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
2.4.2 The visual arts These are closely related to archaeology. They, too, are things we can look at and touch after all. The difference is very much one of interpretation. Are the Parthenon statues art or archaeology; is an ancient painted pot art or archaeology? In order to avoid such questions, many people use the term ‘material culture’ to cover both. For many purposes, the difference doesn't matter. In fact, it is a good illustration of the advantages of interdisciplinary work, with different kinds of app
Learning outcomes After studying this unit you should: be able to articulate your own thoughts on the notion of ‘write what you know’; be equipped to write ‘blind’ descriptions of known objects and note new observations; have an enhanced ability to list sensory perceptions; be able to write short texts about a personal memory of either a place or a character.
3.4 The misuse of the concept of positive liberty One of the main claims that Berlin makes in ‘Two Concepts of Liberty’ is a historical one. It is that positive theories of freedom, or perversions of them, have been more frequently used as instruments of oppression than have negative ones. These positive theories typically rely on a split between a ‘higher’ and a ‘lower’ self, or between a ‘rational’ and an ‘empirical’ self as Berlin sometimes puts it. Coercion is justified on the grounds that it leads to a realisation of
2.8 Colour and light – exercise Compare the effects of colour and light in Sardanapalus with those in David’s Andromache mourning Hector (Plate 3). What similarities and differences can you see? (You may find it helpful to look also at Plat 2.1 Inspiration for the Death of Sardanapalus Plate 1 is a reproduction of Delacroix’s The Death of Sardanapalus, believed to have been completed sometime between November 1827 and January 1828. Click on 'View document to see Eugène Delacroix,The Death of Sardanapalus Introduction In this unit you will be introduced to a variety of Delacroix’s work and see how his paintings relate to the cultural transition from Enlightenment to Romanticism. You will study Delacroix’s early career, his classical background, the development of Romantic ideas and their incorporation into his work. You will have the opportunity to study some of his most important paintings and compare them to works favouring a Neoclassical approach. You will also be able to see how his themes, s References 3 Chronology Acknowledgements This unit was written by Dr Emma Barker
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 reproduce 3.1 The limits of propaganda Although portraits of Napoleon were manufactured on a large scale and distributed widely, they could only act as propaganda for the regime up to a certain point. Given the institutional circumstances sketched out in the introduction to this unit, the most effective way to use art as propaganda was with large-scale history paintings that would attract the attention and excite the interest of a large audience when they were exhibited in the Salon. State patronage for such painting was revived o 2.3 The military leader Let us now consider another relatively early portrait, David's Bonaparte Crossing the Alps, in which the then First Consul is shown at the Great Saint Bernard at the start of the campaign which led to the defeat of the Austrians at Marengo in June 1800 (see Plate 10). In fact, Bonaparte had actually crossed the Alps on a humble 5.6.1 Young adults Look closely at Images 54 and 55. Can you identify the two features which distinguished a girl from a young woman in the Victorian and Edwardian period? 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 3.4 Cognitive and non-cognitive states At several points in the Reading, James draws a sharp contrast between emotions and what he terms ‘cognitions’. The distinction between cognitive and non-cognitive states will crop up fairly regularly from now on, so I shall pause at this point to make it clear how I am going to understand this distinction. Unfortunately, different philosophers understand the distinction in different ways; I shall introduce two possible interpretations of the distinction. On one interpretation, the 2.1 The provinces Controlling and governing the provinces was a substantial part of an emperor's remit. Here you will consider different ways in which the emperor had contact with his provincial subjects. You will work through some sections from books by Goodman and Lewis, and Reinhold and watch a short video sequence. 2.5 African mosaics: things Roman and things African? Between the second and the fifth centuries a thriving tradition of mosaic floor decoration developed in North Africa (see Figure 4). There is only limited evidence for the dating of African mosaics, but the earliest seem to be closely influenced by Italian interior design, particularly stucco wall plaster, w 2.2.3 Model 3: African + Roman = African persistence and no evidence of Roman traits dominating (sep This scenario sees African culture surviving following the Roman conquest, and where Roman culture is visible it does not replace preexisting practice. Here we might imagine a laissez-faire attitude on the part of the Roman state, allowing the conquered people to carry on in their previous ways and the African people not needing to, or wanting to, adopt Roman customs, practices, forms of representation and cultural identity. In this model we might expect to find Roman and African trait References 4.20 Technologies and explicit knowledge continued In the future we will see the fusion of statistical analyses of documents, agents, ontologies, metadata and informal annotation/discussion. Ontological tagging with metadata would allow authors to express their own deep understanding of the domain which may draw on knowledge that is not in the text of documents. This would allow experts to set a document in context in the light of developments since the document was written, or to encode relationships between documents that show important con
Exercise 2
Timeline Event
1746
(30 March) Goya born in Fuendetodos, in the province of Aragon.
1759
Carlos III of Spain ascends the throne.
1760
Goya apprenticed to the painter José Luzán.
1770–1
Travels in Italy.
1
Activity 20
Exe
