3.2 The uses of genre There are two central uses of genre for any writer: You might wish to write within a particular Author(s):
5.1 ‘Religion’ and ‘the religions’: two new notions I want to begin our closer discussion of the question ‘what is religion?’ by looking briefly at the history of the use and meaning of the term. You may be surprised to find how recently the word ‘religion’ has taken on the meanings attached to it today. Contemporary scholars of religion emphasise not merely the cultural breadth but also the antiquity of religious activity. Yet, the term ‘religion’ as we understand it today is very much a Western concept. 1.4.1 Sources This programme was filmed in Liverpool at: Learning outcomes By the end of this unit you should be able to: have an understanding of how the Grand Louvre has come to be as it is; critically discuss the claim that the collections in the Louvre constitute a significant part of the canon of Western European art; ask questions of museums and collections that are appropriate to art history. 2.1 Anti-Semitism and Hitler Anti-Semitism was central to Hitler's world view and to that of most Nazi activists. Hitler considered Jews to have been foremost among profiteers and racketeers during World War I; they engineered the ‘stab in the back’ of November 1918; they were hand-in-glove with Bolshevism. In August 1919 Hitler was an instructor at a military camp at Lechfeld, near Augsburg. His task was to inject nationalist and anti-Bolshevik ideas into the men in the camp, many of whom were recently released pris Learning outcomes By the end of this unit you should have: a perception of the enormity of the events under discussion; a recognition of the kinds of ideas and incidents which may have prompted them; an awareness of the historical arguments surrounding the Holocaust; an awareness of the relationship between the Holocaust and the war. Glossary Introduction This unit is designed to develop the analytical skills you need for a more in-depth study of literary texts. You will learn about rhythm, alliteration, rhyme, poetic inversion, voice and line lengths and endings. You will examine poems that do not rhyme and learn how to compare and contrast poetry. This material is from our archive and is an adapted extract from Approaching Literature (A210) which is no longer taught by The Open University. If you want to study formally with us, 1.1.2 Egyptian calculation The earliest Egyptian script was hieroglyphic, used from before 3000 BC until the early centuries AD. Initially an all-purpose script, it was eventually used only for monumental stone-carving and formal inscriptions. It had been superseded (by abou 3.3 Deism In the readings you will often come across allusions to the contrast between revealed religion and natural religion (or deism). The distinction turns on what the nature of the evidence is for a particular religious outlook. Deism is a form of natural religion that was prevalent in eighteenth- and nineteenth-century Europe. The evidence underpinning revealed religion typically consists of a god supposedly revealing himself (or herself or itself) to an individual or small nu Acknowledgements This unit was written by 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 Plate 1 Louis-Léopold B 3.1 The moderate reformers 1789–92 was a period of relatively moderate reform in the spirit of the Enlightenment – moderate, that is, compared with what followed. It was certainly revolutionary in relation to what went before. The Constituent Assembly (August 1789–September 1791) and its successor, the Legislative Assembly (October 1791–August 1792), comprising educated members of the Third Estate joined by liberal-minded nobles and clergy, were satisfied with the transformation of absolute monarchy into 1.5 Napier and Briggs The fact remains that few mathematical inventions have burst on the world so unexpectedly as Napier's logarithms. Although various disparate strands – the idea of doing multiplication via addition, the idea of comparing arithmetic and geometric progressions, the use of the concept of motion – had all been floated at some stage, the enthusiasm with which Napier's work was received makes it clear both that this was perceived as a novel invention and that it fulfilled a pressing need. Foremo Learning outcomes By the end of this unit you should: understand the significance of John Napier's contributions to mathematics; give examples of the factors that influenced Napier's mathematical work. 3.3 ‘Intentionality’ Is the work of art a free-standing artefact to be interpreted entirely on its own terms, extracted from its historical context, as Bal does it? Or can the artist and the artwork be brought back together again without committing the intentional fallacy? Joseph Margolis makes several important points about the relationship of an artwork to its maker which has significant implications for the limits and possibilities of interpretation of works of art. Margolis puts it thus: 2.7 Art, life and the interpretation of pictures David Carrier's book, Principles of Art History Writing (1991) considers the way that Caravaggio has been constructed as an artistic personality (the relevant chapter is below). The objective of Carrier's book as a whole is to demonstrate that the ‘appeal to the artist's intention adds nothing’ to the interpretation of his artworks (recall the discussion of Wimsatt and Beardsley in Author(s): 2.6 Caravaggio's sexuality ‘Caravaggio studies’ often provide good, and sometimes extreme, examples of the ways in which an artist's identity can be bound up in his work and vice versa. In the case of Caravaggio it is difficult to avoid assumptions about his sexual orientation in any modern study of his art. Bold statements sometimes presume that this is a resolved issue: he was, for example, ‘The one major painter of the late Cinquecento whose sexuality is otherwise freely expressed in his oevre’ (Saslow, 1986 3 Imagery and supposition Whatever view one takes of whether or how ‘imagining’ can be defined and whether there is a deep mystery here or not, it remains the case that there are many different conceptions of imagination, which are combined in different ways, sometimes in harmony, sometimes in tension, in the work of individual thinkers (the work of Descartes, Hume, Kant and Wittgenstein together give a good sense of the range of different conceptions, the ways in which the imagination is invoked, and the philosop 3.4 Strawson: Section VI There is only one more section left in the paper. Here, as we would expect, Strawson returns to the way in which he set out the problem (in II:4) and makes good his promise to ‘[give] the optimist something more to say’. 1 Learning Latin The aim of this unit is to enable you to get started in Latin in a fairly leisurely but well-focused way. The material 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 which takes place on a language course – and, in particular, on a classical language course. If you have taken Classical Studies courses in the Open University or elsewhere, you will be
Alliteration
repetition of sounds, usually the first letters of successive words, or words that are close together. Alliteration usually applies only to consonants.
Anapest
see under foot.
Assonance
repetition of identical or similar vowel sounds.
<
Box 1 A note on Egyptian scripts and numerals
Figures
Activity
