A POSITION OR POLICY. mid what isproject CUE? CUEopensdoors. a trip to Angkor Wat. poetry, literature, drama. 11119S L and Michelangelo. temple dancers in Thailand. 9 Macchu Picchu and Brasilia. 1 weeping over Romeo and Juliet. perception and understandings. I9 a visit with the ancient Greeks. trips to museum, seminars, exhibits. "High Life" music in West Africa. a tour of France with Charles Boyer. 11111915 ballet, opera, string quartets, jazz. rhythms of the South Pacific. discovering that art is a way of life. 11111915 discovering texture, line, form, color. packages of media--films, strips, slides, records, tapes, pictures which inform, instruct, delight, stir, inspire, IT'S amuse, teach, and stretch the mind. guides which assist teachers to integrate thesuper- communication of the arts and humanities to illumine IT'S and enrich the ongoing curriculum in the 9th grade. op, .1111c 'Jr:7,77 "TO SEE LIFE; TO SEE THE WORLD; TO EYEWITNESS GREAT EVENTS; TO WATCH THE FACES 01 THE POOR AND THE GESTURES OF THE PROUD; TO SEE STRANGE THING4-- MACHINES, ARMIES MULTITUDES, SHADOWS IN THE JUNGLE AND ON THE MOON;TO SEE MAN'S WORK--HIS PAINTINGS, TOWERS ALM DISCOVERIES; TO SEE THINGS THOUSANDS OF MILES AWAY, THINGS HIDDEN BEHIND WALLS AND WITHIN ROOMS, THINGS DANGEROUS TO COME TO; THE WOMEN THAT MEN LOVE AND MANY CHILDREN;' TO SEE AND TO TAKE PLEASURE IN SEEING; TO SEE AND BE AMAZED; TO SEE AND BE INSTRUCTED; THUS TO SEE, AND TO BE SHOWN, IS NOW THE WILL AND NEW EXPECTANCY OF HALF MANKIND." *LIFE THE UNIVERSITY OF THE STATE OF NEW YORK THE STATE EDUCATION DEPARTMENT ALBANY 1965 V380-N65-2000 The research reported hereinwas supported by a grant from the United States Office of Education, Department of Health, Education, and Welfare. NOTES English teachers will be interestedin the new television series entitled "Indian Fables and Legends,"featuring Mrs. Muriel Wasi of the Ministry of Education of New Delhi. This series was recently produced by and is now available from theDivision of Communications of the New York State Education Department, Albany,New York. These legends are also available on audiotape from thesame source. Some of them are available in printed form in the "CUEInsights Through Literature." A complete listing of theseprograms with synopsis of their content will be found in the most recent editionof the CO Social Studies Guide. A survey was made in CUE schoolsto find which resource materials were most useful to teachers. A wide range of ability andbackground at ninth grade levels necessitated theprovision of a widerange of re. scurces to serve all types of pupils. Since many teachers in the 10th, llth, and 12th gradeswere anxious to have humanities materials, they also use CUB resources. Some items have been includedfor these upper grades. These items are noted "for later grades." 44 FOREWORD No recent trendsin educationmat in an exciting Pr!lect CUE, culture, study, knownas understanding, enri4liment. The first trendwas the grdwing recognitionon the part of educators and laymen, fordoing a better job ofteaching thearts, the humanities, The second trend in the publicschools. recognised thepotential impact ofa well organised "system" ofinstruction tosupport the teacher in his day-to-dayteachingle The combination of these two ideasprompted the United Education to give the States Office of New York StateEducation Depertment tegrate the arts into a grant to in- the curriculumthrough the technique planned system of of a carefully instruction, basedupon media - materials, guides, and suggested curriculum methodology andtechniques for program.The Division of implementing the EducationalCommunications and the Secondary Curriculum Bureau of were assigned the taskof operating the directorshipof Dr. Robert the project under Brown and Mrs. GraceN. Lacy. Although the teachingof the humanities has been takingplace in schools in thecountry for many many years, the study beingmade by the Education Departmentrepresented several differentapproaches. First, it was decided that thehumanities were for all students andnot just for select few, whochose to elect a a special humanitiescoulee at a particular grades level. Second, the humanities are part of all subjectarea content and should berecognised and appreciated in thatcontext. Third, acare- fully preparedprogram of media, materials and methodologycould enable the teacher andstudent to teachand learn in three points in a superior way. Withthese mind, 13 experimentalschools were selected the humanities to integrate program into the ninth gradecurriculum. In July, 1963,nine teacher consultants cameto Albany to selectthe materials suitableto their subject areas. They then wrotelesson plans for use of thematerials, under the direction of Mrs.Lacy. The lesson plans were editedby the Bureau of Secondary Curriculumand the assigned subject, matterspecialists, published, and sent to the 13project schools. Packages of the chosenmaterials were assembled by the Division and sent to theschools of EducationalCommunications. Mks. Lacy visited all schoolsto orient the teachersto the program and oxplain theCUE system. Curriculum and audiovisual each school acted coordinators in as liason persons betweenthe school au+k the Throughout the CUE staff. year the materials andguides were used and the CUE teachers. evaluated by As a result ofone year's use, the materials have been revised and guides and upgraded inthe light of the suggestions of ct-iticisms and more than 250 teachers. Dr. Brown conducted schools before and testing in all after the culturalmaterial had beenused. Special acknowledgement should be expressedto each individual who participated in ProjectCUE. Since this isimpossible, due to thelarge ,,`Stirm,".3 It numbers that have contributed to the effort, the Department can only recognise in a general way, the help given by the United States Office of Education; the National Art Gallery; the teachers, coordinators and administrators in the thirteen project schools; the special writers and subject area supervisors; the staff of the Division of Educational Communications and the Bureau of Secondary Curriculum; and the manu- facturers and producers of the media-materials used. Lee E. Campion Director, Division of Educational Communications Hugh M. Flick Associate Commissioner for Cultural Education and Special Services ADDENDUM CUE has now been renewed for a third year by the United States Office of Education (1965-66). Interest in the project has become wide- spread throughout the State,and requests for the guides and information about the project come in from many parts of the country. A new "Do-It- Yourself Guide," which gives helpful information to those schools inter- ested in implementing the CUE system, is now available. Use of this guide, CUE subject guides, and materials lists enable any school to benefit from CUE's pioneer research in arts and humanities integration through media and a "systems" approach. Persons wishing further information about CUE should direct inquiries to: Director of CUE New York State Education Department Albany, New York Ofm99.111171M4TWIT111,,,,,-. --7M11-1,Mr.m1",rm01,4t," CONTENTS OUR ANCIENT GREER HERITAGE Introduction to Mythology "A Lesson in Mythology" 1 "Ulysses" ............... OOOOO OOOO 000000000000000 1 "The Rise of Greek Art".. ...... 3 Reading to Follow Directions "Age of Gods and Heroes" OOOOOO ......................OOOOO 000000 6 Making a Bulletin Board aboutMythology OOOOO 000000000 OOOOO 0000000 8 Reading to Recognize Main Ideas "Greece" OOOOOOOOOOOO ...........................OOOOO OOOOO 10 Writing Paragraphs "Prometheus Bound" , 11 "La Primavera" OOOOO 060000000 OOOOOOO 9000OOOOO 0 13 Class Discussion "The Death of Socrates" 16 Vocabulary "Our Inheritance from HistoricGreece OOOOO 00000060 OOOOO 00000000100 18 "The Style of a Battered Boxer" OOOOOOOOO OOOOOOO .......e.. 18 "Discus Thrower" 18 "A School of Manners" 18 "Language and Communication" OOOOO 00000000000000000000000OOOOO 020 Greek Influence on Vocabulary 23 Creative Writing "The Poetry of Vases" 00000000400 OOOOOOOO CO OOOOO 0000000OOOOOOO 0000 24 "Riches on the Wharves" .................... OOOOOOOO 00000000000000
Recommended publications
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. THE STORY BEHIND THE STORIES British and Dominion War Correspondents in the Western Theatres of the Second World War Brian P. D. Hannon Ph.D. Dissertation The University of Edinburgh School of History, Classics and Archaeology March 2015 2 TABLE OF CONTENTS Abstract ………………………………………………………………………….. 4 Acknowledgements ……………………………………………………………… 5 Introduction ……………………………………………………………………… 6 The Media Environment ……………...……………….……………………….. 28 What Made a Correspondent? ……………...……………………………..……. 42 Supporting the Correspondent …………………………………….………........ 83 The Correspondent and Censorship …………………………………….…….. 121 Correspondent Techniques and Tools ………………………..………….......... 172 Correspondent Travel, Peril and Plunder ………………………………..……. 202 The Correspondents’ Stories ……………………………….………………..... 241 Conclusion ……………………………………………………………………. 273 Bibliography ………………………………………………………………...... 281 Appendix …………………………………………...………………………… 300 3 ABSTRACT British and Dominion armed forces operations during the Second World War were followed closely by a journalistic army of correspondents employed by various media outlets including news agencies, newspapers and, for the first time on a large scale in a war, radio broadcasters.
    [Show full text]
  • Isms Through a Prism
    MONDAY, JANUARY 20, 2020 In honor of Dr. Martin Luther King Jr. Day, we are exploring various forms of biases that create schisms. We encourage your introspection. isms through a prism ableism ageism Let’s not be oblivious Judge not youth or age BY CHERYL CHARLES BY ELYSE CARMOSINO I got out of bed this morning, al- Since a New York Times article de- though perhaps a bit more gingerly clared the rise in popularity of mil- than I did in my younger days. lennial and Gen Z internet meme Yes, these exercise routines leave me “OK boomer” to be “the end of friend- a little more sore, for a whole lot longer. ly generational relations,” the topic But I’ve always been able to walk, and of age-related discrimination on both move, and get pretty much anywhere ends of the scale has resurfaced as a ableism, A7 ageism, A7 Ableism Ageism Colorism Heterosexism Racism Se xism PAGE DESIGN | MARK SUTHERLAND colorism heterosexism racism sexism A paler Who’s to say Let’s look Still a long shade of bias what’s normal? beyond color way to go BY THOR JOURGENSEN BY GAYLA CAWLEY BY STEVE KRAUSE BY CAROLINA TRUJILLO I had a friend who was For the past couple of To start with, racism is Sex·ism (noun) prejudice, Puerto Rican and proud of years, I’ve been writing a an insidious social condi- stereotyping, or discrimi- her family’s roots in Spain. bi-weekly column and have tion. Every time we think nation, typically against Her skin was as light as intentionally steered clear we’ve conquered it, or at women, on the basis of sex.
    [Show full text]
  • French Sculpture Census / Répertoire De Sculpture Française
    FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE ARCHIPENKO, Alexander Flat Torso 1914 chrome plated sculpture, with black marble base M.83.175.1 Los Angeles, California, Los Angeles County Museum of Art ARCHIPENKO, Alexander Flat Torso 1914, cast 1921-1922 polished bronze 2003.3 Richmond, Virginia, Virginia Museum of Fine Arts ARCHIPENKO, Alexander Torso c. 1921-1923 marble 95.9 Bloomington, Indiana, Eskenazi Museum of Art, Indiana University (formally Indiana University Art Museum) Page 1 ARCHIPENKO, Alexander Torso in Space 1936 bronze on wood base AC 2001.601 Amherst, Massachusetts, Mead Art Museum, Amherst College ARCHIPENKO, Alexander Torso in Space 1936 terracotta, metalized with bronze on painted wood base 58.24 New York, New York, Whitney Museum of American Art ARCHIPENKO, Alexander Torso in Space 1936, cast 1967 bronze 68.10 New York, New York, Whitney Museum of American Art ARCHIPENKO, Alexander Torso in Space 1936 bronze, 2/6 1971.001.002 Tucson, Arizona, University of Arizona Museum of Art ARCHIPENKO, Alexander Torso 1916 bronze 1958.5 Phoenix, Arizona, Phoenix Art Museum Page 2 ARCHIPENKO, Alexander White Torso c. 1920, after a marble of 1916 silvered bronze 277.1961 New York, New York, The Museum of Modern Art ARP, Jean/Hans Torso original marble 1931, this enlarged cast 1957 bronze 1966.55.1 Baltimore, Maryland, The Baltimore Museum of Art ARP, Jean/Hans Torso Fruit 1960 marble 66.108 Washington, D.C., District of Columbia, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Page 3 ARP, Jean/Hans Torso-Kore 1958 bronze, edition 2/5 97.1991 Chicago, Illinois, The Art Institute of Chicago Page 4 ARP, Jean/Hans Torso 1953 white marble on polished black marble base SC 1956:13 Northampton, Massachusetts, Smith College Museum of Art ARP, Jean/Hans Torso of A Knight 1959 bronze 2006.03 Grand Rapids, Michigan, Frederik Meijer Gardens and Sculpture Park BARTLETT, Paul Wayland Female Figure bronze Washington, D.C., District of Columbia, The National Gallery of Art BARTLETT, Paul Wayland Seated Female Torso c.
    [Show full text]
  • The-Odyssey-Greek-Translation.Pdf
    05_273-611_Homer 2/Aesop 7/10/00 1:25 PM Page 273 HOMER / The Odyssey, Book One 273 THE ODYSSEY Translated by Robert Fitzgerald The ten-year war waged by the Greeks against Troy, culminating in the overthrow of the city, is now itself ten years in the past. Helen, whose flight to Troy with the Trojan prince Paris had prompted the Greek expedition to seek revenge and reclaim her, is now home in Sparta, living harmoniously once more with her husband Meneláos (Menelaus). His brother Agamémnon, commander in chief of the Greek forces, was murdered on his return from the war by his wife and her paramour. Of the Greek chieftains who have survived both the war and the perilous homeward voyage, all have returned except Odysseus, the crafty and astute ruler of Ithaka (Ithaca), an island in the Ionian Sea off western Greece. Since he is presumed dead, suitors from Ithaka and other regions have overrun his house, paying court to his attractive wife Penélopê, endangering the position of his son, Telémakhos (Telemachus), corrupting many of the servants, and literally eating up Odysseus’ estate. Penélopê has stalled for time but is finding it increasingly difficult to deny the suitors’ demands that she marry one of them; Telémakhos, who is just approaching young manhood, is becom- ing actively resentful of the indignities suffered by his household. Many persons and places in the Odyssey are best known to readers by their Latinized names, such as Telemachus. The present translator has used forms (Telémakhos) closer to the Greek spelling and pronunciation.
    [Show full text]
  • Secondary(Mapeh) September 29, 2019
    PROFESSIONAL REGULATION COMMISSION BAGUIO PROFESSIONAL TEACHER - SECONDARY(MAPEH) SEPTEMBER 29, 2019 School : UNIVERSITY OF BAGUIO Address : ASSUMPTION ROAD, BAGUIO CITY Building : BUILDING 1 (H BLDG.) Floor : Room/Grp No. : 1MP Seat Last Name First Name Middle Name School Attended No. 1 BUADO EZIKIALA JACUTINA NUEVA ECIJA UNIVERSITY OF SCIENCE & TECHNOLOGY-CABANATUAN) 2 CRISTOBAL RIA LACAYANGA CENTRAL INSTITUTE OF TECHNOLOGY-PANIQUI 3 MARIANO KIMBERLY MATIAS TARLAC STATE UNIVERSITY (TARLAC COLLEGE OF TECH.) 4 STA. MARIA WHANNY ADRAINNE GESTON BENGUET STATE UNIVERSITY-LA TRINIDAD 5 ABACO EVANGELINE PLATON ILOCOS SUR POLYTECHNIC STATE COLLEGE- TAGUDIN 6 ABALOS OANDHA MARCOS TARLAC STATE UNIVERSITY (TARLAC COLLEGE OF TECH.) 7 ABANILLA JOVELYN DELA CRUZ BENGUET STATE UNIVERSITY-BUGUIAS-LOO 8 ABAT JOSEPH JOHN JAVIER DON MARIANO MARCOS MEMORIAL STATE UNIVERSITY-BACNOTAN 9 ABAT KEESHIAMAINE MANZANO CENTRAL INSTITUTE OF TECHNOLOGY-PANIQUI 10 ABEGONIA KHIRZHI JOY ANGELEC ABIGAN NUEVA ECIJA UNIVERSITY OF SCIENCE & TECHNOLOGY-SAN ISIDRO) 11 ABENOJA ANNALIE ORQUIZA SAINT LOUIS UNIVERSITY 12 ABERGAS RENDELL LAUREANO NUEVA ECIJA UNIVERSITY OF SCIENCE & TECHNOLOGY-SAN ISIDRO) 13 ABESAMIS JHONALYN BASILIO NUEVA ECIJA UNIVERSITY OF SCIENCE & TECHNOLOGY-CABANATUAN) 14 ABOWAC HUBERT BALLAY BAGUIO CENTRAL UNIVERSITY 15 ABRIA JHOANA JANE SOBREMONTE BENGUET STATE UNIVERSITY-LA TRINIDAD 16 ABUBO RONNIE NARIZ UNIVERSITY OF BAGUIO 17 ACACIO VAN JESTER ABELLAR CENTRAL INSTITUTE OF TECHNOLOGY-PANIQUI 18 ACIERTO ROSALLY PASTORES PRESIDENT RAMON MAGSAYSAY STATE UNIVERSITY-(FOR RMTU)-IBA 19 ACLIBON DIEGO DIME-AG SAINT LOUIS UNIVERSITY 20 ACOSTA KATRINA PILLAGARA GORDON COLLEGE (for.OLONGAPO CITY COLL.) 21 ADACLOG SHERYL COTIT KING'S COLLEGE OF THE PHILIPPINES INC.- BENGUET (for EASTERN LUZON COLLEGES-LA TRINIDAD) 22 ADAN EDGARDO BAUTISTA PANPACIFIC UNIVERSITY-NORTH PHILIPPINES- TAYUG 23 ADLAWAN CHAZEL MARIE LORENZO DON HONORIO VENTURA TECHNOLOGICAL STATE UNIVERSITY 24 ADRES VICTOR JR HADUCA ILOCOS SUR POLYTECHNIC STATE COLLEGE- TAGUDIN REMINDER: USE SAME NAME IN ALL EXAMINATION FORMS.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Punk Aesthetics in Independent "New Folk", 1990-2008
    PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames
    [Show full text]
  • The Leiden Collection Catalogue, 2Nd Ed
    Abraham Bloemaert (Gorinchem 1566 – 1651 Utrecht) How to cite Bakker, Piet. “Abraham Bloemaert” (2017). Revised by Piet Bakker (2019). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/abraham-bloemaert/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. Abraham Bloemaert was born in Gorinchem on Christmas Eve, 1566. His parents were Cornelis Bloemaert (ca. 1540–93), a Catholic sculptor who had fled nearby Dordrecht, and Aeltgen Willems.[1] In 1567, the family moved to ’s-Hertogenbosch, where Cornelis worked on the restoration of the interior of the St. Janskerk, which had been badly damaged during the Iconoclastic Fury of 1566. Cornelis returned to Gorinchem around 1571, but not for long; in 1576, he was appointed city architect and engineer of Utrecht. Abraham’s mother had died some time earlier, and his father had taken a second wife, Marigen Goortsdr, innkeeper of het Schilt van Bourgongen. Bloemaert probably attended the Latin school in Utrecht. He received his initial art education from his father, drawing copies of the work of the Antwerp master Frans Floris (1519/20–70). According to Karel van Mander, who describes Bloemaert’s work at length in his Schilder-boek, his subsequent training was fairly erratic.[2] His first teacher was Gerrit Splinter, a “cladder,” or dauber, and a drunk. The young Bloemaert lasted barely two weeks with him.[3] His father then sent him to Joos de Beer (active 1575–91), a former pupil of Floris.
    [Show full text]
  • The Complete Stories
    The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.
    [Show full text]
  • The Triumph of Flora
    Myths of Rome 01 repaged 23/9/04 1:53 PM Page 1 1 THE TRIUMPH OF FLORA 1.1 TIEPOLO IN CALIFORNIA Let’s begin in San Francisco, at the California Palace of the Legion of Honor in Lincoln Park. Through the great colonnaded court, past the Corinthian columns of the porch, we enter the gallery and go straight ahead to the huge Rodin group in the central apse that dominates the visitor’s view. Now look left. Along a sight line passing through two minor rooms, a patch of colour glows on the far wall. We walk through the Sichel Glass and the Louis Quinze furniture to investigate. The scene is some grand neo-classical park, where an avenue flanked at the Colour plate 1 entrance by heraldic sphinxes leads to a distant fountain. To the right is a marble balustrade adorned by three statues, conspicuous against the cypresses behind: a muscular young faun or satyr, carrying a lamb on his shoulder; a mature goddess with a heavy figure, who looks across at him; and an upright water-nymph in a belted tunic, carrying two urns from which no water flows. They form the static background to a riotous scene of flesh and drapery, colour and movement. Two Amorini wrestle with a dove in mid-air; four others, airborne at a lower level, are pulling a golden chariot or wheeled throne, decorated on the back with a grinning mask of Pan. On it sits a young woman wearing nothing but her sandals; she has flowers in her hair, and a ribboned garland of flowers across her thighs.
    [Show full text]
  • A.P. Art History Simplified Timeline Through 1900 Note: These Are Approximate Dates
    Marsha K. Russell 1 St. Andrew's Episcopal School, Austin, TX A.P. Art History Simplified Timeline through 1900 Note: These are approximate dates. Remember periods and styles overlap. Prehistory Paleolithic: up to about 10,000 BCE • Venus/Goddess of Willendorf • Lascaux Cave Paintings • Altamira Cave Paintings Neolithic in England: about 2,000 BCE • Stonehenge Mesopotamia/Near East (ignore time lapses) Sumerian: ~3500 - 2300 BCE • Standard of Ur • Ram offering stand • Bull-headed lyre • Bull holding a Vase • Ziggurats Akkadian: ~2300 - 2200 BCE • Victory Stele of Naram-Sin Neo Sumerian: ~2200 - 2000 BCE • Gudea statues Babylonian: ~1900 - 1600 BCE • Stele of Hammurabi Assyrian: ~900 - 600 BCE • Lamassu (Winged Human-Headed Bull) • Lion Hunt Bas Reliefs Egypt Predynastic: 3500 - 3000 BCE • Palette of Narmer Old Kingdom: ~3000 - 2200 BCE • Khafre • Menkaure and Khamerernebty • Seated Scribe • Ti Watching a Hippo Hunt • Prince Rahotep and his wife Nofret • Pyramid of King Djoser by Imhotep Middle Kingdom: ~2100 - 1600 BCE • Rock-cut tomb New Kingdom: ~1500 - 40 BCE (includes the Amarna Period 1355 – 1325 BCE) • Funerary Temple of Hatshepsut • Temple of Ramses II • Temple of Amen-Re at Karnak • Akhenaton • Akhenaton and His Family Marsha K. Russell 2 St. Andrew's Episcopal School, Austin, TX Aegean & Greece Minoan: ~2000 - 1500 BCE • Snake Goddess • Palace at Knossos • Dolphin Fresco • Toreador Fresco • Octopus Vase Mycenean: ~1500 - 1100 BCE • "Treasury of Atreus" with its corbelled vault • Repoussé masks • Lion Gate at Mycenae • Inlaid dagger
    [Show full text]
  • Milton and the Politics of Orphic Enchantment
    Milton and the Politics of Orphic Enchantment Martin Dawes Department of English, McGill University, Montreal. August, 2009. A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Ph.D. © Martin Dawes 2009 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-66434-6 Our file Notre référence ISBN: 978-0-494-66434-6 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]