Introduction This course introduces key terms that are essential for understanding the Classical Roman world. This OpenLearn course provides a sample of Level 3 study in Arts and Humanities.
Acknowledgements This free course was written by Ms Candida Clark 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 . The material acknowledged
4 Conclusion This free course, Start writing fiction, introduced you to the tools that help with your writing. Writing is an ongoing activity, and the only way to develop as a writer is to keep doing it.We hope that you feel inspired, and that you’ll use the ideas we have explored here to take your writing further. Take your creative writing further Find out how Creative Writing is taught at The Open University. You may be interested in continuing your learning by pursuing a qu
2.1 Setting as antagonist Nothing happens nowhere. (Elizabeth Bowen, in Burroway, 2003) Showing the
Imperial Rome and Ostia
The splendidly evocative ruins of ancient Rome have long been a challenge to historians and archaeologists in reconstructing how it looked and functioned. It became the largest city in the western world during the imperial period, so how was the city constructed, and what were the materials used? How was it defended, supplied with food and water, and how were the people housed and entertained, and above all, how did it function? These video tracks use various famous sites such as the Baths of Ca
7 Part 1: 6 Self-assessment questions You can experience this free course as it was originally designed on OpenLearn, the home of free learning from The Open University: Author(s): Learning outcomes After studying this course, you should be able to: identify strengths and weaknesses as a writer of fiction demonstrate a general awareness of fiction writing discuss fiction using basic vocabulary. 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 Course image: Author(s): 5.3 Do we have a duty to God not to commit suicide? Why, you may be wondering, would anyone think that we have a duty to God not to take our own lives? Because it would have been so familiar to his original readership, Hume barely bothers to state the position he is opposing before criticising it. His concern is to refute the charge that in taking our own lives we would be ‘encroaching on the office of divine providence, and disturbing the order of the universe’ (paragraph 8). This position can be expressed less elegantly but more t 5.2 Philosophy, religion and everyday life Perhaps because he is aware he will be stirring up trouble by publishing his views on this topic, Hume warms to his theme by talking in paragraphs 1–4 about how he conceives of the relation between philosophy, religious ‘superstition’ and ordinary life. The rest of the essay can be read independently of this opening, but these early ruminations are worth pausing over. They reveal subtleties in Hume's sceptical outlook that are drowned out in the more polemical parts of the two essays. 5.1 The reception of Hume's views ‘Of suicide’ was received with the same degree of public hostility as his essay on immortality. Here is what an anonymous reviewer of the 1777 posthumous edition of both essays had to say in the Monthly Review (1784, vol. 70, pp. 427–8): Were a drunken libertine to throw out such nauseous stuff in the presence of his Bacchanalian companions, there might be some excuse for him; but were any man to advan Acknowledgements This course was written by Professor Tony Lentin
This free course is an adapted extract from the course A207 From Enlightenment to Romanticism, which is currently out of presentation Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Author(s): 5.2 The cult of the Revolution With the suppression of aristocrats, royalists and counter-revolutionary priests came a cultural revolution against symbols and monuments of the Old Regime, the monarchy and the Catholic Church (see Figure 6, below). Freedom of religion was decreed in 1793. The Abbey of St Denis outside Paris, burial place of the French kings since the s 5.1 Revolutionary calendar and metric system We considered earlier the universalist principles of 1789 deriving from the Enlightenment that inspired the Declaration of the Rights of Man and the redivision of France into departments. As the dominant group in the Convention by 1793, the Jacobins regarded themselves as mandated to enact the ‘general will’ of the people in a sense inspired by Rousseau: not as the aggregate weight of the individual aspirations of 28 million Frenchmen, but as the expression of that which, as virtuous men 2.5.1 Imagery of the Declaration The decree on the abolition of nobility drew the line at damage to property, ownership of property having been proclaimed a natural right in the Declaration of the Rights of Man. (The decree is evidence that, as is known from other sources, the crowd was taking the law into its own hands by ransacking chateaux, destroying records of seigneurial dues, etc.) 1.9 Aberdulais Falls and the local community Other potential areas of conflict are with the local authority and local residents, who see the site as of value to themselves and have differing views about how it should be utilised. The desire to accommodate, to some extent, the demands of the local community, and to engage with that community, has led to a number of initiatives. Examples of these include the use of the site's facilities for hosting lectures, meetings, keep-fit groups, etc. These initiatives can be of use to local bu 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 1.3 Stages of development As a result of the consultation and decision-making process, it was decided, as a primary objective, to undertake a systematic survey of the site in order to uncover and understand the industrial archaeology of Aberdulais Falls. This involved removing tons of rubbish, infill and vegetation, and examining in detail the archaeological remains discovered. During this process, no evidence from the sixteenth-century copper smelting works was uncovered, and it is assumed that this lies beneat 3.3 ‘Intentionality’ Is the work of art a free-standing artefact to be interpreted entirely on its own terms, extracted from its historical context, as Bal does it? Or can the artist and the artwork be brought back together again without committing the intentional fallacy? Joseph Margolis makes several important points about the relationship of an artwork to its maker which has significant implications for the limits and possibilities of interpretation of works of art. Margolis puts it thus: 3.2 Interpretation beyond biography The three interpretative strategies outlined in the previous section, and represented by Langdon, Freedberg, and Reynolds and Ostrow, largely rely on recreating the context contemporary with Caravaggio's painting. Other interpretations seem to have more to do with the context and priorities of the modern historian. If, therefore, the interpretation of a work of art is about more than the artist's particular intention regarding that work of art, then, as Martin Kemp asks,
Author(s):
