Acknowledgements This unit was written by Dr Robert Philip
Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Grateful acknowledgement is made to the following sources for permission to reprodu
2.2 Schubert and Johann Michael Vogl By 1825 Schubert's painter friend Moritz von Schwind was reporting, ‘There is a Schubertiad at Enderes's each week – that is to say, Vogl sings’ (quoted in Deutsch, 1946, p. 401). Schwind names seven regular male members of the group, so even allowing for wives and other unnamed friends it was quite a small gathering. Another report of a Schubertiad at Enderes's the following year mentions that ‘more than 20 people have been asked’ (quoted in Deutsch, 1946, p. 531), and several othe
1 Introducing the concept of the 'person' and 'persons' This unit explores what it is to be a person. There are several philosophical questions around the nature of personhood. In this unit we will be exploring hat it is that defines the concept. As you read on, you will notice that this area of enquiry has evolved its own semi-technical vocabulary. The plural of ‘person’ is, in this area of enquiry, standardly ‘persons’ rather than ‘people’. It is not difficult to see the reason for this. The question ‘What are people?’ is poten
References 4.4 Unravelling sentences In the following passage, mark as many subjects, verbs and objects as you can. James was to drive them. The first day we travelled thirty-two m Introduction The aim of this unit is to enable you to get started in Latin. It has been developed in response to requests from students who had had no contact with Latin before and who felt they would like to spend a little time preparing for the kind of learning that takes place on a classical language course. The unit will give you a taster of what is involved in the very early stages of learning Latin and will offer you the opportunity to put in some early practice. This unit is an adapted extra References 2.3.5 History The census of 1911, the year of MacLean's birth, recorded 200,000 speakers of Scottish Gaelic. Fifty years later, the number had dropped to 81,000. If MacLean's vision is frequently pessimistic, this must surely derive at least in part from the dwindling of the culture and language to which he had committed himself as poet. Please now read ‘A Highland Woman’. Click to view the poem ‘Highland Woman’ Learning outcomes By the end of this unit, you should be able to: understand the power of Maclean's poetry in its original Gaelic; give examples of how such poetry engages with historical and cultural change. Acknowledgements This unit was written by Dr Linda Walsh and Professor Tony Lentin Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Grateful acknowledgement is made to the following source 8.4 The Enlightenment and modernity In its desire to replace outmoded, irrational ways of thinking by the rational, the sensible and the progressive, the Enlightenment was self-consciously modern. A manifestly scientific age and the visible advancement of knowledge in the eighteenth century required, it was felt, an overhaul – or at least a careful critical and radical scrutiny – of culture, society and their institutions. This was the implicit message of the Encyclopédie. Its contributors were convinced that they w 1 'The Enlightenment' What a change there was between 1785 and 1824! There has probably never been such an abrupt revolution in habits, ideas and beliefs in the two thousand years since we have known the history of the world. (Stendhal, Racine and Shakespeare, 1825; 1962 edn, p. 144) This unit looks at a period of 50 years or so during which European culture underwent one of the most profound and far-reaching ch Learning outcomes By the end of your study of this unit, you should have: an understanding of the common techniques underlying free verse and traditional forms of poetry; begun to identify aspects of your own experience and imagination that you can use when writing poems; learnt the basic terminology and practical elements of poetry. 2 Conclusion We have now looked specifically at two considerable monuments created at about the same time to commemorate the First World War. You have been using your eyes, and looking closely to respond to visual clues. We hope you found that, in doing so, you developed your understanding of them as memorials and also as ‘made objects’; and that in the process of asking questions about them you have reached some kind of explanation as to why they are as they are. 1.3 The Royal Artillery Memorial Now I want to take another text. It is similar to the paintings in the Sandham Memorial Chapel in that it asks for a visual response first and foremost. We can, therefore, ask the same kinds of question – how the text came into being, the context in which it was produced, what form it takes, and how it communicates meaning. The text is the Royal Artillery Memorial. The architect was Lionel Pearson, the architect responsible for Sandham Memorial Chapel; the sculptor was Charles Sargean 1.1 Introduction War memorials are artefacts which commemorate loss – of individuals, armies or battalions – in war and have particular symbolic meaning and form. We could define texts as ‘things that people have made or produce 4 Form of memorial I now want you to think about the form of ‘your’ war memorial. I don't think you will have had any difficulty in knowing what to look for when I asked you whether you had a memorial near to you, and where it was. You may have had to think about the question, and search for the memorial, but you knew what you were looking for. Introduction This unit gives you the opportunity to practise good study techniques using the theme of commemoration and memorials. It will help you to begin to think about how form influences meaning in the arts and how ideas influence approaches to the humanities. This material is from our archive and is an adapted extract from An introduction to the humanities (A103) which is no longer taught by The Open University. If you want to study formally with us, you may wish to explore other cours 8 How ‘Romantic’ is the Pavilion? At first glance the Pavilion's exoticism might seem to have a good deal to do with contemporary Romantic writers’ fascination with the Oriental and exotic. A widespread public interest in these modes put Byron's ‘Oriental tales’ and Thomas Moore's romance Lalla Rookh at the top of the bestseller lists. Coleridge's ‘Kubla Khan’, after all, is often regarded as the paradigmatic Romantic short poem. So, flouting the conventions of historians of architecture, who designate this p 7 Experiencing the exotic So far we have looked in some detail at the interiors of Nash's Pavilion, with the important exception of the Banqueting Room (decorated by Robert Jones) and the Music Room (decorated by Frederick Crace). Both were designed as coups de theatre and it is this aspect of these rooms that I'd like you to focus upon now.
Activity 10
Exercise 1
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