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Learning outcomes

By the end of this unit you should be able to:

  • understand the significant issues affecting heritage;

  • engage effectively in debates about heritage issues in Scotland.


Author(s): The Open University

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5.3 Hutton's geology: ‘No vestige of a beginning – no prospect of an end’

Geologists are engaged on the business of reconstructing the earth's past and determining the agents of geological change. The only documentary evidence of the earth's origins and ancient past, and of the agents that had caused change, available to Hutton was the book of Genesis, and he had sceptically put it aside, along with miracles. But what if the processes that are presently observable were to be taken as the key to the past? How far might geological enquiry go with the assumptio
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3.3 Training to weave kente

Activity 9

Once you’ve watched the video, make a few notes on how the kente weavers train.


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2.4.2 The visual arts

These are closely related to archaeology. They, too, are things we can look at and touch after all. The difference is very much one of interpretation. Are the Parthenon statues art or archaeology; is an ancient painted pot art or archaeology? In order to avoid such questions, many people use the term ‘material culture’ to cover both. For many purposes, the difference doesn't matter. In fact, it is a good illustration of the advantages of interdisciplinary work, with different kinds of app
Author(s): The Open University

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4.2 Raiding your past

The more you write, the more you will raid your own past. These incursions won't diminish or reduce your memories – rather those recollections can be enriched and become more fully realised. As Jamaica Kincaid says of her writing:

One of the things I found when I began to write was that writing exactly what happened had a limited amount of power for me. To say exactly what happened was less than what I knew happe
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6.6 Delacroix – exoticism and animal energy

It is significant that Delacroix characterised his genius as that of a wild animal, as the energy and exoticism of such creatures also inspired him as subjects. He went to see wild animals in the Jardin des Plantes, a botanical and zoological garden in Paris, and was fascinated by the large cats there (see Plate 43, A Young Tiger playing with its Mother). But, as with his Romantic predecessor Géricault, it was above all the horse that he used to express Romantic fury (see Plate 44,
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6.4 Recasting the Turkish identity

There was a similar ambivalence towards the Turks in music. The plots of eighteenth-century ‘Turkish’ operas had represented Turks as both unenlightened barbarians and enlightened humanitarians. Rameau’s The Courtly Indies (1735), for instance, encompasses four tales of love, the first of which, entitled The Generous Turk, is set in Turkey. It features a magnanimous pasha – a convention followed in two works both generally known as The Unexpected Encounter, Gluck
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3.9 Delacroix’s early career – exercise

Exercise 3

In order to sum up your work on this section, jot down some notes on how Delacroix's early career might be seen as moving away from a respect for the classical tradition and for the reason and order demanded of classical com
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3.8 Transcending the Romantic-classic divide

Much of the ground for the reception of Sardanapalus had now been prepared. The classic-Romantic divide, with David’s followers on one side and Gros and Géricault on the other, was already well established by the time Delacroix produced his painting of mass suicide. Contemporary viewers would have detected Romantic allegiances in, for example, the horse and black slave, probably influenced by Gros. And yet Delacroix never came to terms with the perception of himself as the enemy of
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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

Introduction

In this unit you will be introduced to a variety of Delacroix’s work and see how his paintings relate to the cultural transition from Enlightenment to Romanticism.

You will study Delacroix’s early career, his classical background, the development of Romantic ideas and their incorporation into his work. You will have the opportunity to study some of his most important paintings and compare them to works favouring a Neoclassical approach. You will also be able to see how his themes, s
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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
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3.1 The limits of propaganda

Although portraits of Napoleon were manufactured on a large scale and distributed widely, they could only act as propaganda for the regime up to a certain point. Given the institutional circumstances sketched out in the introduction to this unit, the most effective way to use art as propaganda was with large-scale history paintings that would attract the attention and excite the interest of a large audience when they were exhibited in the Salon. State patronage for such painting was revived o
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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
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3.4 Cognitive and non-cognitive states

At several points in the Reading, James draws a sharp contrast between emotions and what he terms ‘cognitions’. The distinction between cognitive and non-cognitive states will crop up fairly regularly from now on, so I shall pause at this point to make it clear how I am going to understand this distinction. Unfortunately, different philosophers understand the distinction in different ways; I shall introduce two possible interpretations of the distinction.

On one interpretation, the
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Acknowledgements

This unit was written by Dr Valerie Hope

The content acknowledged below is Proprietary (see terms and conditions) and is used under licence:

Goodman, M. (1997), The Roman World, 44 BC–AD 180, London and New York, Routledge. With permission of the author.

Figure Plate 7 in Goodman: courtesy
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2.1 The provinces

Controlling and governing the provinces was a substantial part of an emperor's remit. Here you will consider different ways in which the emperor had contact with his provincial subjects. You will work through some sections from books by Goodman and Lewis, and Reinhold and watch a short video sequence.

Exe
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2.5 African mosaics: things Roman and things African?

Between the second and the fifth centuries a thriving tradition of mosaic floor decoration developed in North Africa (see Figure 4). There is only limited evidence for the dating of African mosaics, but the earliest seem to be closely influenced by Italian interior design, particularly stucco wall plaster, w
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1.1 What are the issues?

Some themes recur when we start to think about religion. These include issues of continuity and change, representation, differing perspectives, authority, community and identity. In this unit we start to consider some of them in detail.

The full list of themes and issues considered in this section are:

  • Continuity and change

  • Representation

  • The Victoria and Albert Museum 'Sacred Spaces' exhibition of 2000


  • Author(s): The Open University

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Learning outcomes

By the end of this unit you should:

  • be able to discuss different perspectives on the creation of music, in particular, composition and improvisation;

  • have an understanding of the basic principles underlying North Indian art music;

  • have an understanding of the basic principles underlying Sundanese gamelan music.


Author(s): The Open University

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