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5.2 History of adinkra

Activity 18

Once you’ve watched the video, make a few notes on what you learnt about the history of adinkra.


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4.1 The functions of kente

In Section 4 you will learn about the many uses of kente and adinkra.

Activity 12

Once you’ve watched the video, make a few notes on what you learnt about the functions of kente.


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2.6 Questions

Now that you’ve been introduced to kente and adinkra, you might like to think about the questions in the activity below. The purpose of these questions is to encourage you to think about the broader issues and themes mentioned in Section 2. Later on you will have more information to go on, but it is worth noting what you can now and generating some first thoughts in relation to these questions.

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2.5 Making adinkra

Activity 5

Once you’ve watched the video, explain how adinkra is made.

Acknowledgements

This unit was written by Dr Phil Perkins

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Author(s): The Open University

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References

A219 course textbooks
Pomeroy, S.B., Burstein, S.M., Donlan, W. and Roberts, J.T. (2004) A Brief History of Ancient Greece: Politics, Society and Culture, Oxford: Oxford University Press.
Hornblower, S. and Spawforth, A. (eds) (1998) The Oxford Companion to Classical Civilization, Oxford: Oxford University Press.
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3.1 Introduction

With your initial work on sources and on what it may mean to ‘explore the Classical world’ under your belt, you're now in a good position to start exploring. To lay the foundations for your explorations, you will in this section do some work on ancient times and places. Not least since you will cover a wide range of materials from different periods and locations, it will be important for you to know how they all fit together.


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2.4.6 Documents

Various texts survive from the ancient world that don't fit into any of the categories above. Most of them are categorised as ‘documentary’. These can be parts of archives, or public commemorations such as tombstones, or inventories, or even shopping lists. Unsurprisingly, the vast majority of such material is now lost (after all, even today, a shopping list and many company and government records have a lower hope of long-term survival than a novel). Nonetheless, some of them have surviv
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2.4 Ancient sources

As you have seen, exploring the Classical world is an interdisciplinary pursuit. Perhaps the most immediately obvious aspect of this interdisciplinary approach is that you will confront different kinds of ancient sources, often simultaneously, since one of them by itself may not be sufficient for answering a particular question you may have. Quite apart from whether a source is ancient or modern, the different disciplines that make up Classical Studies use different kinds of source material.
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Introduction

This unit aims to get you started on exploring the Classical world by introducing you to the sources upon which you can build your knowledge and understanding. The unit also gets you started on an exploration of both time and space in the Classical world.

This unit is an adapted extract from the Open University course Exploring the classical world (A219).


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Introduction

This unit includes reading and writing activities that are geared to developing the use of memory, observation and the senses. The aim is to develop your perceptual abilities, honing your capacity to see detail in the world. You will be encouraged to start seeing the familiar in a new way and to make good use of your own personal history.

This unit is an adapted extract from the Open University courseAuthor(s): The Open University

Acknowledgements

This unit was written by Dr Linda Walsh

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Grateful acknowledgement is made to the following sources for permission to reproduce
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5.5 The Gothic, the grotesque and artistic expression

The Gothic and the grotesque replaced classical reason, order and regularity with the irrational, the irregular and the deformed. Delacroix was drawn to them as a means of breathing new life into artistic expression. He was attracted to English and German literature, particularly Shakespeare and Goethe – because, to the unified, clearly defined aesthetic categories of the classical, they opposed the fractured and hybrid genres less susceptible to categorisation of any kind. Shakespeare mixe
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2.11 Birth of the ‘Romantic’

The ‘ardent and animated’ aspects of Delacroix’s work made commentators describe his large canvases of the 1820s as ‘Romantic’. By the end of the decade, he was regarded by many younger artists as the leader of a new, modern school of painting that in a spirit of revolutionary fervour had thrown off the shackles of a worn-out classicism. And yet, when a stranger who had seen Sardanapalusreferred to Delacroix as the ‘Victor Hugo of painting’, the artist responded, ‘You a
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2.9 Painterly techniques

A sensuous use of colour subverted the neoclassical aesthetic, in which moral and intellectual messages – or, at the very least, a concept of ‘noble form’ – were intended to dominate. In the case of Delacroix, this attention to the effects of colour is heightened by a concern with the textural qualities of paint. In order to produce a matt but bright surface, he applied thin layers of oil glaze to an initial lay-in of distemper (see ten-Doesschate Chu, 2001, p.102). It is thoug
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Learning outcomes

After studying this unit you should:

  • have some understanding of developments in Goya's career as an artist;

  • begin to understand Enlightenment aspects of his work and the ways in which these were later challenged by a more Romantic approach charaterised by a uniqueness of vision and a focus on darker forces;

  • understand some of the ways in which the impact of the Napoleonic invasion of Spain found artistic expression.


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2.4 The First Consul

Click on 'View document' to see plate 11 Antoine-Jean Gros, Bonaparte as First Consul, 1802, oil on canvas, 205 x 127 cm, Musée Nationale de la Légion d’Honneur, Paris. Photo: Bridgeman Art Library

5.5.3 Birthdays

Image 49 Photographer/Painter: Warwick Brookes, Manchester. Subject: Portrait of Max Witte.
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5.5.2 Skirts and breeching

Look carefully at Images 46, 47 and 48.

Image 46 Photographer/Painter: Hills & Saunders, Eton. Subject: Michael Cahne Seymour, 1871.

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5.5.1 Christening

Image 45 Photographer/Painter: James Pennington, Aigburth. Subject: Unknown woman and child, 1860s. Christening portrait.

The christening dress h
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