Introduction This course introduces key questions about language and thought, such as how can language, which is public and accessible, be used to convey thoughts, which seem hidden from view. This OpenLearn course provides a sample of Level 3 study in Arts and Humanities.
Introduction This course looks at a selection of short poems in German that were set to music by Franz Schubert (1797–1828) for a single voice with piano, a genre known as ‘Lieder’ (the German for ‘songs’). Once they became widely known, Schubert's Lieder influenced generations of songwriters up to the present day. This course discusses a choice of Schubert's settings of Goethe's poems, and using recordings, the poems (in German with parallel translations into English) and the some music scores.
7.3 The Great Nation The expanded France, which styled itself the Great Nation, provoked a second European coalition against it, but by 1799 it had established itself as a force to be reckoned with: a military force in the first instance but also and not least a potent ideological force. Its influence and attraction spread far beyond its frontiers to other peoples under foreign rule, to Poland under the dominion of Prussia, Russia and Austria, to Greece under the Turks, and to Ireland under the British. A Dublin
7.2 The main consequences of the Revolution What were the main consequences of the Revolution? Any answer demands so many qualifications that the question may be best answered in broad terms. ‘The Revolution’, says Norman Hampson, ‘put an end to a way of life’ (1975, p. 174). Suddenly, the traditional assumptions of the Old Regime, the old certainties, were gone, transformed. New perspectives and new expectations took their place. ‘In the long run,’ Norman Davies argues, ‘the Revolution probably had its greatest impact in
1.5 Water power This second phase was achieved by focusing on the water-power potential of the site. Water power had been the catalyst for the original industrial development, and it seemed apt to capitalise on that. It was decided to install a new waterwheel where the original one had been. This provided an important visitor attraction, and also presented the opportunity to use the waterwheel to generate electricity for the site, thus providing significant cost savings. Furthermore, as part of that building
Acknowledgements This course was written by Dr Carol Richardson The content acknowledged below is Proprietary (see terms and conditions) This content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence Grateful acknowledgement is made to the followin
2.5 Is the author dead? When Roland Barthes (1915–80) wrote ‘The Death of the Author’ (first published 1968, reprinted in Barthes 1977), he did not mean that, like Wimsatt and Beardsley, the author had been, or should always have been, absent in the interpretation of art works. Instead his position is a historicised one: while once it might have been acceptable to refer to the author in the interpretation of an art work, now, in a post-modern world, it is not. Michel Foucault (1926–84) responded to Barthes (
2.1 Understanding an artist's art Bernard Berenson wrote his book about Caravaggio (1953) because, Until a few decades ago his artistic personality was as nebulous as Leonardo's or Giorgione's before Giovanni Morelli. Almost any canvas was attributed to him that was startlingly lit, that represented figures with plumed hats, vulgar obese giants blasphemously posing as Christ and His disciples, dice-throwing or card-sharping undermen, jumbles of ove 2.1 Meanings of ‘imagination’ A natural starting point is to consider the ways in which ‘imagination’ and related terms such as ‘imagine’ and ‘image’ are used in everyday contexts. Ima 2.8 References and further reading Ascherson, N. (2002) Stone Voices: The Search for Scotland (revised edn), London, Granta. Basu, P. (2007) Highland Homecomings: Genealogy and Heritage Tourism in the Scottish Diaspora, London, Routledge. Carman, J. and Carman, P. (2006) Bloody Meadows: Investigating Landscapes of Battle, Thrupp, Sutton. Keep on learning   There are more than 800 courses on OpenLearn for you to 5.1 Capturing commemorative events This section explores the events commemorated in photographs. Begin by listing the occasions when we choose to use our cameras today. It might help to think back over the times when you have used your 4.10 Retouching In addition to the efforts made before exposure to show sitters at their best, portrait photographers regularly retouched the negative to remove or improve any perceived defects or blemishes. Before the 1860s, in Britain retouching was generally criticized for interfering with the ‘truthfulness’ of the photographic image. By the mid-1860s, however, the issue became the subject of intense debate and discussion and the journals published details of the various techniques available at the ti 2.2 Photographs as primary sources As a primary source of historical evidence the still photograph remains largely unexamined and unexplored. Many academic historians remain wedded to the written word and are often mistrustful or dismissive of the still image. Photographs continue to be used merely to prettify or to provide necessary breathing space in dense texts. In fact, the task of finding ‘illustrations’ is often only considered after a book is written. What could indicate more clearly that the photograph has n 2.1 Styles of photograph Let's briefly examine the various styles of photograph that are commonly found in family albums. 1 How to avoid damage when handling photographs Remember to treat your photographs with the consideration demanded by their age and fragility. Careless handling and storage will cause damage. Acknowledgements Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence Grateful acknowledgement is made to the following sources for permission to reproduce materia Keep on learning   There are more than 800 courses on OpenLearn for you to Conclusion This free course provided an introduction to studying the arts and humanities. It took you through a series of exercises designed to develop your approach to study and learning at a distance and helped to improve your confidence as an independent learner. 3.6 Assessing James's argument James argues as follows: A It is impossible to experience an emotion without feeling bodily changes. B Therefore, an emotion is a set of bodily feelings.
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