2.3 Fall of the Bastille, 14 July 1789 In a similar mood of aggrieved self-righteousness and revolutionary exultation came the fall of the Bastille, the medieval fortress and prison of Paris, on 14 July 1789. A catastrophic harvest in 1788 had provoked food riots in Paris and elsewhere. Louis XVI, alarmed both by this unrest and by the unexpected belligerence of the Third Estate, called troops into Paris to maintain order. It was feared that he also aimed to suppress the National Assembly, which rallied its supporters. The Parisia
1.8 Conflict and tension The management of a site such as Aberdulais Falls by its very nature highlights conflicting interests and tensions. Some relate to problems caused by the decision-making process itself, which can be slow and has to accommodate a range of interests of the various client bodies. For example, when a new information centre was to be built on the site, the client bodies involved in making decisions about its overall appearance, form and fabric were: the National Trust Planning Committee, the
Acknowledgements The material acknowledged below is Proprietary (not subject to Creative Commons licensing) and used under licence. See terms and conditions. Grateful acknowledgement is made to the following: Figure 1 Bodleian Library; Figure 2 Keele University, Turner Collection; Figure 7 Deutsches Museum, Munich. The material acknowledged below is contained in The History of Mathematics – A Reader (1987) J Fauvel and
Figures
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 (
1.2 The myth of the artist Consider Howard Hibbard's analysis of Caravaggio's The Martyrdom of St Matthew in the Contarelli chapel (Langdon Plate 19 – see the Web Gallery of Art at http://www.wga.hu/frames-e.html?/html/c/caravagg/04/index.html) from his monograph, Caravaggio (1983). Hibbard identifies the figure at the rear to the left of the semi-naked executioner as the artist's self-portrait: ‘a bearded, saturnine villain who is none other than Caravaggio himself’. Discography Details of the recordings of Schubert's lieder provided in this unit are as follows: 'Heidenrölein' Irmgard Seefreid, Hermann von Nordberg (rec 1947), TESTAMENT SBT 1026 'Wanderers Nachtlied' Hans Hotter, Gerald Moore (rec 1949), EMI CDH5 65196-2 'Gretchen am Spinnrade' References 3.4 Strawson: Section VI There is only one more section left in the paper. Here, as we would expect, Strawson returns to the way in which he set out the problem (in II:4) and makes good his promise to ‘[give] the optimist something more to say’. 1 Introducing the concept of the 'person' and 'persons' This unit explores what it is to be a person. There are several philosophical questions around the nature of personhood. In this unit we will be exploring hat it is that defines the concept. As you read on, you will notice that this area of enquiry has evolved its own semi-technical vocabulary. The plural of ‘person’ is, in this area of enquiry, standardly ‘persons’ rather than ‘people’. It is not difficult to see the reason for this. The question ‘What are people?’ is poten Introduction This unit asks what it is to be a person. You will see that there are several philosophical questions around the nature of personhood. Here we explore what it is that defines the concept. As you work through the unit, you will notice that this area of enquiry has developed its own semi-technical vocabulary. The plural of ‘person’ is, in this area of enquiry, ‘persons’ rather than ‘people’. It is easy to see the reason for this. The question ‘What are people?’ is potentially c 4.2.4 Verbs Verbs are the most important words of all, as is suggested by the fact that the verb in both English and Latin is named after the Latin word uerbum, word! Without a verb, a sentence cannot be a proper sentence, or a clause a proper clause. A one-word sentence consists of a verb only, for example, Run! The ending of a Latin verb shows who the doer of the action of the verb is (which is why there is usually no need of a pronoun to show this). Below are the pres 4.2 Parts of speech In describing the grammar of written Latin, the best method is to use the traditional classical grammar, as worked out by the Greeks and Romans themselves. As a preliminary, it may be useful to learn the ‘parts of speech’ in English. A very brief explanation follows, and then a much fuller discussion. 2.1 Before the recording Now you have the opportunity to listen to the recordings of Sorley MacLean. I hope you will find that it brings to life the poetry that you have looked at on the page, and that it helps you to grasp some of the differences between Gaelic and English that affect MacLean's translation of his own work, as well as elucidating particular references that may have puzzled you. Perhaps the best plan, if you have time, will be to listen to each section once, and then go through them again, stopping an Learning outcomes By the end of this unit, you should be able to: understand the power of Maclean's poetry in its original Gaelic; give examples of how such poetry engages with historical and cultural change. References 8.1 The forces of change: towards Romanticism The relationship between the Enlightenment and the movement known as Romanticism, which dominated early nineteenth-century culture, is the subject of intense debate among scholars. There is no single correct way of defining this relationship, and one of the main challenges you will face in this course is in forming your own conclusions on the subject. It is possible, for example, to see the French Revolution as a cataclysmic event that tumbled the old order and ruptured faith in the Enlighten 4.1 Constant human nature Just as with other natural phenomena, Enlightenment thinkers came to the conclusion as a result of observation that human nature itself was a basic constant. In other words, it possessed common characteristics and was subject to universal, verifiable laws of cause and effect. As Hume put it: Mankind are so much the same, in all times and places, that history informs us of nothing new or strange in this particular. 2.3 The pervasive influence of Enlightenment You will find in this unit in one form or another the pervasive influence of the Enlightenment. Sometimes this influence is buried in deeply ambiguous texts such as Wolfgang Amadeus Mozart's (1756–91) opera Don Giovanni (1787), which includes a famous toast to ‘liberty’. The opera is seen by some as an attempt to subject to critical scrutiny the behaviour of at least one member of a corrupt eighteenth-century aristocracy and the social or class structure that facilitated h 7 Other rhyming techniques
Near- or half rhymes are words or combinations of words that achieve only a partial rhyme. Half rhymes can be between words with just one syllable, or between parts of words, for example where the accented syllables rhyme with each other, but other syllables in the word don't rhyme. For instance: cover–shovel; wily–piling, calling–fallen; wildebeest–building.
Assonant rhyme refers to echoing vowel sounds, eith Acknowledgements The content acknowledged below is Proprietary (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 material in this unit:
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