The British Constitution
The fundamentals of British law reside in the American Constitution. Historian Nancy Milton describes the English influence.
Thomas Jefferson, Scientist
Thomas Jefferson's passion for politics is rivaled only by his passion for science. Historic Interpreter Bill Barker shares his study of the third president.
Cornwallis' Sunken Fleet
A British flotilla from the Battle of Yorktown lies mired in a murky tomb beneath the tides of the York River. Underwater archaeologist John Broadwater dives down to Cornwallis' sunken fleet and shares his finds.Author(s):
5 Conclusion
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
4.4 Why shouldn't children fight?
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
4.3 Children and the armed forces
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
4.2 Violence within communities
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
4.1 The effects of armed conflict on children
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
3.3 Children as peacemakers – peer mediation
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
3.2 Children as perpetrators
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
2.2 Children's violence
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
1.1 Children and violence
Children are subject to many forms of adversity, for example, poverty or ill health. However, a significant form of adversity experienced by children in many different regions of the world is violence. The form of violence against children varies widely and is hugely disparate. In this unit, the focus is on three different environments where children experience violence: at home, among peers at school and in the wider society (in the context of armed conflicts). The text considers the experience
5 Conclusion
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
4.2 Purpose of the Decennial Competition
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
4.1 Inspiring loyalty to the leader
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
3.6 Supporting Napoleon's bulletins
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
3.5 Napoleon Visiting the Field of the Battle of Eylau
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
3.4 Editing out warfare
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
3.3 The use of religious imagery
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
3.2 The propaganda function of Jaffa
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
