Introduction This unit is on Christopher Marlowe's famous play Doctor Faustus. It considers the play in relation to Marlowe's own reputation as a rule-breaker and outsider and asks whether the play criticises or seeks to arouse audience sympathy for its protagonist, who sells his soul to the devil in exchange for 24 years of power and pleasure. Is this pioneering drama a medieval morality play or a tragedy? This unit is an adapted extract from the Open University courseAuthor(s):
Acknowledgements This unit was written by Dr Debbie Brunton
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 reprod
9 The factory reform movement Owen's participation in the movement for factory reform was clearly much influenced by views expressed in the essays. This showed his continuing concern, first evidenced in Manchester, about the impact of industrialisation on society, a theme to which he consistently returned. His personal record on the employment of children at New Lanark was certainly an example of good practice in the cotton industry, which in Owen's words was invariably ‘destructive of health, morals, and social comfort
7 New Lanark as showpiece and text Owen's partnership of 1814, consisting of Bentham and other enlightened individuals, mainly wealthy Quakers, paved the way for the rapid implementation of the innovations spelled out in the Statement of 1812 and subsequently in the essays. Two of the partners, William Allen (1770–1843), a chemist and businessman, and the wealthy and philanthropic John Walker (1767–1824), Owen's closest associate, were interested in education and had encouraged the establishment of schools adopting
4.4 Manchester Literary & Philosophical Society and Board of Health In the meantime Owen joined the town's social and intellectual elite, which like its politics was largely dominated by Dissenters. They were prominent in the Manchester Literary & Philosophical Society which Owen joined in 1793. There he associated with some significant reformers, heard papers on a wide range of intellectual, industrial and social topics, and himself presented papers dealing with such issues, including one on education. The society was founded in 1781, the co-founders b
4.3 Business and enlightenment: Manchester 1789–99 Manchester's dynamic business environment, particularly that of the new cotton industry, presented many opportunities for enterprise, even to those with modest capital. By 1790 Owen had joined John Jones, probably another Welshman, making spinning machinery. The next logical move was into cotton spinning itself, and very quickly Owen had established a reputation as a manufacturer of fine yarn, selling as far afield as London and Scotland. When in 1792 one of the town's leading merchant capita
Learning outcomes By the end of this unit you should be able to understand: the Enlightenment ideas that underpinned Robert Owen's social reform agenda; how Owen's background and experience at New Lanark fed through into his thinking in the essays in A New View of Society; the main proposals in the essays; New Lanark's role as a model for social reform during this period.
Introduction Robert Owen (1771–1858) (see Figure 1) was one of the most important and controversial figures of his generation. He lived through the ages of Enlightenment and Romanticism and was personally touched by the ideas and dramatic changes that characterised that era. Profiting enormously during the first half of his life from the prog
Acknowledgements This unit was written by "Dr Mary-Catherine Garden (Battlefields) and Dr Rodney Harrison (Old and New Towns of Edinburgh)" Grateful acknowledgement is made to the following sources for permission: Figures 1, 2, 3 and 4 © Mary-Catherine Garden Figures 5, 6 and 7 © Tim Benton.
Figures
2.7 Conclusion: Culloden in its wider context Moving back out to look at Culloden in its wider context, what can we say that we have learned about the site and its meanings? For international visitors with few or no connections to the battle or to Scotland, it appears to be a site of pilgrimage that is functioning as a place to begin to decode the Scottish identity and the Scottish nation. At home, the major narrative of Culloden for Scots for more than two centuries has been one of tragedy, grief and loss. Once a signifier for the state
5.4 Hutton's geology: The Jedburgh unconformity One concrete example from the Theory of the Earth will perhaps indicate the way in which Hutton could read features of the landscape as evidence of the action of forces acting over immeasurably long periods. He had been geologising in the valley of Jed Water, near Jedburgh, in the Borders area between England and Scotland. From his observations in the neighbouring Teviot valley, he expected the Jed to be running over a bed of horizontally laid, soft strata which were sometimes exposed
2.3 The use of sources As you saw in the video clips and the introduction to the essays, engagement with the evidence from and about the Classical world that we can still access lies at the heart of exploring the Classical world (as indeed any other place or period in the past). Work with sources is a constant feature of Classical Studies. This section, therefore, introduces you to the available sources, and to ways of working with them. We'll begin by discussing the different types of sources; later you will
Acknowledgements This unit was written by Dr Derek Neale 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
3.1 Involving all of the senses Becoming more aware of the everyday world around you involves more than just looking. If writing is a perceptual art then perception should involve all of the senses, not just the visual. You must also start to smell, feel, taste and hear the world you are trying to realise. So, in the made up scenario, when you see the man with the Scottie dog you might be too fearful to stroke his dog, but perhaps you could touch the cold metal bar where the dog was tied up – after he is gone, of course!
Introduction ‘Freedom’ can mean many different things. Here we're concerned with political freedom. Isaiah Berlin distinguished between a concept of negative freedom and a concept of positive freedom. You will examine these concepts and learn to recognise the difference between freedom from constraint and the freedom that comes from self-mastery or self-realisation. The following material is taken from the book Arguments for Freedom ‘1999’ authored by Nigel Warburton of The Open Unive
1.1 Delacroix’s background Ferdinand-Victor-Eugène Delacroix (1798–1863) was an artist raised amid the heroism and turmoil of Napoleon’s regime but whose artistic career began in earnest after Waterloo. His father (who died in 1805) held important administrative, ambassadorial and ministerial posts during both the Revolution and Napoleon’s rule. His brothers had fought for Napoleon, one being killed heroically in 1807 at the battle of Friedland, the other a general who was made a baron of the empire before being
3.1.1 Bonaparte Visiting the Plague-Stricken of Jaffa First and foremost, Jaffa (like Eylau) contributed to the personality cult of Napoleon, which formed the core of the regime's propaganda. In this respect, however, it is important to note that this painting, exhibited in the Salon of 1804, was actually one of the first military scenes commissioned by the regime to exalt Napoleon in this way. This was largely because it took some time before the propaganda machine needed to organize a large-scale system of official patronage was
6.2.3 Groups The large group portrait came to commercial prominence in the 1880s, probably as a result of the widespread introduction of dry plate negatives. These negatives could be bought ready made over the counter. They did not require immediate processing and they reduced exposure times significantly. The group portrait involved the production of a single negative and a potential sale to each member of the group. Customer costs were kept low without injury to the photographer's profits. School, work
5.5.4 Confirmation You may find it difficult to read the ver
Activity 2 Click on 'View document' below to open and read the remainder of Audrey Linkman's article on 'Photography and art theory', then answer the questions.
