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3.3 The use of religious imagery
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Author(s): The Open University

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3.2 The propaganda function of Jaffa
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Author(s): The Open University

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3.1.1 Bonaparte Visiting the Plague-Stricken of Jaffa
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Author(s): The Open University

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3.1 The limits of propaganda
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Author(s): The Open University

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2.7 Legitimating the regime
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Author(s): The Open University

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Activity 26

Mainstream photographers, as we have seen, identified with traditions in the fine arts and aspirations of refinement and moral improvement. However, fairground and seaside operators exploited photography as a form of cheap popular entertainment. This and the fact that itinerants usually worked on spec rather than to commission ensured that they were generally viewed with contempt by the photographic establishment.

Contempt pervades the article entitled ‘Five minutes in a photogra
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5.6.2 Engagement and marriage

Of all rites of passage celebrated in the Victorian family album, those taken at the time of engagement and marriage are by far the most numerous. This testifies to the importance vested in marriage by the Victorians. The custom of commissioning oil or miniature portraits at the time of an engagement or marriage was well established before the advent of photography. Photography enabled couples on more modest incomes to indulge a practice that became widespread among working-class families by
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1.6 Summary
Improvisation and composition are words frequently used in the western world to describe the creation of music. But are they really two distinct processes, or are they aspects of the same phenomenon? In this unit we will explore the relationships between the two using examples of Asian music to help us clarify the concepts.
Author(s): The Open University

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2.3 Activity 1: Discussion

Responding to the way in which the content and style of photographs are so often limited by the production and distribution processes of the mass media, Owen Logan uses digital technology to produce a new way of seeing the oil industry. As you can see, many of his pictures are made by digitally splicing separate photographs together. The effects of these montages are in part about the relationship between what is put together. For example, to me Logan's use of a photograph of an oil platform
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7.4 Evaluating your strategy and assessing your work

Present a reflective summary that gives details of:

  • A judgement of your own progress and performance in using problem-solving skills, including an assessment of your progress. Discuss your use of criteria and feedback comments to help you assess your progress.

  • Those factors that had the greatest effect on your achieving what you set out to do, including those that worked well to help you improve and those that worked less well.


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7.3 Monitoring your progress

Use your records or logbook to help you present a commentary that includes:

  • The methods you used to work on the problem.

  • A statement that shows how you have used your knowledge of problem-solving methods for selecting particular methods and reasons for the selection to achieve the standard of work required.

  • The checking procedures you used for the problem, for example, interim checks, progress reports, feedback commen
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7.2 Developing a strategy

Present notes/records that show you have planned your use of problem-solving skills in tackling a selected problem from your study or work. Your evidence must include:

  • the goals you hope to achieve over 3–4 months or so; you should indicate how these goals relate to the context in which you are working and to your current capabilities;

  • how you planned and explored the problem and set out the next stages of the work, for example, usi
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4 Structure of the assessment units

This key skill assessment unit does not have specific questions with word limits and no statements indicating you include, say, an essay or a report. Instead, as you tackle the unit you need to ask yourself ‘Which pieces of work show my skills and capabilities to best advantage?’ When you have identified and selected evidence of your skills, you must then relate this evidence directly to the criteria.

This method of building a portfolio is based not on providing right or wrong
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1 Developing your problem solving skills

This Key Skill Assessment Unit offers an opportunity for you to select and prepare work that demonstrates your key skills in the area of problem solving.

This unit provides you with advice and information on how to go about presenting your key skills work as a portfolio.

In presenting work that demonstrates your key skills you are taking the initiative to show that you can develop and improve a particular set of skills, and are able to use your skills more generally in your studi
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8 Part B: Evidencing your number skills

This Part requires you to present a portfolio of your work to demonstrate that you have used and integrated your number skills within your study or work activities to achieve the standard required. For example, you might include learning about new mathematical techniques to tackle a particular task; using graphs, diagrams, tables or charts more effectively in presenting, analysing and comparing results; setting up and using mathematical models to predict and explain behaviour; using equations
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Hitachi may join Japan LCD alliance
June 30 - Hitachi is said to be in talks with Toshiba and Sony about joining the merger of their liquid-crystal display (LCD) units, a move that would create the world's largest maker of smaller panels. Toshi Maeda reports.
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Freed former hostages arrive in France
Jun 30 - Two French journalists land in France after their release from 547 days of captivity in Aghanistan. Travis Brecher reports.
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p10 EBP process swiffy
p10 EBP process swiffy - UNSPECIFIED Keywords:UNSPECIFIED
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"Reflections on Argentina" - Session 3 of "Poverty & Growth: Reflections on Latin America"
nicolini posterA three-part workshop with Professor Juan Pablo Nicolini, Winter Tinker Visiting Professor, Universidad Torcuato Di Tella. Sponsored by the Center for Latin American Studies
Author(s): The Center for International Studies at the Univer

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Education is the Destination | Chris Sain & Jahaun McKinley
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