6.3.2 Heat of vaporisation Black read a paper on these experiments to the Glasgow Literary Society in April 1762, and then turned to the investigation of vaporisation. For reasons he himself found difficult to explain, Black was initially reluctant to accept that there was a similar heat of vaporisation. This was in spite of the fact that he (and presumably many cooks) had observed that it takes far longer to boil off water than it takes to raise water to boiling point. In October 1762, he devised a very simple experim
5.4 Hutton's geology: The Jedburgh unconformity One concrete example from the Theory of the Earth will perhaps indicate the way in which Hutton could read features of the landscape as evidence of the action of forces acting over immeasurably long periods. He had been geologising in the valley of Jed Water, near Jedburgh, in the Borders area between England and Scotland. From his observations in the neighbouring Teviot valley, he expected the Jed to be running over a bed of horizontally laid, soft strata which were sometimes exposed
3.4 The role of the Edinburgh Town Council This route incidentally leads us to another important feature of the movement, namely the role of the Edinburgh Town Council and its provosts. (The English equivalent would be a lord mayor.) Throughout the eighteenth century, the Town Council, with a policy of enlightened self-interest, promoted the city by sponsoring or patronising its academic, medical and scientific life. The Council regarded the city's university, infirmary and medical school as institutions which, if given enough prestig
4.5 Questions The final activity in this section asks you to bring together the observations you’ll have made after watching each section of video. Consider the following questions: Can 4.2 The meaning of kente designs Once you’ve watched the video, explain, using your own words, what kente designs mean. 2.3 Making kente Once you’ve watched the video, explain how kente is made. 2.4.3 Literature This doesn't have the kind of physical presence that material evidence does, but it has a different strength: it gives us, more literally, voices from the past. We can, as it were, hear the ancient Greeks and Romans speak, about what happened, about how they felt, about what they thought, and experience how they expressed themselves. This gives us a rather different access to their world, complementary to the one we get from material culture. Like the word ‘arts’, literature can sug 2.4.1 Archaeological evidence This feels in some ways like the most ‘real’ source – where you can almost touch the Classical world, and where you get a sense of what the Classical world looked like. Classical archaeology covers a wide range of areas: not just buildings like the Parthenon or the temples at Paestum, but also cities, landscapes, graves, coins, battlefields, everyday items, plant and animal remains, ancient rubbish and much else. Archaeology often throws up evidence where literature doesn't. People, aft Learning outcomes At the end of this Unit you should be able to: identify those aspects of Delacroix’s art that qualify it as ‘Romantic’; come to an understanding of the interplay between classicism and Romanticism in Delacroix’s art; appreciate the nature of Delacroix’s fascination with the Oriental and the exotic even before he visited Morocco. 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. 4.9.2 Idealisation Early photographers were adept at using natural lighting to idealise the sitter. Manuals of good practice were full of advice on adapting the lighting to soften wrinkles and wreathe blemishes in shadow. For ladies of a certain age, who often give the photographer a deal of trouble, it is advisable to employ a very soft light falling in front, which softens the wrinkles and protuberances of the face, and obliterates Purpose By now you have sufficient familiarity with early portraits to know that photographers regularly used painted backdrops and accessories to create a sort of stage set within the studio. These backgrounds came into widespread use with the introduction of the carte de visite in c.1860. Until the Second World War, 2 scenarios remained popular: the interior setting with windows, curtains, table and chair; and the parkland setting with trees, balustrade, rustic bench or stile. This choice of backdr 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 2.1.3 Amateur snapshots 1880s– 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. 2.5 Characterisation How do writers of prose fiction make us respond to the imaginary people they create? In order to encourage us to continue reading writers must force us to react in some way to their characters, whether it is to identify, empathise or sympathise with them, to dislike or disapprove of them, or to pass judgement on their actions, behaviour and values. As we have already seen, the fundamental question we repeatedly ask when we read a story is what happened next. Equally importantly we want to kno 1 Why do we read prose fiction? Prose fiction, whether in the form of the novel or the short story, is unarguably the most popular and widely consumed literary genre. One only has to see the proliferation of bookstalls at railway stations and airports, for example, and the predominance of novels over other forms of writing made available in such locations to realise the appeal of fiction. Take a few moments to think about Why we read fiction? What do we hope to gain from reading stories about imag 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 References 7.1 Soliloquy A soliloquy is a speech, usually quite lengthy, delivered by a character who is alone onstage. It is a convention of the Elizabethan and Jacobean periods in particular, apparently giving direct access to that character's thoughts and feelings, divulging their intentions and reactions to events and to other people, and thus making that character more intimately known to the audience.
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Activity 13
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