Acknowledgements This unit was written by Dr Nigel Warburton
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3.6 Berlin criticised: one concept of freedom? I've already mentioned that the most important feature of Berlin's article for our purposes is his distinction between negative and positive concepts of freedom: freedom from constraint, and the freedom that results from self-mastery or self-realisation. Most discussion of Berlin's article has also focused on this distinction. Now I want to consider a criticism of the distinction between two types of freedom. The whole article rests on the assumption that we can make a meaningful distin
Glossary
4.5 The soul and sensitivity In another journal entry of 1824, Delacroix speaks of the fact that the soul is inevitably trapped within the physical body: It seems to me that the body may be the organization that tones down the soul, which is more universal, yet passes through the brain as through a rolling mill which hammers it and stamps it with the stamp of our insipid physical nature, and what weight is more insufferable than that of this l 5.7.2 Post-mortems How do Images 73 and 74 differ from the usual studio portraits of children? Make a note of the more obvious differences. Death The final rite of passage, death itself, permeates the Victorian family album. Throughout the 19th century it was common practice, following the death of a relative, to commission memorial photographs. The overwhelming majority of these memorial photographs feature the person as living, not dead. 5.4 Special occasions Special occasions could inc 2.4 National variation Relatively little research has been undertaken by photohistorians in the field of domestic photography. However, we should be aware that photography developed in different ways in different countries. So, for example, in Britain the daguerreotype remained a luxury article, as high prices restricted sales to the comfortable classes, whereas in America, because of early mass production techniques, studios could offer 4 daguerreotypes for 1 dollar. Photography was, however, a European inve 2.3 Photographs as artefacts Bear in mind that photographs are artefacts. This means that they are more than just images. The photographer, the process and the packaging all add something to our understanding of the role of the photograph. So, for example, the mount can indicate its purpose (exhibition wall, domestic display, album and so on) and the significance attached to the article in its time. The physical properties of a mount, such as the quality of the card or style of printing, can distinguish top-of-the-range 2.2 Photographs as primary sources As a primary source of historical evidence the still photograph remains largely unexamined and unexplored. Many academic historians remain wedded to the written word and are often mistrustful or dismissive of the still image. Photographs continue to be used merely to prettify or to provide necessary breathing space in dense texts. In fact, the task of finding ‘illustrations’ is often only considered after a book is written. What could indicate more clearly that the photograph has n 2.1.3 Amateur snapshots 1880s– 1 How to avoid damage when handling photographs Remember to treat your photographs with the consideration demanded by their age and fragility. Careless handling and storage will cause damage. Handle photographs at the edges: the skin carries chemicals which cause deterioration (professional archivists wear cotton gloves). Hold a photograph in both hands or support an unmounted print with a piece of cardboard to avoid unnecessary handling. Never write on a photograp 3 Conclusion In this unit you have been introduced to the main components of prose fiction and have been given the opportunity to develop and practise your critical and analytical skills. These are essential skills you will need to continue your stufdies in this area. Learning outcomes By the end of this unit you should be able to: recognise and discuss selected library texts from the Renaissance to the present; know how to approach literary texts in terms of genre, gender and the canon; understand and be able to apply technical analytical terms; engage in close analysis of narrative and poetic language; recognise performance is an interpretation of dramatic texts; engage in comparative 1.10 Religion and the individual How formal or informal, how personal or impersonal, how loose or how tight, how casual or demanding the religious community is will depend on the form of religion, the extent to which it is enforced and the level of the individual's commitment to it. It is worth remembering that just as people have certain expectations of religion, religions tend to have certain expectations of adherents. The sociologists Rodney Stark and Charles Glock (1968) have argued that although religious organizations 1.6 Sources of authority A very useful way of gaining insight into a religion and seeing how it works is to examine its sources of authority: for example, whether authority is vested in scriptures, in religious specialists, in tradition, in personal experience or a combination of these. Even in traditions where there is some agreement on what counts as an authoritative text, there are still contested issues of how that text is to be interpreted, by whom, with what degree of literalness and in what context. Similarly, 1.1 What are the issues? Some themes recur when we start to think about religion. These include issues of continuity and change, representation, differing perspectives, authority, community and identity. In this unit we start to consider some of them in detail. The full list of themes and issues considered in this section are: Continuity and change Representation The Victoria and Albert Museum 'Sacred Spaces' exhibition of 2000 4.1 What is a composition? We are used, in Western art music, to being able to identify a piece of music and its composer. The ‘piece’ is represented by the written notation; it can be realised in somewhat different ways in different performances. One of the problems we have in applying our concepts of composition to the music of other cultures is that it is not always easy the identify a ‘piece’ of music (an item of repertoire), as distinct from a particular performance. 3.6 Conclusion I asked the question at the beginning of this section on Sundanese gamelan music: how is it possible for a group of musicians to play highly complex music, in a cohesive manner, without the use of notation and without having to memorise impossibly large amounts of music? My answer came in a number of stages. Rather than reading, or memorising vast amounts of music, the musicians memorise the simple frameworks of pieces (the Javanese term for this, bal 1.2 Different perspectives on the creation of music If a simple division into composition and improvisation is not going to be adequate, particularly when considering music beyond the Western art tradition, then what can we usefully say about the different ways in which music is created? A starting point might be to remind ourselves of the similarities between composition and improvisation. Both the improviser and the composer create music. Both of them, in doing so, draw on a range of skills and experience: their musical training and k
Activity 22
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