2.1.1 Card mounted photographs 1860–c.1914 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. Handle photographs at the edges: the skin carries chemicals which cause deterioration (professional archivists wear cotton gloves). Hold a photograph in both hands or support an unmounted print with a piece of cardboard to avoid unnecessary handling. Never write on a photograp Learning outcomes After studying this unit you should: be aware that photographs are shaped by a set of conventions based on ideas and practices which are not immediately apparent; be aware that photographs, like other documentary records, are partial and biased; be aware that photographs, like other documentary records, require critical analysis and careful interpretation; be aware of the importance of contextualisation in analysing photographs. References 3 Conclusion In this unit you have been introduced to the main components of prose fiction and have been given the opportunity to develop and practise your critical and analytical skills. These are essential skills you will need to continue your stufdies in this area. 2.7 Style and language What do we mean when we talk of a particular writer's style? It might help us to think of style as a way of organising and expressing narrative unique to the writer, as distinctive and personal a characteristic as the writer's handwriting or the prints on the fingers holding the pen. Just as no two sets of fingerprints are alike, so no two writers are alike. Writers write in a style that reflects their individual view of the world. The word ‘style’ can generally be used to encompass 2.3 Narrative perspectives Two of the most fundamental choices that face the author of a fictional narrative is to decide who is to be the narrator and how the story is to be narrated. Click on ‘View document’ and read the attached 2.1 The act of reading The act of reading has been characterised by Robert DiYanni as involving three interrelated processes: experience, interpretation, and evaluation. The first thing we do when we read a novel is to experience it, that is to say, we respond to the development of the narrative and the characters presented to us. The story we read if it does its job effectively affects us on certain levels. We become involved in the events and incidents that befall the characters. The language of the narrative for Acknowledgements This unit was written by Dr Marilyn Brooks, Dr Jessica Davies and Dr Valerie Pedlar
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 f Glossary 7.3 Masks and disguises Masks were used in classical Greek theatre to exaggerate expressions so that they could be seen in the large open-air amphitheatres. Most of us are familiar with the famous stereotypes for tragedy and comedy, but masks were also identified with particular types, whether comic or tragic, such as old man, or king, courtesan or queen. Masks have not been part of the dramatic conventions in Britain, but have been used to reflect social conventions of the Restoration period. The connotations of †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 2.0 Licence Grateful acknowledgement is made to the following sources for permission to reproduce material in this unit: 3.5 Emotions as passions I have already suggested that in stressing the connection between emotions and bodily changes, James might be seen as endorsing the intuitive picture of emotion that I set out earlier on. James's thesis could also be taken to sanction the view that emotions are passive, involuntary responses. Perceptual states are often regarded as passive, involuntary states. To say this is to say that we cannot exercise direct control over our perceptual states. If my mouth is full of pickled herring, 3.3 Emotion, motivation and action Perhaps one of the most striking features of James's theory is his account of the relationship between emotions and actions. As James points out, this is one aspect of his theory that runs directly counter to our ordinary conception of emotion. Ordinarily, we assume that emotions motivate actions: for example, if someone asked why Larry kicked Bella's bin, we might say that he was motivated by anger – that he did it because he was angry. On James's account, the order of explanation is rever 3.1 William James In 1890, the philosopher and psychologist William James published his influential work The Principles of Psychology. The book included a chapter on the emotions, in which James advanced a bold new thesis about the nature of the emotions. James's thesis has had an enormous influence on subsequent debate. Reading 1 is a short extract from James's chapter on the emotions. In the passage that precedes this extract, James castigates earlier psychologists who have written on the subjec 2.2 Identifying emotions The question ‘What is an emotion?’ is a question about emotions in general. But it is impossible to address this question without being aware that there appear to be many different types of emotion. One way to start is to consider a range of states and to identify which states we would naturally classify as emotions, and which we would naturally classify as states of some other kind. This will put us in a better position to see whether there are any common features that link different typ 2.2.2 Model 2: African + Roman= African traits continue to dominate and Roman traits fail to become This model is more or less the opposite of the first, and the political domination of Rome has little or no effect upon the African people and their culture. Here we might expect to find evidence for politico-military control but little or no evidence for Roman culture or the acceptance of a Roman identity. This is perhaps the model we might expect to encounter in frontier zones at the limits of the Roman empire. It might also prevail in a scenario where a traditional society chose to reinfor 1.10 Religion and the individual How formal or informal, how personal or impersonal, how loose or how tight, how casual or demanding the religious community is will depend on the form of religion, the extent to which it is enforced and the level of the individual's commitment to it. It is worth remembering that just as people have certain expectations of religion, religions tend to have certain expectations of adherents. The sociologists Rodney Stark and Charles Glock (1968) have argued that although religious organizations 1.8 Religion and spirituality A good example of polysemy can be found in the different ways in which people regard the terms ‘religion’ and ‘spirituality’, and this is the subject of the first exercise below. Give some thought for a moment to 1.2 Continuity and change Religions generally go to a great deal of trouble to stress how consistent, how changeless, how solid they are, but change is, in fact, an observable and constant factor in religion. At a personal level, for example, older Catholics who grew up having to eat fish on Friday and ‘knowing’ that cremation was forbidden to them are aware of that. Such ‘unchanging certainties’ have changed a great deal over the years. It is therefore useful to look both at how a religion develops over time
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Activity 2
Amphitheatre
a circular structure with seats rising behind and above each other around a central open space or arena; originating in classical Greece, they are the first known specifically designated theatre spaces.
Apostrophe
a rhetorical convention in which the speaker either addresses a dead or absent person, or a
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Image 3 Photographer/Painter: Anon.
Amis, Martin (1989) London Fields, Penguin.
Austen, Jane (1818) Northanger Abbey, Penguin.
Austen, Jane (1813) Pride and Prejudice, Oxford World's Classics.
Baldick, Chris (1990) The Concise Oxford Dictionary of Literary Terms, Oxford University Press.
Beckson, K
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