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.
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 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 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 6.2.1 Studio conventions in street photography Look at Images 81 and 82. Given your knowledge of conventional studio portraiture, can you see any similarities between studio and street practice? 6.1 The rise of the itinerant photographer Happily, not all early family photographs were taken inside conventional studios. Sitters were frequently photographed in the open air or in temporary, makeshift studios. Portraits were taken in the street, at the fairground, at the seaside, at local beauty spots and in the parks and commons where town dwellers went for relaxation and entertainment on Sundays and holidays. Itinerant photographers who worked these venues would set up shop for the day, the week or longer, depending on situation 5.5.2 Skirts and breeching Look carefully at Images 46, 47 and 48. 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 3.2 Idealisation There were fundamental principles of painted portraiture that affected every element of the portrait, from expression and pose to background and lighting. The first imperative was the need to idealize the sitter. 2.1.1 Card mounted photographs 1860–c.1914 Glossary 2 Dialogue Here is a longer passage from the scene in Top Girls:
Introduction Do you want to get more out of drama? This unit is designed to develop the analytical skills you need for a more in-depth study of literary plays. You will learn about dialogue, stage directions, blank verse, dramatic structure and conventions and aspects of performance. It's not necessary for you to have previously read any of the plays mentioned in the unit before embarking on it, but to get the most from it you may like to obtain texts of the following: 3.1 William James In 1890, the philosopher and psychologist William James published his influential work The Principles of Psychology. The book included a chapter on the emotions, in which James advanced a bold new thesis about the nature of the emotions. James's thesis has had an enormous influence on subsequent debate. Reading 1 is a short extract from James's chapter on the emotions. In the passage that precedes this extract, James castigates earlier psychologists who have written on the subjec Acknowledgements This unit was written by Professor Martin Clayton
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 Macmillan, London and Basingstoke for T 1.8 Religion and spirituality A good example of polysemy can be found in the different ways in which people regard the terms ‘religion’ and ‘spirituality’, and this is the subject of the first exercise below. Give some thought for a moment to 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. References 4.18.2 Information visualisation We read increasingly of the problem of information overload. Earlier, we emphasised the importance of designing appropriate information representations to assist human interpretation in order to create actionable knowledge. Information visualisation is concerned explicitly with designing representations using intuitive visual metaphors and graphics to highlight the most important aspects of information structures and processes. Information visualisation is a rapidly emerg 2.5 Design implications The difficulties just described have very practical implications when it comes to designing technologies. Consider the following quotations: in selecting any representation we are in the very same act unavoidably making a set of decisions about how and what to see in the world … a knowledge representation is a set of ontological commitments. It is unavoidably so because of the inevitable imperfections of
Activity 23
Author(s):
Amphitheatre
a circular structure with seats rising behind and above each other around a central open space or arena; originating in classical Greece, they are the first known specifically designated theatre spaces.
Apostrophe
a rhetorical convention in which the speaker either addresses a dead or absent person, or a
JOYCE's backyard. The house with backdoor is upstage. Downstage a shelter made of junk, made by children. Two girls, ANGIE and KIT, are in it, squashed together. ANGIE is 16, KIT is 12. They cannot be seen from the house. JOYCE calls from the house.
JOYCE
Author(s):
Exercise
