Review Pages
mid77b: on the "Radical Views" of Karl Marx & Fr. Engels: "Marx and Engels shared a ... Communist Manifesto ... private ownership." + mid80a: "III Position ... UNITE!"
- lower80a: on John Stuart Mill's short treatise in defense of women's social dignity & civil rights, "The Subjection of Women" + from READING 30.4 - upper81a: lines 53-60: "For, what ... desirable."
- mid82a: "Dickens' novels ... The Old Curiosity Shop ... literature." READING 30.5: ONLY lines 1-12 " ... A long suburb ... black roadside.": on Ch. Dickens' realism in his description of a coal-mining town's "cheerless" environment
- mid-bottom83a: on Mark Twain's famous novel about Huck Finn & Jim: "Mark Twain's ... slave." + from READING 30.6 ONLY lines 61-68: "Jim talked ... steal them."
- upper-mid88b: on the writer Kate Chopin: "A similar ... fatal turn." + from READING 30.9 - 89a: ONLY lines 59-75: Mrs. Louise Mallard's awakening to independence as a widow
- upper-top90a-b: the portrait-painting of the novelist Emile Zola by Edouard Manet - READ the caption to Figure 30.7
- upper-mid91a: on the Norwegian playwright Henrik Ibsen: "Realist Drama: ... idealism." + 92a-b: from READING 30.11 ONLY lines 111-128: "Helmer: To leave ... about them.'": on & from the play "A Doll's House"
- bottom93a: on Julia M. Cameron: "Some photographers, such as ... (Figure 30.8).": Whisper of the Muse: Romantic photo-portraitist
- mid-top94: on the Civil War photo-correspondent Mathew B. Brady: "... the eyewitness ... 3500 ... (Fig. 30.9)." - photo&caption
- bottom94a-mid94b + top95: on Gustave Courbet's The Stone-Breakers - Fig. 30.10: "The leading Realist ... popular subject."
- 103: on Th. Eakins' famous group-portrait of Dr. Agnew in surgery teaching med-students: "In 1889, ... natural [real] world." - Fig. 30.21
- upper103b-mid104a: on Henry O. Tanner's Realist art: "Eakins' student ... (Figure 30.23) ... New York."
- mid104b-mid105a + top105 - Fig. 30.25: "[Winslow] Homer was interested in the role ... The Gulf Stream ... ship ..."
- mid105b-bottom106a: "The innovator ... 1936.": on Joseph Paxton's "Crystal Palace" - Fig. 30.26 & caption
- bottom108b + 109: Fig. 30.29: on the Brooklyn Bridge designed & built by the Roeblings, father & son: "Nineteenth-century steel ... limestone arches."
- top117b-top119a: on Monet's Impressionist art: "In 1874, ... Impression: Sunrise ... literal appearance." + Fig. 31.4
- upper119a-b: on P-A. Renoir's famous Parisian scene: young folk enjoying themselves at Le Moulin de la Galette: Fig. 31.6: "Impressionism was ... Renoir ... afternoon sun." + caption
- 120a-b: on Degas' random/snapshot visual effect in his art-of-the-moment: "Edgar Degas (1834- ... Two Dancers on a Stage ... 1860s." + Fig. 31.7 & caption & look at 128a: Fig. 31.19 - "Little Dancer ..." = sculpture
- upper123b: on the American Impressionist Mary Cassatt: "One of the most ... Cassatt brought a unique ... wrote Cassatt." + 125a: Fig. 31.14 & caption
- 124a-b: on Henri de Toulouse-Lautrec's very famous At the Moulin-Rouge - 125: Fig. 31.15
- 130 & 131b: on the grand sculptural art of Auguste Rodin - Figs. 31.23 & 31.24: "Rodin's most ambitious ... The Gates of Hell ... The Kiss ... The Thinker ... its portals." + on C. Claudel presented in class: movie-clip
- mid135a-top136b: on V. van Gogh's Post-Impressionist expressive (Expressionist) art = Figs. 31.27 & 31.28: "The Dutch artist ... The Starry Night ... a Buddhist monk."
- 138: on the Pointillist art of Georges Seurat: "Rejecting the formlessness ... Sunday Afternoon ... of nature." + Fig. 31.31 &caption
*** EXAM @ 100 pts.MONDAY, Dec. 11 at 9:00-11:00 AM + Course-Evaluations
PART I - Matching Columns: 8 Names @ 2.50 = 20 pts.
PART II - Matching Columns: 10 Names @ 2.50 = 25 pts.
PART III - 5 Literary Quotations matched with Names @ 4 pts. = 20 pts.
PART IV - Typed half-page Essay @ 35 pts. based on your reading of the last Stave in ChD's ACC "The End of It": Present 2 examples - with brief quotations&details - of how Scrooge's behavior/actions demonstrate that he is now a reformed person, faithfully acting on his "good intentions" to "honor Christmas in [his] heart."
Review Pages for our EXAM on 10/13/17 = Friday The 13th!!!
Ch. 28: p.31: Fig. 28.2 by J-L. David - "Napoleon Crossing ..." = the Alps from France into Italy - read the caption
- upper-mid32a: "Romantic poets ... Percy Bysshe Shelley ... Mary ... Frankenstein; ... Modern Prometheus ... heroic evil.": on Mary Shelley's eerie Gothic novel
- 28: Fig. 28.1: portrait of poet George Gordon, Lord Byron + lower34b-top35a: "By comparison ... despair." + Reading 28.3: only verses 1-7: "Titan! ... chain,"
- upper37a: on Frederick Douglass: "A longer, more ... Douglass' autobiography." + 38a: Reading 28.5: only lines 79-82: "Slaveholders ... just God."
- mid38a-top38b: "While Frederick ... Akron, Ohio.": on Sojourner Truth/Isabella Baumfree - Abolitionist advocate of civil & women's rights - "Ain't I a Woman?" = her famous speech in 1851 (youtube-clip - Kerry Washington's dramatic reading) Here's the link: https://www.youtube.com/watch?v=yq3AYiRT4no
- mid39a-40a: "Of all ... masterpiece.": on J. W. von Goethe's verse-drama Faust + look at Fig. 28.5 by Delacroix & read caption
- mid46b: on Louisa May Alcott - novelist Little Women and Civil War nurse Hospital Sketches
- upper-lower47a: A. A-L. Dupin = George Sand: "Among French writers ... 'My emotions ... no avail.'" + top48b: just this quotation: ""The writer's trade [=craft/career] ... freedom."
Ch. 29: 49-55a: on the 4 Heroism-themed paintings by Fr. Goya, A-J. Gros, Th. Gericault, E. Delacroix = Figs. 29.1 & .2 & .4 & .6: "Heroic Themes in Art ... oppressed people everywhere." + 55a-b on Fr-Aug. Bartholdi & A-G. Eiffel's "Statue of Liberty" = "Liberty Enlightening the World" = Fig. 29.8 - READ ALL the illustration-captions
- lower55a-b: on Edmonia Lewis's sculpture - Fig. 29.10 - and her life: "In America, ... after 1885." She was born in 1844 (or 1845) and died ca. 1885. And she sculpted a portrait-bust of Col. Robert Gould Shaw also.
- 58a-b: on Saint Patrick's Cathedral in NYC originally designed by James Renwick, Jr. - Fig. 29.13
- mid60a-top61a: on L. van Beethoven as pianist-organist-conductor-composer of 9 symphonies, such as his most popular 5th with its mesmerizing opening motif = "fate knocking at the door" : "The leading composer ... powerful climax." + Fig. 29.15 & caption
In our LINCOLN -A PHOTOBIOGRAPHY: REread 133-37 = "Sampler" of quotations = Lincoln's words of wisdom and enlightening reflections, with a little bit of humor. Ponder these in "A Lincoln Sampler" and then CHOOSE at least ONE quotation THAT IS MEANINGFUL TO YOU and type an Essay in which you EXPLAIN 1) Lincoln's intended meaning of his words= the WHAT, and 2) the personal reason WHY you selected that particular quotation. TYPED, double-spaced, MINIMUM solid half-page ESSAY as part of the exam and due on exam-day Friday The 13th of October.
EXAM @ 100 pts. - FORMAT: PART I: Matching Columns: 8 pairs @ 2 = 16 - Artists
PART II: Matching Columns: 8 pairs @ 2 = 16 - Writers
PART III - In-class handwritten Essay @ 20 pts. on 1 of 2 paintings: Choose 1 of the 2 following paintings, contemplate your choice, and come to class on exam-day intellectually prepared to write - on lined-paper that I'll provide - an ESSAY in response to this: Compose an Essay in which you explain why1 of these 2 paintings illustrates the theme of HEROISM in Romantic Art: either 1) "The Third of May, 1808: ... of Madrid" by Fr. Goya, or 2) "Liberty Leading the People" by E. Delacroix. You must include descriptive details. So, you will be expected to NAME in full - correctly spelled - the NAME of the painter, AND to DESCRIBE what you SEE in the painting by presenting strikingly significant visual details.
PART IV - Your typed Essay @ 48 + 2 = 50 pts. on your chosen Lincoln quotation as explained above - and THIS 50-pt.-potential Essay will count double for your RR #2 originally for FRI 10/6
Sept. 2017 - Review Pages for our Exam # 1 with comments on the Exam Format:
FIERO - THTbook: Ch. 27: mid5b-top6a: on W. Wordsworth's poetry as "spontaneous ... feelings" = "emotion recollected [= remembered] in tranquility [= quiet-time to compose/create]" = "Wordsworth and the Poetry of Nature ... of the universe." Romanticism emphasizes the heart more than the intellect & that Nature brings us close to God: + READING 27.1: p.8a: lines 93-111 + 133-134: WW feels the divine Creator's Presence in & through Nature (= woods, meadows, rivers, ...), and his "cheerful faith" recognizes the many blessings bestowed by Nature's "beauteous forms" (l. 22) in the country landscape
- mid8b: "In 'Ode to ... impetuous one!'": on P.B. Shelley's poem + READING 27.2: PBS's poem is a plea/hymn/"prayer" ("O, hear!") begging/pleading to feel liberated and thus share in Nature's creative energy: lines 43-56: "If I were ... and proud." + 61-62: "Be thou, ... one.!": PBS identifies with the spiritual and creative dynamism of the "wild West Wind" for inspiration to be re-energized as a poet reborn like Spring after Winter
- lower9b: "In the 'Ode,' Keats contemplates ... are one.": on John Keats's poem evoking the painted scenes on Greek vases + lines on the 2 young lovers: READING 27.3: lines 15-27: "Fair youth, ... ever young.": timeless imagery & ever-in-love "forever 21ers"
- upper10a: on Wm. Blake's poetry + READING 27.4: "The Tiger" - first 4 lines + line 20: "Did He [= God] who made the Lamb make thee?"
- mid14a-mid14b: on John Constable's Romanticism = Nature-inspired art: p. 1 - Fig. 27.1 & Fig. 27.8: "English artists ... gentle spirit of the countryside.": tranquil country-life - farmers & aristocrats: "Painting is ... another word for feeling."
- mid14b-lower15b: on J.M.W. Turner: "If Constable's landscapes ... cruelest powers.": Fig. 27.9: turbulent Nature and moral chaos = slaves & slavers victims of a divinely-ordained storm as God's judgment = the typhoon - on the slavers and His rescue of slaves = the symbolic golden light shining from the heavens
- lower18a-top18b:: "Emerson's friend Henry ... practical instruction." + READING 27.7: from WALDEN lines 36-42: "I went to ... marrow of life, ...": + lines 53-61: "Simplicity!, ... afford [= offer] forever!" : on H.D. Thoreau's deliberative/intentional, deeply-felt encounter with Nature in the Walden woods
- mid19a-19b: on Walt Whitman's exuberant Romantic poetry: "Though technically not ... all humankind." + READING 27.8: 20b: lines 27-30: "Seeing, hearing, ... a miracle ... the creeds.": Walt Whitman celebrates Creation as full of "miracles" that are not man-made, such as his/our body's senses
- lower21a-mid22a: "Landscape painters in America ... ascending nationalism.": 2 artists who painted American landscape-scenes: Thomas Cole (English) and Albert Bierstadt (German): Figs. 27.13 & .14: Massachusetts/Connecticut River: woods & farms AND the Rocky Mountain west (in Wyoming) with a Native American village-encampment (teepees, dogs & horses, hunters with moose & bear, ...) at a lake & waterfall
- 22a-b: Fr. Edw. Church - "Niagara" - Fig. 27.15: a grand painting of sky, waterfall & rainbow = Nature's grandeur without any visible human presence
- 22b: on the art & ethnographic writings of George Catlin + Fig. 27.16: "The Romantic fascination ... first ecologists." + upper23b-mid24a: "Not the panoramic landscape ... Figure 27.18)." + caption: Chief White Cloud
On the EXAM-FORMAT:
PART I - MATCHING COLUMNS of 6 names of ARTISTS to be matched by writing the Artist's number on a short line next to the correct descriptive/explanatory phrase/painting-titles - 6 @ 4 pts. = 24
PART II - MATCHING COLUMNS of 6 names of WRITERS to be matched by writing the Writer's number on a short line next to his Quotation - 6 @ 4 pts. = 24
PART III - TYPED ESSAY: within1-page (SOLID half-page minimum) double-spaced @ 52 pts. due on exam-day to be handed in with your in-class Parts. Your TOPIC based on our LINCOLN PHOTOBIOGRAPHY is like your first Lincoln short essay to be divided into 2 sections: OBJECTIVE = choose ANY significant theme/s or event/s or experience/s or person/s or ... from ONLY Chapter 4 and present what you have chosen, and then SUBJECTIVE = explain WHY you chose WHAT you chose = why it grabbed your interest to write about = your personal reflections. Do pay attention to making paragraph-breaks, grammar & spelling.
*** 1 - On Monday, 9/18, we'll have a review-class using these Review Pages, so over the weekend prepare in advance in order to make Monday's RETROSPECTIVE really beneficial.
*** 2 - On Wednesday 9/20, when you take the Exam in class, NO Notes, NO Book, which means NO Cheating. Otherwise, an F for the entire course! You will put your cell-phone totally away. You only leave the classroom once you've handed me your exam - written & typed PARTS. Use the restroom, if need be, BEFORE exam-time.
I will return your exams to you all the following week - Friday 9/29 at the latest. Thank you for your cooperation!
mid77b: on the "Radical Views" of Karl Marx & Fr. Engels: "Marx and Engels shared a ... Communist Manifesto ... private ownership." + mid80a: "III Position ... UNITE!"
- lower80a: on John Stuart Mill's short treatise in defense of women's social dignity & civil rights, "The Subjection of Women" + from READING 30.4 - upper81a: lines 53-60: "For, what ... desirable."
- mid82a: "Dickens' novels ... The Old Curiosity Shop ... literature." READING 30.5: ONLY lines 1-12 " ... A long suburb ... black roadside.": on Ch. Dickens' realism in his description of a coal-mining town's "cheerless" environment
- mid-bottom83a: on Mark Twain's famous novel about Huck Finn & Jim: "Mark Twain's ... slave." + from READING 30.6 ONLY lines 61-68: "Jim talked ... steal them."
- upper-mid88b: on the writer Kate Chopin: "A similar ... fatal turn." + from READING 30.9 - 89a: ONLY lines 59-75: Mrs. Louise Mallard's awakening to independence as a widow
- upper-top90a-b: the portrait-painting of the novelist Emile Zola by Edouard Manet - READ the caption to Figure 30.7
- upper-mid91a: on the Norwegian playwright Henrik Ibsen: "Realist Drama: ... idealism." + 92a-b: from READING 30.11 ONLY lines 111-128: "Helmer: To leave ... about them.'": on & from the play "A Doll's House"
- bottom93a: on Julia M. Cameron: "Some photographers, such as ... (Figure 30.8).": Whisper of the Muse: Romantic photo-portraitist
- mid-top94: on the Civil War photo-correspondent Mathew B. Brady: "... the eyewitness ... 3500 ... (Fig. 30.9)." -photo&caption
- bottom94a-mid94b + top95: on Gustave Courbet's The Stone-Breakers - Fig. 30.10: "The leading Realist ... popular subject."
- 103: on Th. Eakins' famous group-portrait of Dr. Agnew in surgery teaching med-students: "In 1889, ... natural [real] world." - Fig. 30.21
- upper103b-mid104a: on Henry O. Tanner's Realist art: "Eakins' student ... (Figure 30.23) ... New York."
- mid104b-mid105a + top105 - Fig. 30.25: "[Winslow] Homer was interested in the role ... The Gulf Stream ... ship ..."
- mid105b-bottom106a: "The innovator ... 1936.": on Joseph Paxton's "Crystal Palace" - Fig. 30.26 & caption
- bottom108b + 109: Fig. 30.29: on the Brooklyn Bridge designed & built by the Roeblings, father & son: "Nineteenth-century steel ... limestone arches."
- top117b-top119a: on Monet's Impressionist art: "In 1874, ... Impression: Sunrise ... literal appearance." + Fig. 31.4
- upper119a-b: on P-A. Renoir's famous Parisian scene: young folk enjoying themselves at Le Moulin de la Galette: Fig. 31.6: "Impressionism was ... Renoir ... afternoon sun." + caption
- 120a-b: on Degas' random/snapshot visual effect in his art-of-the-moment: "Edgar Degas (1834- ... Two Dancers on a Stage ... 1860s." + Fig. 31.7 & caption & look at 128a: Fig. 31.19 - "Little Dancer ..." = sculpture
- upper123b: on the American Impressionist Mary Cassatt: "One of the most ... Cassatt brought a unique ... wrote Cassatt." + 125a: Fig. 31.14 & caption
- 124a-b: on Henri de Toulouse-Lautrec's very famous At the Moulin-Rouge - 125: Fig. 31.15
- 130 & 131b: on the grand sculptural art of Auguste Rodin - Figs. 31.23 & 31.24: "Rodin's most ambitious ... The Gates of Hell ... The Kiss ... The Thinker ... its portals." + on C. Claudel presented in class: movie-clip
- mid135a-top136b: on V. van Gogh's Post-Impressionist expressive (Expressionist) art = Figs. 31.27 & 31.28: "The Dutch artist ... The Starry Night ... a Buddhist monk."
- 138: on the Pointillist art of Georges Seurat: "Rejecting the formlessness ... Sunday Afternoon ... of nature." + Fig. 31.31 &caption
*** EXAM @ 100 pts.TUESDAY, MAY 9 at 9:00-11:00 AM + Course-Evaluations
PART I - Matching Columns: 8 Names @ 2.50 = 20 pts.
PART II - Matching Columns: 10 Names @ 2.50 = 25 pts.
PART III - 5 Literary Quotations matched with Names @ 4 pts. = 20 pts.
PART IV - Typed 1-page Essay @ 35 pts. based on reading in LMA's Hospital Sketches about 3 doctors (= Dr. P. & Dr. Z. & Dr. O) on pp. top116-mid118: "But this [= dissections] must not ... upon it.": Choose ONLY 1 doctor, and 1) OBJECTIVELY highlight with a few details what LMA tells us about him, and 2) SUBJECTIVELY explain WHY you chose him in particular.
Review Pages for our EXAM on FRIDAY 3/3/17:
Ch. 28: p.31: Fig. 28.2 by J-L. David - "Napoleon Crossing ..." = the Alps from France into Italy - read the caption
- upper-mid32a: "Romantic poets ... Percy Bysshe Shelley ... Mary ... Frankenstein; ... Modern Prometheus ... heroic evil.": on Mary Shelley's eerie Gothic novel
- 28: Fig. 28.1: portrait of poet George Gordon, Lord Byron + lower34b-top35a: "By comparison ... despair." + Reading 28.3: only verses 1-7: "Titan! ... chain,"
- upper37a: on Frederick Douglass: "A longer, more ... Douglass' autobiography." + 38a: Reading 28.5: only lines 79-82: "Slaveholders ... just God."
- mid38a-top38b: "While Frederick ... Akron, Ohio.": on Sojourner Truth/Isabella Baumfree - Abolitionist advocate of civil & women's rights - "Ain't I a Woman?" = her famous speech in 1851 (youtube-clip - Kerry Washington's dramatic reading) Here's the link: https://www.youtube.com/watch?v=yq3AYiRT4no
- mid39a-40a: "Of all ... masterpiece.": on J. W. von Goethe's verse-drama Faust + look at Fig. 28.5 by Delacroix & read caption
- mid46b: on Louisa May Alcott - novelist Little Women and Civil War nurse Hospital Sketches
- upper-lower47a: A. A-L. Dupin = George Sand: "Among French writers ... 'My emotions ... no avail.'" + top48b: just this quotation: ""The writer's trade [=craft/career] ... freedom."
Ch. 29: 49-55a: on the 4 Heroism-themed paintings by Fr. Goya, A-J. Gros, Th. Gericault, E. Delacroix = Figs. 29.1 & .2 & .4 & .6: "Heroic Themes in Art ... oppressed people everywhere." + 55a-b on Fr-Aug. Bartholdi & A-G. Eiffel's "Statue of Liberty" = "Liberty Enlightening the World" = Fig. 29.8 - READ ALL the illustration-captions
- lower55a-b: on Edmonia Lewis's sculpture - Fig. 29.10 - and her life: "In America, ... after 1885." She was born in 1844 (or 1845) and died ca. 1885. And she sculpted a portrait-bust of Col. Robert Gould Shaw also.
- 58a-b: on Saint Patrick's Cathedral in NYC originally designed by James Renwick, Jr. - Fig. 29.13
- mid60a-top61a: on L. van Beethoven as pianist-organist-conductor-composer of 9 symphonies, such as his most popular 5th with its mesmerizing opening motif = "fate knocking at the door" : "The leading composer ... powerful climax." + Fig. 29.15 & caption
In our LINCOLN - PHOTOBIOGRAPHY: REread 133-37 = "Sampler" of quotations = Lincoln's words of wisdom and enlightening reflections, with a little bit of humor. Ponder these in "A Lincoln Sampler" and then CHOOSE ONE quotation (NOT the one or even 2 that you chose for your RR #2) and type an Essay in which you EXPLAIN 1) Lincoln's intended meaning of his words= the WHAT, and 2) the reason you selected that particular quotation = the WHY. TYPED half-page, double-spaced - ESSAY as part of the exam and due on exam-day WED 10/19.
EXAM-FORMAT: PART I: Matching Columns: 8 pairs @ 2.50 = 20 - Artists
PART II: Matching Columns: 8 pairs @ 2.50 = 20 - Writers
PART III - In-class handwritten Essay @ 20 pts. on 1 of 2 paintings: Choose 1 of the 2 following paintings, contemplate your choice, and come to class on exam-day intellectually prepared to write - on lined-paper that I'll provide - an ESSAY in response to this: Compose an Essay in which you explain why1 of these 2 paintings illustrates the theme of HEROISM in Romantic Art: either 1) "The Third of May, 1808: ... of Madrid" by Fr. Goya, or 2) "Liberty Leading the People" by E. Delacroix. You must include descriptive details. So, you will be expected to NAME in full - correctly spelled - the NAME of the painter, AND to DESCRIBE what you SEE in the painting by presenting strikingly significant visual details.
PART IV - Your typed Essay @ 40 pts. on your chosen Lincoln quotation as explained above
2/2/2017 - Review Pages for our Exam # 1 with comments on the Exam Format
FIERO - Arts-book: Ch. 27: mid5b-top6a: on W. Wordsworth's poetry definition: "emotion [= the felt-experience] recollected [= remembered] in tranquility [= quiet-time to compose/create]" = "Wordsworth and the Poetry of Nature ... of the universe." Romanticism emphasizes the heart more than the intellect & Nature brings us close to God: + READING 27.1: p.8a: lines 93-111 + 133-134: WW feels the Divine Creator's presence in & through Nature (= woods, meadows, rivers, ...) and his "cheerful faith" recognizes the many blessings bestowed by Nature's "beauteous forms" (l. 22)
- mid8b: "In 'Ode to ... impetuous one!": on P.B. Shelley's poem + READING 27.2: PBS's poem is a plea/a hymn begging/pleading to feel liberated and thus share in Nature's creative energy: lines 43-56: "If I were ... and proud.": PBS identifies with the spiritual and creative dynamism of the "wild West Wind" for inspiration
- lower9b: "In the 'Ode,' Keats contemplates ... are one.": on John Keats's poem evoking the painted scenes on a Greek vase + lines on the 2 young lovers: READING 27.3: lines 15-27: "Fair youth, ... ever young.": timeless imagery & ever-in-love "forever 21ers"
- upper10a: on Wm. Blake's poetry + READING 27.4: "The Tiger" - first 4 lines + line 20
- mid14a-mid14b: on John Constable's Romanticism = Nature-inspired art: p. 1 - Fig. 27.1 & Fig. 27.8: "English artists ... gentle spirit of the countryside.": tranquil country-life - farmers & aristocrats
- mid14b-lower15b: on J.M.W. Turner: "If Constable's landscapes ... cruelest powers.": Fig. 27.9: turbulent Nature and moral chaos = slaves & slavers victims of a divinely-ordained storm as God's judgment on slavers and rescue of slaves
- lower18a-top18b:: "Emerson's friend Henry ... practical instruction." + READING 27.7: from WALDEN lines 36-42: "I went to ... marrow of life, ...": + lines 53-62: Simplicity!, ... afford [= offer] forever!" : on H.D. Thoreau's deliberative/intentional, deeply-felt encounter with Nature in the Walden woods
- mid19a-19b: on Walt Whitman's exuberant Romantic poetry: "Though technically not ... all humankind." + READING 27.8: 20b: lines 25-28: "Seeing, hearing, ... a miracle ... whatever I touch.": Walt Whitman celebrates Creation as full of "miracles" that are not man-made, such as his/our body's senses
- lower21a-mid22a: "Landscape painters in America ... ascending nationalism.": 2 artists who painted American landscape-scenes: Thomas Cole (English) and Albert Bierstadt (German): Figs. 27.13 & .14: the New England/Connecticut woods & farms AND the Rocky Mountain west (in Wyoming) with a Native American village-encampment (teepees, dogs & horses, hunters with moose & bear, ...) at a lake & waterfall
- 22a-b: Fr. Edw. Church - "Niagara" - Fig. 27.15: a grand painting of sky, waterfall & rainbow = Nature without humanity
- 22b: on the art & ethnographic writings of George Catlin + Fig. 27.16: "The Romantic fascination ... first ecologists." + upper23b-mid24a: "Not the panoramic landscape ... Figure 27.18)." + caption
On the EXAM-FORMAT:
PART I - MATCHING COLUMNS of 6 names of ARTISTS to be matched by writing a name's number on a short line next to the correct descriptive/explanatory phrase/title - 6 @ 4 pts. = 24
PART II - MATCHING COLUMNS of 6 names of WRITERS to be matched by writing a name's number on a short line next to the correct descriptive/explanatory phrase/quotation - 6 @ 4 pts. = 24
PART III - In-class handwritten ESSAY @ 20 points. Lined paper will be given to you. READ upper16b-mid17a on Corot's landscape art - including his comments about painting & "feeling." Your essay-topic is to describe Corot's Ville d'Avray (Fig. 27.11) as a landscape painting which invites you, the viewer, into the scene. Be sure to include a few but significant descriptive details to support your ideas. Be Objective and Subjective! (Might you enjoy being IN the painting? If yes, why? If not, why not? ...)
PART IV - within1-page (SOLID half-page minimum) double-spaced TYPED ESSAY @ 32 pts. due on exam-day to be handed in with your in-class Parts. Your TOPIC based on our LINCOLN PHOTOBIOGRAPHY is like your first Lincoln short essay to be divided into 2 sections: OBJECTIVE = choose ANY significant theme/s or event/s or experience/s or person/s or ... from only Chapter 4 and present what you have chosen, and then SUBJECTIVE = explain WHY you chose WHAT you chose = why it grabbed your interest to write about = your personal reflections.
*** 1 - On Monday, 2/6, we'll have a review-class using these Review Pages, so over the weekend prepare in advance in order to make Monday's Retrospective really beneficial.
*** 2 - On Wednesday 2/8, when you take the Exam in class, NO Notes, NO Book, which means NO Cheating. Otherwise, an F for the entire course! You will put your cell-phone totally away. You only leave the classroom once you've handed me your exam - written & typed PARTS. Use the restroom, if need be, BEFORE exam-time.
I will return your exams to you all the following Wednesday at the latest. Thank you for your cooperation!
- mid77b: on the "Radical Views" of Karl Marx & Fr. Engels: "Marx and Engels shared a ... Communist Manifesto ... private ownership." + mid80a: "III Position ... UNITE!"
- lower80a: on John Stuart Mill's short treatise in defense of women's social dignity & civil rights, "The Subjection of Women" + from READING 30.4 - upper81a: lines 53-60: "For, what ... desirable."
- mid82a: "Dickens' novels ... The Old Curiosity Shop ... literature." READING 30.5: ONLY lines 1-12 " ... A long suburb ... black roadside.": on Ch. Dickens' realism in his description of a coal-mining town's "cheerless" environment
- mid-bottom83a: on Mark Twain's famous novel about Huck Finn & Jim: "Mark Twain's ... slave." + from READING 30.6 ONLY lines 61-68: "Jim talked ... steal them."
- upper-mid88b: on the writer Kate Chopin: "A similar ... fatal turn." + from READING 30.9 - 89a:ONLY lines 59-75: Mrs. Louise Mallard's awakening to her independence/liberation as a widow
- upper-top90a-b: the portrait-painting of the novelist Emile Zola by Edouard Manet - READ the caption
- upper-mid91a: on the Norwegian playwright Henrik Ibsen: "Realist Drama: ... idealism." + 92a-b: from READING 30.11 ONLY lines 111-128: "Helmer: To leave ... about them.'": on & from the play "A Doll's House"
- bottom92a: on Julia M. Cameron: "Some photographers, such as ... (Figure 30.8).": Whisper of the Muse
- mid-top94: on the Civil War photo-correspondent Mathew B. Brady: "... the eyewitness ... 3500 ... (Fig. 30.9)." + photo&caption
- bottom94a-mid94b + top95: on Gustave Courbet's The Stone-Breakers - Fig. 30.10: "The leading Realist ... popular subject."
- 103: on Th. Eakins' famous group-portrait of Dr. Agnew in surgery teaching med-students: "In 1889, ... natural [real] world."
- upper103b-mid104a: on Henry O. Tanner's Realist art: "Eakins' student ... (Figure 30.23) ... New York."
- mid104b-mid105a + top105 - Fig. 30.25: "[Winslow] Homer was interested in the role ... The Gulf Stream ... ship ..."
- mid105b-bottom106a: "The innovator ... 1936.": on Joseph Paxton's "Crystal Palace" - Fig. 30.26 & caption
- bottom108b + 109: Fig. 30.29: on the Brooklyn Bridge designed & built by the Roeblings, father & son: "Nineteenth-century steel ... limestone arches."
- mid115b-mid116b: "But Debussy ... (1905).": on Cl. Debussy's "Impressionist" orchestral poem-reverie "Prelude to 'The Afternoon of a Faun'"
- top117b-top119a: on Monet's Impressionist art: "In 1874, ... Impression: Sunrise ... literal appearance." + Figs. 31.4 & 31.5 & captions
- upper119a-b: on P-A. Renoir's famous Parisian scene: young folk enjoying themselves at Le Moulin de la Galette: Fig. 31.6: "Impressionism was ... Renoir ... afternoon sun." + caption
- 120a-b: on Degas' random/snapshot visual effect in his art-of-the-moment: "Edgar Degas (1834- ... Two Dancers on a Stage ... 1860s." + Fig. 31.7 & caption & look at 128a: Fig. 31.19 - "Little Dancer ..." = sculpture
- upper123b: on the American Impressionist Mary Cassatt: "One of the most ... Cassatt brought a unique ... wrote Cassatt." + 125a: Fig. 31.14 & caption
- 124a-b: on Henri de Toulouse-Lautrec's very famous At the Moulin-Rouge - 125: Fig. 31.15
- 130 & 131b: on the grand sculptural art of Auguste Rodin - Figs. 31.23 & 31.24: "Rodin's most ambitious ... The Gates of Hell ... The Kiss ... The Thinker ... its portals." + on C. Claudel presented in class: movie-clip
- mid135a-top136b: on V. van Gogh's Post-Impressionist expressive (Expressionist) art = Figs. 31.27 & 31.28: "The Dutch artist ... The Starry Night ... a Buddhist monk."
- 138: on the Pointillist art of Georges Seurat: "Rejecting the formlessness ... Sunday Afternoon ... of nature." + Fig. 31.31 &caption
*** EXAM on MONDAY, DECEMBER 12 at 9:00 AM + Course-Evaluations
Review Pages for our EXAM on WED 10/19:
Ch. 28: p.31: Fig. 28.2 by J-L. David - "Napoleon Crossing ..." = the Alps from France into Italy - read the caption
- upper-mid32a: "Romantic poets ... Percy Bysshe Shelley ... Mary ... Frankenstein; ... Prometheus ... heroic evil.": on Mary Shelley's eerie Gothic novel
- 28: Fig. 28.1: portrait of poet George Gordon, Lord Byron + lower34b-top35a: "By comparison ... despair." + Reading 28.3: only verses 35-38: "Thy Godlike ... own mind."
- upper37a: on Frederick Douglass: "A longer, more ... Douglass' autobiography." + 38a: Reading 28.5: only lines 79-82: Slaveholders ... just God."
- mid38a-top38b: "While Frederick ... Akron, Ohio.": on Sojourner Truth/Isabella Baumfree - Abolitionist advocate of civil & women's rights - "Ain't I a Woman?" = her famous speech in 1851 (youtube-clip - Kerry Washington's dramatic reading)
- mid39a-40a: "Of all ... masterpiece.": on J. W. von Goethe's verse-drama Faust + look at Fig. 28.5 by Delacroix & read caption
- bottom46b-top47a: : on Jane Austen: "The novels ... England's provincial ... Emma ... tradition."
- upper-lower47a: A. A-L. Dupin = George Sand: "Among French writers ... 'My emotions ... no avail.'" + top48b: just this quotation: ""The writer's trade [=craft/career] ... freedom."
Ch. 29: 49-55a: on the 4 Heroism-themed paintings by Fr. Goya, A-J. Gros, Th. Gericault, E. Delacroix = Figs. 29.1 & .2 & .4 & .6: "Heroic Themes in Art ... oppressed people everywhere." + 55a-b on Fr-Aug. Bartholdi & A-G. Eiffel's "Statue of Liberty" = "Liberty Enlightening the World" = Fig. 29.8 - READ ALL the illustration-captions
- lower55a-b: on Edmonia Lewis's sculpture - Fig. 29.10 - and her life: "In America, ... after 1885." She was born in 1844 (or 1845) and died ca. 1885. And she sculpted a portrait-bust of Col. Robert Gould Shaw also.
- mid60a-top61a: on L. van Beethoven as pianist-organist-conductor-composer of 9 symphonies, such as his most popular 5th with its mesmerizing opening motif = "fate knocking at the door" : "The leading composer ... powerful climax." + Fig. 29.15 & caption
In our LINCOLN - PHOTOBIOGRAPHY: REread 133-37 = selected quotations = Lincoln's words of wisdom and enlightening reflections, with a little bit of humor. Ponder these in the "Lincoln Sampler" and then CHOOSE ONE quotation (NOT the one you chose for your RR #2) and type an Essay in which you EXPLAIN 1) Lincoln's intended meaning of his words= the WHAT, and 2) the reason you selected that particular quotation = the WHY. TYPED half-page, double-spaced - ESSAY as part of the exam and due on exam-day WED 10/19.
EXAM-FORMAT: PART I: Matching Columns: 8 pairs @ 2.50 = 20 - Artists
PART II: Matching Columns: 8 pairs @ 2.50 = 20 - Writers
PART III - In-class handwritten Essay @ 20 pts. on 1 of 2 paintings: Choose 1 of the 2 following paintings, contemplate your choice, and come to class on exam-day intellectually prepared to write - on lined-paper that I'll provide - an ESSAY in response to this: Compose an Essay in which you explain why1 of these 2 paintings illustrates the theme of HEROISM in Romantic Art: either 1) "The Third of May, 1808: ... of Madrid" by Goya, or 2) "Liberty Leading the People" by Delacroix. You must include descriptive details.
So, you will be expected to NAME in full - correctly spelled - the NAME of the painter, AND to DESCRIBE what you SEE in the painting by presenting strikingly significant visual details.
PART IV - Your typed Essay @ 40 pts. on your chosen Lincoln quotation as explained above
9/13/16 - Review Pages for our Exam # 1 with comments on the Exam Format
FIERO - Arts-book: Ch. 27: mid5b-top6a: on W. Wordsworth's poetry definition: "emotion [= the felt-experience] recollected [= remembered] in tranquility [= quiet-time to compose/create]" = "Wordsworth and the Poetry of Nature ... of the universe." Romanticism emphasizes the heart more than the intellect & Nature brings us close to God: + READING 27.1: p.8a: lines 93-111 + 133-134: WW feels the Divine Creator's presence in & through Nature (= woods, meadows, rivers, ...) and his "cheerful faith" recognizes the many blessings bestowed by Nature's "beauteous forms" (l. 22)
- mid8b: "In 'Ode to ... impetuous one!": on P.B. Shelley's poem + READING 27.2: PBS's poem is a plea/a hymn begging/pleading to feel liberated and thus share in Nature's creative energy: lines 43-56" If I were ... and proud.": PBS identifies with the spiritual and creative dynamism of the "wild West Wind" for inspiration
- lower9b: "In the 'Ode,' Keats contemplates ... are one.": on John Keats's poem evoking the painted scenes on a Greek vase + from Stanza 2, lines 15-20 on the 2 young lovers: READING 27.3: lines 15-27: "Fair youth, ... be fair!": timeless imagery & ever-in-love "forever 21ers"
- Shen Zhou's ink-painting - poem & image: Fig. 27.6 - mid13a: "Chinese landscape ... mountain stream."
- mid14a-mid14b: on John Constable's Romanticism = Nature-inspired art: p. 1 - Fig. 27.1 & Fig. 27.8: "English artists ... gentle spirit of the countryside.": tranquil country-life - farmers & aristocrats
- mid14b-lower15b: on J.M.W. Turner: "If Constable's landscapes ... cruelest powers.": Fig. 27.9: turbulent Nature and moral chaos = slaves & slavers victims of a (divinely-ordained) storm
- mid17b-top18a: "The prime exemplar ... parcel of God.": on R.W. Emerson's Transcendental Romantic (= feeling-based) communion with the Divine = with God in & through Nature's "beauteous forms" (= Wordsworth's phrase) "visioned" in the woods
- lower18a-top18b:: "Emerson's friend Henry ... practical instruction." + READING 27.7: from WALDEN lines 36-42: "I went to ... marrow of life, ...": + lines 53-62: Simplicity!, ... afford [= offer] forever!" : on H.D. Thoreau's deliberative/intentional, deeply-felt encounter with Nature in the Walden woods
- mid19a-19B: on Walt Whitman's exuberant Romantic poetry: "Though technically not ... all humankind." + READING 27.8: lines 1-3: "I celebrate ... belongs to you." + 21a: line 27: "Seeing, hearing, ... a miracle.": Walt Whitman celebrates Creation as full of "miracles" that are not man-made, such as his/our body's senses
- lower21a-mid22a: "Landscape painters in America ... ascending nationalism.": 2 artists who painted American landscape-scenes: Thomas Cole (English) and Albert Bierstadt (German): Figs. 27.13 & .14: the New England/Connecticut woods & farms AND the Rocky Mountain west (in Wyoming) with a Native American village-encampment (teepees, dogs & horses, hunters with moose & bear, ...)
- 22b: on the art & ethnographic writings of George Catlin - Fig. 27.16: "The Romantic fascination ... first ecologists." + upper23b-mid24a: "Not the panoramic landscape ... Figure 27.18)." + caption
On the EXAM-FORMAT:
PART I - MATCHING COLUMNS of 6 names of ARTISTS to be matched by writing a name's number on a short line next to the correct descriptive/explanatory phrase/title - 6 @ 4 pts. = 24
PART II - MATCHING COLUMNS of 6 names of WRITERS to be matched by writing a name's number on a short line next to the correct descriptive/explanatory phrase/quotation - 6 @ 4 pts. = 24
PART III - in-class handwritten ESSAY @ 20 pts. Lined-paper will be given to you. Your topic is to choose EITHER Turner's Snowstorm (Fig. 27.10) OR Corot's Ville d'Avray (Fig. 27.11) and explain WHY you might like - OR not like - to be in the painting. Purely subjective but include a few key descriptive details to support your ideas - let your imagination be free!
PART IV - within1-page (SOLID half-page minimum) double-spaced TYPED ESSAY @ 32 pts. due on exam-day to be handed in with your in-class Parts. Your TOPIC based on our LINCOLN PHOTOBIOGRAPHY is like your first Lincoln short essay to be divided into 2 sections: OBJECTIVE = choose ANY significant theme/s or event/s or experience/s or person/s or ... from either Chapter 3 or Chapter 4 and present what you have chosen, and then SUBJECTIVE = explain WHY you chose WHAT you chose = why it grabbed your interest to write about = your personal reflections.
- mid285a-top285b: on the "Radical Views" of Karl Marx & Fr. Engels: "Marx and Engels shared a ... Communist Manifesto ... private ownership." + mid288a: "III Position ... UNITE!"
- bottom288a-upper288b on John Stuart Mill's short treatise in defense of women's social dignity & civil rights, The Subjection of Women + from READING 30.4 - mid289a: lines 71-76: "The modern conviction ... mischievous [= wrong-headed, unjust]."
- mid290a-mid290b: "Dickens' novels ... The Old Curiosity Shop ... READING 30.5 [ ONLY lines 1-12] ... A long suburb ... black roadside.": on Ch. Dickens' realism in his description of a coal-mining town's "cheerless" environment
- mid291a-top291b: on Mark Twain's famous novel about Huck Finn & Jim + from READING 30.6 ONLY lines 61-68: "Jim talked ... steal them."
- upper-mid296b: on the writer Kate Chopin + from READING 30.9 ONLY lines 59-75: Mrs. Louise Mallard's awakening to her independence as a widow
- top298a: the portrait-painting of the novelist Emile Zola by Edouard Manet - READ the caption
- top-mid299a: on the Norwegian playwright Henrik Ibsen + 300a: from READING 30.11 ONLY lines 101-128: "Nora" You no longer ... about them.'": on & from the play A Doll's House
- 301b: on Julia M. Cameron: "Some photographers, such as ... (Figure 30.8).": Whisper of the Muse
- top302a: on the Civil War photo-correspondent Mathew B. Brady: "... the eyewitness ... 3500 ... (Fig. 30.9)."
- upper302b-mid303a: on Gustave Courbet's The Stone-Breakers - Fig. 30.10: "The leading Realist ... popular subject."
- mid-bottom310b + mid312a: on "a master of ... portraiture" and founder of America's first museum - in Philadelphia: Ch. W. Peale: "A master of ... (Figure 30.21) ... resilient spirit."
- 310: on Th. Eakins' famous group-portrait of Dr. Agnew in surgery teaching med-students: "In 1889, ... natural [real] world."
- upper312a & mid312b: on Henry O. Tanner's Realist art: "Eakins' student ... (Figure 30.24) ... New York."
- mid313a-mid313b + top313 - Fig. 30.26: "[Winslow] Homer was interested in the role ... The Gulf Stream ... ship ..."
- lower318b-lower319a: on the verismo (= Realist) opera of G. Puccini (AKA Vincenzo D'Orazio) - La Boheme & Madama Butterfly
- upper316b + top317: Fig. 303.30: on the Brooklyn Bridge designed & built by the Roeblings, father & son: "Nineteenth-century steel ... limestone arches."
- 319: Fig. 31.1 - P-A. Renoir's famous Parisian scene: young folk enjoying themselves at Le Moulin de la Gallette + upper327a: "Above all, they [= the Impressionists] brought painterly ... Renoir ... afternoon sun."
- 325: on Monet's "pioneer" Impressionist art: "In 1874, ... Impression: Sunrise ... radiant impasto [= paint thickly laid-on]." + Fig. 31.4
- 328: on Degas' random/snapshot visual effect in his art-of-the-moment: "Edgar Degas (1834- ... Two Dancers on a Stage ... 1860s." + Fig. 31.7 & look at 337a - Fig. 31.19: "Little Dancer ..." sculpture
- upper331b + mid333a: on the American Impressionist Mary Cassatt: "One of the most ... Cassatt brought a unique ... wrote Cassatt." + Fig. 31.14
- 335: on Henri de Toulouse-Lautrec's very famous At the Moulin-Rouge - Fig. 31.15
- bottom339b-340a: on the grand sculptural art of Auguste Rodin - Figs. 31.23 & 31.24: "Rodin's most ambitious ... The Gates of Hell ... The Kiss ... The Thinker ... its portals."
- top345b-top346b: on V. van Gogh's Post-Impressionist expressive (Expressionist) art = Figs. 31.29 & 31.20: "The Dutch artist ... The Starry Night ... a Buddhist monk."
- lower347a-b: on the Pointillist art of Georges Seurat: "Rejecting the formlessness ... Sunday Afternoon ... of nature." + Fig. 31.32 on 348
*** EXAM on MONDAY, DECEMBER 14 at 11:30 AM + Course-Evaluations
Review Pages for our EXAM on WED 10/21:
Ch. 28: p. 237: Fig. 28.1 by J-L. David - "Napoleon Crossing ..." = the Alps from France into Italy
- upper240b: " ... Percy Bysshe Shelley ... Mary ... Frankenstein; ... Prometheus ... evil.": on Mary Shelley's eerie Gothic novel
- 243: Fig. 28.3: portrait of poet George Gordon, Lord Byron + top243b-top244a: "By comparison ... despair." + Reading 28.3: only verses 35-38: "Thy Godlike ... our mind;"
- lower246a-top246b: on Frederick Douglass: "A longer, more ... Douglass' autobiography." + Reading 28.5: only lines 58-64: "'I am, thought I, ... liberty."
- mid-bottom247b: on Sojourner Truth/Isabella Baumfree - Abolitionist advocate of civil & women's rights
- mid248b-mid250a: on J. W. von Goethe's verse-drama Faust + Reading 28.7: upper254: lines 387-401
- mid-lower255a: on Jane Austen: "The novels ... England's provincial ... tradition."
- lower255a-lower255b: on Aurore Dupin = George Sand: "Among French writers ... 'My emotions ... no avail.'" + mid256a: just this quotation: "All loves are true, ... duration."
Ch. 29: mid258a-top263b: on the 4 Heroism-themed paintings by A-J. Gros, Fr. Goya, Th. Gericault, E. Delacroix = Figs. 29.2 & .3 & .5 & .6: "Heroic Themes in Art ... oppressed people everywhere." + upper263b on Fr-Aug. Bartholdi & A-G. Eiffel's "Statue of Liberty" = "Liberty Enlightening the World" = Fig. 29.8
- 265b: on Edmonia Lewis's sculpture - Fig. 29.11 - and her life: "In the commemorative marble ... after 1885." She was born in 1844 (or 1845) and died in 1907. And she sculpted a portrait-bust of Col. RGS.
- upper269b-mid270a: on L. van Beethoven as symphonic composer of the "Pastoral" 6th Symphony and the "Choral" 9th Symphony and his most popular 5th with its mesmerizing opening motif = "fate knocking at the door" : "Difficult as it is ... only in his head." + Fig. 29.15
In our LINCOLN - PHOTOBIOGRAPHY: read 133-37 = selected quotations = Lincoln's words of wisdom, with a little of humor. Ponder these in the "Lincoln Sampler" and then CHOOSE ONE quotation and type an Essay in which you EXPLAIN 1) Lincoln's intended meaning of his words= the WHAT, and 2) the reason you selected that particular quotation = the WHY. TYPED within 1 page - half-page minimum, double-spaced - ESSAY as part of the exam and due on exam-day WED 10/21.
EXAM-FORMAT: PART I: Matching Columns: 8 pairs @ 2.50 = 20 - Artists
PART II: Matching Columns: 8 pairs @ 2.50 = 20 - Writers
PART III - In-class handwritten Essay @ 20 pts. on 1 of 2 paintings: Choose 1 of the 2 following paintings, contemplate your choice, and come to class on exam-day intellectually prepared to write - on lined-paper that I'll provide - an ESSAY in response to this: Compose an Essay in which you explain why1 of these 2 paintings illustrates the theme of HEROISM in Romantic Art: either 1) "The Third of May, 1808: ... of Madrid" by Goya, or 2) "Liberty Leading the People" by Delacroix.
You will be expected to NAME in full - correctly spelled - the NAME of the painter, AND to DESCRIBE what you SEE in the painting by presenting strikingly significant visual details.
PART IV - Your typed Essay @ 40 pts. on your chosen Lincoln quotation as explained above
9/17/15 - Review Pages for our Exam # 1 with comments on the Exam Format
FIERO - Arts-book: Ch. 27: p. 209: Fig. 27.1 by J.M.W. Turner - read the caption + 224a-b on Turner's art, esp. 27.10: "In Turner's Slave Ship ... intense physical experience." - two paintings with ships in stormy seas
- lower213b-top215a: on W. Wordsworth's poetry definition: "emotion [= experience] recollected [= remembered] in tranquility [= quiet-time to compose/create]" + REread upper216a: lines 93-111 + 122-134: WW feels the Divine Creator's presence in & through Nature (= woods, meadows, rivers, ...], and his "cheerful faith" recognizes Life's many blessings bestowed by Nature
- mid216b: "In 'Ode to ... impetuous one!": on P.B. Shelley's poem + upper217b: lines 53-56: "Oh! lift me ... and proud.": PBS identifies with the spiritual and creative dynamism of the "wild West Wind" for inspiration
- bottom217b-lower218a: "In the 'Ode,' Keats ... are one.": on John Keats's poem evoking the painted scenes on a Greek vase + from Stanza 2, lines 15-20 on the 2 young lovers: "Fair youth, ... be fair!"
- 221: READ all of Making Connections looking at similarities & differences between Shen Zhou's ink-painting and C.D. Friedrich's oil-painting. Your in-class handwritten ESSAY will be to compare & contrast - that is, highlight selected similarities & differences between - these 2 paintings classified as Landscape Paintings. Spell the names & titles correctly!
- mid222b-mid223a: on John Constable's Romantic Nature-inspired art, such as Fig. 27.8: "English artists ... I am grateful."
- 225a-b: on J-B-C. Corot's French landscape-art, such as Fig. 27.11 - take note of his emphasis on "feeling" as necessary for his art (also true for Constable)
- upper226b-upper227a: "The prime exemplar ... parcel of God.": on R.W. Emerson's Transcendental Romantic (= feeling-based) communion with the Divine = with God in & through Nature's "beauteous wonders" (= Wordsworth's phrase)
- mid227a: "Emerson's friend Henry ... practical instruction." + lines 59-67: "The indescribable innocence and ...vegetable mould [= plant/organic mold] myself? ...": on H.D. Thoreau's feelings of oneness with Nature
- top228a-upper228b: on Walt Whitman's exuberant Romantic poetry: "Although technically ... all humankind." + 228b: lines 1-3: "I celebrate ... belongs to you." + upper229a: lines 27-28: "Seeing, hearing, ... a miracle.": Walt Whitman celebrates Creation as full of "miracles" that are not man-made things, including his/our very natural body
- lower229a-b: on 2 European artists who painted American landscape-scenes: Thomas Cole (English) and Albert Bierstadt (German): Figs. 27.13 & .14: the New England/Connecticut woods & farms AND the Rocky Mountain West (in Wyoming) in harmony with a Native American village-encampment (teepees, dogs & horses, hunters with moose & bear, ...)
- 231a-upper232a: on the art & ethnographic writings of George Catlin - Fig. 27.16: "The Romantic fascination ... water creatures (Figure 27.18)." + on 233: Fig. 27.18 with caption
On the EXAM-FORMAT:
PART I - MATCHING COLUMNS of 6 names of ARTISTS to be matched by writing a name's number on a short line next to the correct descriptive/explanatory phrase - 6 @ 4 pts. = 24
PART II - MATCHING COLUMNS of 6 names of WRITERS to be matched by writing a name's number on a short line next to the correct descriptive/explanatory phrase - 6 @ 4 pts. = 24
PART III - in-class handwritten ESSAY @ 22 pts. Lined-paper will be given to you. Your topic is explained above regarding p. 221 in Prof. Gloria Fiero's Arts-book
PART IV - a 1-page double-spaced TYPED ESSAY @ 30 pts. due on exam-day to be handed in with your in-class Parts. Your TOPIC based on our LINCOLN PHOTOBIOGRAPHY is like your first Lincoln Essay to be divided into 2 sections: OBJECTIVE = choose ANY significant theme/s or event/s or experience/s or person/s or ... from either Chapter 3 or Chapter 4 and present/describe what you have chosen, and then SUBJECTIVE = explain WHY you chose WHAT you chose = why it grabbed your interest to write about = your personal reflections
Sun. 4/26/2015: Ch. 31: Promise/Renewal - mid154a-bottom155b: "FRENCH IMPRESSIONISM ... morning light vanished.": on Impressionist painting, esp. Cl. Monet's "Impression: Sunrise" 1873 - Fig. 5
- mid158-upper158b: "Monet's willingness ... quick strokes.": on B. Morisot's "Summer's Day" 1879 - Fig. 8
- 159b-upper164a: "Leisure and Work ... in its precision.'": on several Paris-dwelling painters:P-A. Renoir, E. Degas, G. Caillebotte - Fig. 11 + CLOSER LOOK "Luncheon ..." + Fig. 12 - their visual subjects are all aspects of Parisian city-life
- 168a-b: on Ed. Manet's Impressionist Art: "Throughout the 1870s ... impenetrable." - Fig. 14 "A Bar ..."
- upper172b-mid173a: on the London World's Fair of 1851 - J. Paxton's "Crystal Palace": "Finally, in order ... and construction.: - Figs. 18 & 19
- mid-bottom176b: on J. S. Mill's women's rights advocacy: "Thus, the essay ... READING 6 ... take up the call."
CH. 32: Course/Empire: 182-mid184a: on A. Bierstadt's majestic painting: "The first consistent ... a resting place.'" - Fig. 1 "The Rocky Mountains ..."
- 185: on E. Leutze's "Westward ... Ho!)": - Fig. 2 + lower185b: "Meanwhile, ... chapter."
- upper187b-top188b: on G. Catlin's ethnographic paintings & writings: "In 1830, George ... - is indisputable." - Fig. 4
- upper193b-top196a: on W. Whitman's celebration of American cultural & economic vibrancy: "As much as ... READING 1 .... READING 2b ... READING 3 ... concentrated here.": a lover of New York City 's streets & harbor-energy & all kinds of people, such as the upper-class in Ch. Hassam's painting = Fig. 12 "The Manhattan Club ..." 1891
- mid-lower196a: "The Statue of Liberty ... far in the future.": on F. A. Bartholdi's sculptural gift from France to the USA, dedicated in 1886 - structurally engineered by Gustave Eiffel
- 200-201: on Th. Eakins's 2 Realist paintings: CLOSER LOOK - 1875 & 1889
- 202a-mid203a: on a major American innovative poet: "Emily Dickinson: The Poetry ... [photo] ... READING 4a ... as Dickinson's own."
- mid204a-mid204b: on "Ragtime and the Beginnings ... Fig. 18 ... in Europe.": on S. Joplin's musical contributions - Fig. 18
- 208a-lower208b: on the 1893 Chicago Columbia Exposition with contributions from Mary Cassatt and S. Hayden: "An influential artist ... from her profession." - Figs. 22, 23,24
- mid210a-top211b: on "Louis [H.] Sullivan and the Chicago School of Architecture ... Lloyd Wright."
- top-mid213a: on J. Gast's 1872 "American Progress" - Fig. 28: "Coinciding with the ... had passed."
CH. 33: Fin/Siecle (= End/Century): Toward the Modern: 220-21: on the Paris Universal Exposition of 1889 symbolized by the Eiffel Tower - Fig. 1 + mid222a-top223a: "The social and political ... Fig. 2 ... Gustav Eiffel's tower ... Louis Sullivan ... in America."
- 224a: "He [ Siegfried Bing] was already ... Tiffany ... himself." - Fig. 3: L. C. Tiffany's Art Nouveau window
- top-bottom225b: "Exposing Society's Secrets ... READING 1 ... was unthinkable.": on H. Ibsen's famous, controversial play about a woman's self-discovery: Nora leaves Torvald & family
- top226b-top227b: on "The Sculpture of [Auguste] Rodin ... prolific genius." - Figs. 6 & 7 - "The Thinker" - Rodin mentored, loved, and abandoned C. Claudel
- top228a-mid228b + Fig. 10 on 229a: on the artwork of H. de Toulouse-Lautrec's paintings, posters & lithographs celebrating Parisian night-life in cabarets & dance-halls like the Moulin Rouge
- upper-bottom229b: on "The [Impressionist] Music of [Claude] Debussy ... controversial work.": orchestral rendering of S. M."s Symbolist poem "Prelude to the Afternoon of a Faun"
- top230b-upper231a: "Post-Impressionist Painting ... Pointillism ... Neo-[= New] Impressionism to others." + upper-mid231b: "... we can see much ... street clothes.": on G. Seurat's famous painting of Parisians enjoying a Sunday at the park - Fig. 11
- bottom232b-mid233b: "For many viewers ... Starry Night ... draws us?": on V. van Gogh's emotionally expressive art - Fig. 14
- mid234a-mid234b: "Of all the Post-Impressionists, ... forthcoming century.": on thye innovative art of P. Cezanne - Fig. 16 "Mount Holy Victory"
- top-bottom235 + upper238a: on the vivid colorist freedom of P. Gauguin's exotic art - Fig. 17: "Escape to Far tahiti ... in May 1903."
- mid240a-top241a: on 2 major Romantic composers whose music stirs the emotions: I chose to watch & listen with you Leonard Bernstein exuberantly conducting a piano concerto by J. Brahms and a symphonic song-cycle by G. Mahler
- upper241a-bottom241b: on "The Painting of Isolation ... original title.": on Ed. Munch's famous - iconic - painting - Fig. 20
- mid244a-bottom244b: on "Joseph Conrad's Heart of Darkness" ... in both.: J. C.'s novel foreshadows 20th-century horrors: World War I, the Bolshevik Revolution, WW I & the Holocaust, ... up to today's terrorist extremists fighting in Yemen, Syria, Nigeria, ... - all of which reveal the dark/evil impulses of human nature psychoanalyzed by Sigmund Freud and social psychologists
MON. 27, 2015: The exam-format has NOT YET been designed by me, but will be similar to previous exams with Matching Columns, Matching Quotations, 1 In-class Essay on a painting (choice of 1 of 2 given), and a 1-page typed Essay on our LYDIA novel due on exam-day. More on this by our last class on Monday, May 4th.
Tuesday 3/3/15: top70a: on photography: "In England, ... Talbot ... Daguerre ... representing the world." + Fig. 21 on p. 71 + upper71b-top72a: "The Daguerreotype process ... [chemically] sensitized paper ... The Pencil of Nature ... public mind ... commercial photography."
- 73a-b: on Documenting War: Roger Fenton's Crimean War photos - in class we looked at quite a few of British soldiers in various uniforms - Fig. 24
- mid83a-top83b: "AMERICAN LANDSCAPE ... to promise." painter Th. Cole's perspective on Nature
- 84-top86a: on the Hudson River School of painters: Th. Cole & Fr. E. Church - Figs. 3 & 4 & 5: untamed wilderness and cultivated land
- mid86b-top88a: on H. D. Thoreau's life & writings: READINGS 5 & 7 (SKIP # 6) - Fig. 6: "Of all Emerson's contemporaries ... abide with honor.'": HDTh as a voice of moral conscience critical of immoral laws/society = anti-slavery = Abolitionist
- top90a-top93a: on the Abolitionist Movement: Fr. Douglass, S. Truth (= Isabella Baumfree) & H. B. Stowe: "Darker still was the fact of slavery ... READING 9a ... READING 10 ... READING 11 ... (SKIP READING 12) ... equally pious [= religiously devout]." + Figs. 8 & 9: personal testimonies/autobiographical accounts by Fr. D & S T & H B S
- bottom97a-mid100b: on the Civil War in art & photography: "Representing the War With the outbreak ... Winslow Homer's ... Mathew Brady's ... Lincoln's famous ... this chapter)." - Figs. 13 & 15 & 16 + p.109: READING 14: Abe L's "Gettysburg Address"
- 105a-b: on Fig. 18: Ed. Manet's contemporary painting of the Union/Yankee vs. Confederate/Rebel ships: "In July 1864, ... the Southern [Rebel] cause."
- 118a-b: on G. Caillebotte's painting of the fashionable upper-class Parisian couple strolling in a modernized city: "The youthful painter ... city's inhabitants."
- top128a-top129b: on Emile Zola & his writings: "Early in 1867, ... [SKIP READING 9] ... READING 10 ... READING 12 ... clearly depicted." + Fig. 11: portrait of E Z by his friend, the painter Ed. Manet
- 142a + Fig. 23: on Hokusai's "Great Wave" with Mount Fuji
- 144a: on "Impressionist Paris": "In the early 1870s, ... in their lives." - Fig. 26: Parisian daily life by Ed. Manet
+ Selected pages/themes from our Lincoln book yet to be decided ...
*** I will design the Exam Format over the weekend and tell you on Monday 3/9 when we finish our Retrospective - with the exam on WED March 11, as scheduled in the Syllabus.
Chapter on ROMANTICISM: pages 6-7: Fig. 1 - JMW Turner's watercolor of Tintern Abbey + top40: Intro. to Wm. Wordsworth's poem on visiting T. Abbey: upper41a-b: ONLY lines 122-134: "Knowing that Nature ... blessings."
- lower10a: "Although ... of nature.'": WW's definition of POETRY + top10b: READING 4: WW's poem "The Rainbow": "My heart ... natural piety [= religious and reverential attitude with God as Creator in mind]" when contemplating Nature
- 14: Fig. 5 - J. Constable's painting "The Hay Wain [= Wagon]": countryside life: cottage, fishing, ...
- 20: Fig. 10 - CD Friedrich's land/skyscape with solitary figure: "The Wanderer above the Mists"
- 21: Fig. 11 - A-J. Gros: patriotic painting of General "Napoleon in the Pest House [= plague hospital] at Jaffa" in the Eastern Mediterranean Syrian region under Turkish Ottoman rule
- lower22a: on the mythical Titan named Prometheus: "In Greek myth [= ancient stories of the gods & goddesses & heroes like Hercules), ... and despair."
- lower24a-mid24b: on Mary Shelley's fantasy, horror novel about Dr. Frankenstein - "the Modern Prometheus" (who presumptuously tried to be like God the Creator) - and his monstrous creature that he "created" + READ top43: ONLY the Intro. to READING 13
- mid26a-bottom27b: "[JW von] Goethe conceived his greatest ... moral depravity.": on Prof. Dr. Faust unhappy with his academic life, who yearns for more experiences in life, and is tempted by the Devil, Mephistopheles, who describes Faust's ambitious nature this way: "Fate has given ... the wilds of life."
- 29a-lower30a: on Fr. Goya's "The Third of May, 1808" = Fig. 17: "When Napoleon ... loyalty to one's conscience."
- 34b: Fig. 21 = portrait of L. van Beethoven who composed his Ninth "Choral" Symphony which ends with soloists & chorus singing the famous "Ode to Joy" - we saw Leonard Bernstein exuberantly conducting the Vienna Philharmonic
- lower-bottom36b: on the lieder/songs of Franz Schubert - we watched & listened to his story-song about the evil Elf-king & the boy riding in the forest with his father
- lower37a-37b: on Fr. Chopin: pianist & composer - his portrait by his friend, E. Delacroix - we watched a film-clip from IMPROMPTU
Chapter on REALISM: 47a-48b: on the LITERARY REALISM in the novels of Charles Dickens such as in READING 1 from The Old Curiosity Shop and Hard Times
- bottom53b-upper54a + on p. 54, Fig. 5 - JMWT's painting "Rain, Steam, and Speed - the ... Railway" (1844)
- top57b-top58b: on Th. Gericault's huge "Raft of the Medusa" (1818) = Fig. 6 - dramatic depiction of a current event: tragedy at sea - desperate survivors, with the dead and dying
- lower58-59a: on E. Delacroix's dramatic depiction of a current event: "Scenes from the Massacre at Chios" in Greece (1824) - horrors of war
- lower61 + upper64a-b: on E. Delacroix's dramatic & symbolic depiction of the popular revolt in Paris of 1830: "[Lady] Liberty [= Goddess of Freedom] Leading the People" - think of the "Statue of Liberty" in NY harbor
- upper69: Fig. 17 + 68a: "The leading realist [French] painter ... explained it..": focus on G. Courbet's Realist painting "The Stonebreakers" (1849)
EXAM FORMAT - 100 points-potential - NO Notes or Books - I will provide the paper
PART I - from the Chapter on Romanticism: 12 pairs of items forming 2 MATCHING COLUMNS @ 2.50 = 30 points - you match a numbered item with the only appropriate descriptive phrase by writing the correct number on a blank line next to the phrase:
1. Abraham Lincoln ___2____ famous composer and conductor
2. Leonard Bernstein ___1____ admired American president
PART II - from the Chapter on Realism: 6 pairs of items forming 2 MATCHING COLUMNS @ 2.50 = 15 points
PART III - In-class HANDWRITTEN ESSAY @ 20 pts.: based on p.10a-b, see above: STATE William Wordsworth's definition of poetry by quoting his exact words, and then EXPLAIN how his poem "The Rainbow" is a good example/illustration of that definition. I expect you also to quote or paraphrase specific verses from the poem to clarify your ideas and support, as textual evidence, your statements.
PART IV - TYPED ESSAY @ 35 points in 2 Parts: OBJECTIVE Part: Choose SEVERAL BIOGRAPHICAL FACTS about Abraham Lincoln from Ch. 2 "A Backwoods Boy" AND/OR from Ch. 3 "Law and Politics" - that struck you as particularly interesting or inspiring or intriguing or fascinating = that spoke to you in a meaningful way - and present them in an objective, descriptive manner. SUBJECTIVE PERSPECTIVE part: Explain WHY you chose those particular aspects of his life to write about. I page typed, double-spaced, 12-point font, regular margins, due on exam-day - you'll give it to me when you turn in your exam.
Friday 12/5/14 - Here are the selected pages&items from our Sayre text for our last exam at 72 points. The remaining 28 points will be for the DICKENS part - a 1-page typed Essay to be delivered NO LATER THAN our exam-date - which is WED, Dec 17th at 11:30 in our regular classroom. Happy to receive it before the exam-date.
- TOPIC for your 1-page typed Essay: DESCRIBE - by presenting a few significant details + brief quotations - 1) how Scrooge expresses his PENITENCE/REPENTANCE/REFORMATION in the final moments of his encounter with the "Ghost of Christmas Yet to Come" AND 2) how he shows in words and deeds that he truly is "not the man I was" and has indeed become an ALTERED/changed/transformed SELF.
- SAYRE: Ch. 29: upper968-mid969a: on EJ's painting Fig. 29.6: "After the [Civil] war began ... A Ride for Liberty ... In [Eastman] Johnson's painting , ... is all about."
- upper970-lower970b: on Civil War-era photo-journalism: M. Brady & T. O'Sullivan & A. Gardner: "Mathew Brady's ... A Harvest of Death ... upon the nation.'"
- upper971: Fig. 29.9 & 971b: "The postwar North ... The Veteran in a New Field ... as well.": on W. Homer's 1865 painting of a laboring Yankee farmer
- upper983a + Fig. 29.19: on Hokusai's famous woodblock print The Great Wave: "The print ... Mount Fuji ... daily life."
- Ch. 30: 993: Fig. 30.2: G. Caillebotte's famous painting Paris Street, Rainy Day in Chicago's Art Institute - read the caption
- 1002: Fig. 30.8: E. Manet's portrait of the novelist & journalist Emile Zola - note the Japanese art
- Ch. 31: upper1020b-top1022b: "FRENCH IMPRESSIONISM From the outset ... Claude Monet ... Impression: Sunrise ... Boulevard des Capucines ... Sunrise.": on Cl. Monet's innovative art with its free/quick/spontaneous/loose brushwork evoking the play of light&color = "to capture the ever-changing, fleeting effects of light"
- 1024: Fig. 31.8: Berthe Morisot's Summer's Day = Parisian ladies on a boating-outing
- 1027: Fig. 31.11: Edgar Degas' favorite subject = ballerinas in the Dance Class
- 1029: A. Renoir's famous celebration of Parisians enjoying friendship & fine fare Luncheon of the Boating Party
- Ch. 32: 1046-47: Fig. 32.1: on A. Bierstadt's famous. monumental Western landscape The Rocky Mountains, Lander's Peak: "... In the aftermath of the ... the American West ... apple of knowledge."
- mid1051a-lower1051b: "Recording Native ... George Catlin ... The Last Race ... to the seasons."
- lower1057a-top1057b: "As much as he ... READING 32.1 ... Expand ....'": on Walt Whitman's celebration of New York as a vibrant, international harbor-city
- 1064-65: Th. Eakins' 2 paintings on the 2 surgeons in action in their operating amphitheaters
- top1072-mid1073b: on the art of Mary Cassatt & the architecture of Sophia Hayden at the 1893 Columbian Exposition in Chicago: "An influential artist ... from her profession."
- 1074b: Fig. 32.25 & "Iron- and steel-frame ... 1924)." L. H. Sullivan is "the father of the skyscraper"
- upper1077a + Fig. 32.28: on John Gast's 1872 American Progress: "Coinciding with the Columbian ... John Gast ... had passed."
- Ch. 33: mid1088b-1089a: on the sculpture of A. Rodin: Figs. 33.6 & 33.7: "However, The Kiss ... of prolific genius."
- 1091: Fig. 33.10: read the caption on H. de Toulouse-Lautrec's self-portrait with other cafe-nightlife folk in At the Moulin Rouge
- lower1092b-mid1093a: "Pointillism: Seurat and ... pointilles ... neo- [new-] impressionism to others."
- 1096: Fig. 33.14: read the caption on V. van Gogh's famous Starry Night
- lower-bottom1097a: Fig. 33.16: read the caption on one of P. Cezanne's 60+ renderings (close to abstraction) of his beloved Mount Saint Victory/Mont Sainte-Victoire
- ,id1104a-lower1104b: on E. Munch's famous The Scream/Skrik: "By the time the Norwegian ... Despair was The Scream's original title."
EXAM-FORMAT: PART I - Matching Columns - 10 pairs @ 3 pts. = 30 - from Chs. 29-30-31
PART II - Matching Columns - 8 pairs @ 3 pts. = 24 - from Ch. 32
PART III - Matching Columns - 6 pairs @ 3 pts. = 18 from Ch. 33
PART IV - your TYPED Essay @ 28 pts.
AND there will be SEVERAL short one-or-two sentence QUESTIONS for Bonus-Points = total of 12 points
10/13/14 - selected Review Pages from SAYRE for EXAM #2 @ 100 points
- 921a-b: chapter-intro on Ch. Dickens whose novels exemplify LITERARY REALISM focused on the ills of modern society as well as on the goodness and evil in human nature
- lower922a: QUOTATION from Ch D's The Old Curiosity Shop (1840) on the wretched conditions of the laboring lower-classes in England: "Men, women, ... dark cloud."
- bottom924a: on the Thames River's pollution: "{Thomas] Carlyle and Dickens saw, every day, ... so foul a source.'"
- top928a-b on JMW Turner's 1844 painting = Fig. 28.5: "The price of progress ... ultimately asks."
- 928: READING 28.4: QUOTATION from Ch D's Hard Times (1854): "It was a town ... melancholy madness."
- bottom931b-932a: on Fr. Douglass + QUOTATION from READING 28.7a from his narrative autobiography (1845): "This battle with ... killing me."
- bottom932a-bottom933a: on Sojourner Truth/Isabella Baumfree's life and famous address "Ain't I a Woman?" - QUOTATION from her own narrative autobiography: READING 28.8: "... that man over there says ... And ain't I a woman?"
- upper933b-upper934b: on HB Stowe's life and novel Uncle Tom's Cabin (1852) + QUOTATION from her letter: READING 28.9: "... It was at his [= my child's] dying bed, ... This horror, ... to see something done."
- lower-half934: painting of scene from UT'sC by Robert S. Duncanson: READ the caption
- upper935a-top936a: on MT/SC's novel Adventures of Huckleberry Finn (1885) + QUOTATION = READING 28.11b: "And [I] got to thinking over ... how good he [= Jim] always was ... about reforming."
- 936: Fig. 28.10 - Th. Gericault's huge painting "The Raft of the Medusa" (1818) + upper-lower937a: "Against this political backdrop, ... hope of salvation."
- 942: Fig. 28.15 - E. Delacroix's large painting "{Lady/Goddess] Liberty Leading the People" (1830) + upper943a: "Eugene Delacroix's version ... (see Fig. 28.10)."
- mid-lower944b: "What mattered [to H. Daumier] instead was ... implicitly political." + lower945: Fig. 28.18 - HD's "The Third-Class Carriage" (1862)
- lower946a-lower946b: on G. Courbet's art, esp. his painting "The Stonebreakers" (1849) + upper947: "The leading realist ... as Courbet explained it."
- 950: Fig. 28.25: WHF Talbot's city-photo "The Open Door" (1843) + READ on his calotype: "The [earlier] daguerreotype process ... to document current events ... public mind."
EXAM FORMAT will be as follows - PARTS I & II from SAYRE:
PART I - Matching Columns: 8 names (almost all artists) to be paired with phrases like the last time @ 3 pts. = 24
PART II - Quotations: 6 named persons in a name-bank to be matched with quotations from READINGS @ 4 pts. = 24
PART III - Typed essay @ 52 pts. - 1 page - double-spaced based on the following: REread attentively in our LINCOLN photobiography pp. 100-upper102: "Four months later [= Nov. 1863], ... from the earth.'" + 103, THEN select a section of Lincoln's "Gettysburg Address" from the handout - QUOTE it at the beginning of your Essay, then 1) explain its literal meaning as intended by Abe when spoken on that historic day of November 19, 1863. And then, 2) present YOUR OWN REFLECTIONS on your chosen QUOTATION: WHY did you choose those specific words? Do you possibly have a very personal reason for your choice of phrases? ...
9/16/14 - RevPp for Exam # 1 @ 100 points based on Ch. 27 in Sayre's BOOK 5 + Chs. 1-2-3 in our Lincoln biography - exam-format yet to be determined
- 876 + bottom877: on JMW Turner's watercolor of T. Abbey - Nature intermingling with religious architecture
- top879a: on the Romantics' encounter with Nature: "Indeed, since Nature stimulated ... divine on earth."
- mid878-upper879b: "The Idea of the ... And rolls through all things.'": on WW's poem on T. Abbey - experiencing beneficent/all-embracing/inspiring Nature as a realm of "blessings" - READ lower916a: lines 95-113: "And I have felt ... my moral being." = WW's emotional experiences leading to "Our [WW's] cheerful [joyful] faith, ... blessings."
- top880b: "Wordsworth further defines poetry as ... qualities of nature.": from the famous Preface to LYRICAL BALLADS (1798/1800/1802) by WW & STC
- mid880b: READING 27.4 = WW's "The Rainbow": Nature piously/reverently beheld - which parallels John Constable's painting of "Landscape and Double Rainbow" (1812) since for JC Nature offers tranquil/calming/peaceful restoration/reflection: READ the caption: "Near the end ... the rainbow.'"
- lower881b-top882a: on John Keats' "Ode to a Nightingale" in which birdsong - Nature's "immortal" voice of solace/comfort - uplifts his spirits from melancholy
- bottom884: JC's "The Hay Wain [Wagon]]" Fig 27.5 + top885a: This 6' X 4' artwork is one of "six canvases [that] depict ... cart drivers.": the serene English countryside
- top887a + Fig. 27.8: on JMWT's "Snow Storm" at sea (3' X 4'): "One of the most daring ... Romantic view of the [natural] world."
- top891a-b + Fig. 27.11: "The American Romantic ... in the distance.": READ attentively Th. Cole's affirmation that in Nature's untouched/"undefiled" wilderness we can contemplate/ponder/perceive "eternal things" because of "God the creator"
- bottom892b-mid893a: on RWE's "transcendental" spiritual/mystical experience of "Nature" (1836) = "in the woods"/"in the wilderness" he loses his ordinary self/ego and feels divine "currents" flowing within him: "Standing on the bare ground, ... particle of God."
- top896a: on Prometheus as symbol of Romantic daring/boldness/defiance = the Titan who (in one story-tradition) creates Humanity out of clay - the mythical hero who suffers willingly for having brought Humanity fire/enlightenment/civilization
- upper897: READING 27.15: from PB Shelley's play-in-verse: it is "A revolutionary text that champions ... and victory.'": freedom above all - no societal constraints - "To thine own self be true" above all: Polonius to Laertes in HAMLET
- upper898a-top898b: "Mary Shelley (1797-... Napoleon had demonstrated.": her novel's full title: FRANKENSTEIN; OR THE MODERN PROMETHEUS: Dr. Victor F. defies the laws of Nature creating a hideous "miserable monster" - tries to play God + READ the intro-paragraph on 918
- lower899b: on JW von Goethe's play-in-verse FAUST: "Goethe conceived his ... from books." - so Mephistopheles (= Lucifer/Satan) offers Faust his youth again & exotic experiences - SEE upper900b: E. Delacroix's lithograph + in-class: from Franz Liszt's "A Faust Symphony" (1857)
- top902-lower903b: "The Third of May, 1808: Napoleon's ... loyalty to one's conscience.": on Francisco Goya's famous memorial-painting honoring patriotic, freedom-loving Spaniards defying the Napoleonic invaders = brutal French soldiers
- top906b: on L. van Beethoven's Third Symphony called the EROICA/Heroic: original dedication to Napoleon crossed out - instead, "... a great man" + SEE portrait on 909: Fig. 27.25
- lower911b: on "The lieder/songs of Franz Schubert ... Romantic spirits." + in-class, his song-tale "The Elf-King" (Erlkonig) expressive of "nightmare and fantasy"
- 912b: on the piano music of Fr. Chopin, who was beloved by Mme. George Sand = Aurore Dupin - in class, from the film IMPROMPTU
----- From Ch. 3 in our LINCOLN book, you will type a 1-page ESSAY @ 40 pts. - to be handed in on exam-day - in 2 PARTS:
PART I - OBJECTIVE: From Ch. 3, describe/highlight EITHER the courtship-into-marriage of Abraham and Mary based on pages bottom28-mid32: "Lincoln was thirty ... Tad in 1853." OR Lincoln family-life with their ups-&-downs including the death of Eddie in 1850 (= lower36: "Then he ... his work.") AND home-life for Abe and Mary as husband and wife as well as parents to young boys (= top41-43end: "On quiet ... parents.'")
PART II - SUBJECTIVE: Present your own thoughts/reflections about your chosen topic comparing THEN and NOW: Abe and Mary's experiences: how different from - how similar to - today's society?
*** You'll get an email TODAY Fri 9/19 on our RETROSPECTIVE Mon 9/22 & EXAM Wed 9/24.
10/28/13: EXAM FORMAT = PART I: Matching Columns: 10 pairs @ 3 pts. = 30 PART II: Matching Columns: 10 pairs @ 3 pts. = 30 PART III: typed ESSAY-Question @ 40 pts. due on exam-day.
--- PART III: for your typed ESSAY-Question: standard 12-point, double-spaced, within 1 page, minimum 1/2 page - REread from the last chapter of THE PASSION OF ARTEMISIA (pbk) pp. mid312-315end: "How slowly he painted. ... 'I will.'": As you read attentively these few but significant pages, think about/picture in your mind the reconciliation between A. and her father, Orazio: 2 painters painting - his praise of her talent - her compassion (= Pieta = pity in Italian) for him: "He collapsed ... Pieta." - his gift to her = he acknowledges that SHE embodies/ represents PAINTING - his wish that she use Michelangelo's brush to paint herself as symbol of the Art of Painting - see in SAYRE, p.670 + Fig. 20.18
SEPT. 16, 2013 - Selected RevPp from Ch. 14 in HUM between pages 460 & 493:
- pp.460-61; look at the cityscape-photo - Fig. 14.1 & caption. Then READ the introductory overview on the significance of Florence, the Medici family, republican (= elected officials for) city-states, civic humanism, and the ARTS, with the classical (= Greek & Roman) emphasis on the wonders & grandeur of Nature and the potentialities & dignity of Humanity.
- 464a-465b: on Lorenzo Ghiberti's gilded bronze east doors - "The Gates of Paradise" - of the cathedral's Baptistery bldg.(as in Fig. 14.1): relief-sculptures of biblical scenes & a self-portrait: Figs. 14.4/5/6
- 468-69: Closer Look on P. Brunelleschi's architectural achievement = the Dome of Florence Cathedral - Santa Maria del Fiore/Holy Mary of the Flower
- 471a-b + Fig. 14.12: Masaccio's wall-fresco in the Brancacci Chapel: Gospel-scene - "The Tribute Money" = Jesus with Disciples and Peter paying the tax to the Roman authority
- mid472b-top473a: Donatello's "David" - bronze, free-standing sculpture: biblical symbol of Florence - Fig. 14.14
- 473a: on the MEDICI family & their support of Classical Humanist values in supporting the Arts (Cosimo de' Medici II will praise & encourage Artemisia in Ch. 9 of POA.)
- 474a-b + 14.15: S. Botticelli's Medici family-portrait as the "Wise Men from the East" honoring the Holy Family with gifts = "Adoration of [= by] the Magi" (magus/magi - Persian sage/s)
- 478a-b + Fig. 14.19: S. Botticelli's celebration of the coming of Spring - "Primavera" = first/early greening/flowering symbolizing Florence, evoking Classical mythological figures
- lower479a-top480a: on Pico della Mirandola's declaration of Humanity's God-given, wondrous, boundless potential - READING 14.3
- 480a-b: on B. Castiglione's dialogue-treatise The Book of the Courtier on the atrributes/qualities of the well-rounded Renaissance person l'uomo universale (= university student at MSUM): be graceful/courteous and dignified/respectful in all your talented accomplishments, done with naturalness/sprezzatura
- 482-83: on A. Mantegna's clever, even humorous illusionistic, open-to-the-sky ceiling-oculus in the "Painted Chamber" of the Gonzaga ducal palazzo in Mantua - Fig. 14.23
- mid484b-486b: on Leonardo da Vinci's "Last Supper" & "Mona Lisa" - Figs. 14.25 & 14.28
- 488a-b: on Michelangelo's defiant sculpted "David" in marble, symbol of Florence, of Faith, & even of M's challenge of carving the huge block (he is victorious!)
- lower492: intro-paragraph on Giorgio Vasari's multiple biographical chapters on The Lives of the Most Excellent Painters, Architects, and Sculptors (1550, 1568) - READ from his "Life of Leonardo" especially on p. 493a-b: from line 41 to the end: "And he practiced ... from devising [= being creative]."
*** from Susan Vreeland's The Passion of Artemisia REREAD lower59: "In the afternoon ... 'My house,' Pietro said." + when A & P spend Sunday afternoons as a couple viewing "the art of the city": mid63-top65: "The finest times with Pietro ... hundred years ago." So, attentively REread these few pages, and then, for your PART II of our 1st Exam, compose a take-home Essay - TYPED, double-spaced, within 1 page, half-page minimum - due on exam-day MON 9/23 - in response to this Essay-Question: How do these pages in POA in particular help YOU as a reader of Prof. Sayre's HUM-text to appreciate Florence as the great Renaissance art-city where you could, as Artemisia declares, "encounter something wonderful" (63) wherever you looked - churches, gardens, palazzi, courtyards, plazas, ...
*** EXAM-FORMAT: PART I - Matching Columns - 10 pairs @ 3 pts. = 30: numbered NAMES on the left to be matched by writing numbers on blanks next to ART-titles & descriptive phrases - ARTISTS only
PART II - Choice of 1 of 2 QUOTATIONS @ 30 pts. - you explain the meaning of the quoted words from EITHER Pico's "Oration" OR Vasari's "Life of Leonardo"
PART III - your TYPED Essay within 1 page to be handed in on exam-day, as explained above
- 557a-b: on Erasmus of R'dam (in Holland), admired by AD - #16.19 - EofR critiqued the RC Church's excesses/errors, as did M. Luther - EofR & AD & ML all benefited from the printing-press
--- CHAPTER 17 - mid562a: on Luther "who on October 31, 1517, ... the Protestant Reformation." + lower563a: "Luther's [reformist] message had ... in strife.": the need to reach ordinary folk led ML to translate the Bible into German + 563a: "What probably contributed ... own Bibles ... interpret Scripture ... also made imagery [such as #17.2 by AD] ... available." + bottom563a-top563b: "As we saw ... Erasmus, whose 1516 translation of ... into Latin ... Augustinian monk."
- upper565b: "In general terms, Luther ... Ninety-Five Theses ... 1517 ... with their teachers.'" + top585 on ML's 95 Theses in READING 17.4: #27 - and look at the image on lower565b: #17.4 with caption (= vs. sale of indulgences)
- bottom566b-mid567a: on ML's "vernacular [= in everyday German] Bible" thanks to EofR'dam's edition of the New Testament via the printing-press: "Excommunicated, ... astonishing."
- bottom570b-upper571b: "It is debatable ... Johannes Gutenberg ... In 1455 ... Bible [see #17.6] ... By ... 1546 ... one million copies ... in vernacular German.": literacy was encouraged by Bible-publications in ML's German translation as well as by others (such as the "King James" version pub'd in 1611)
- lower572b-mid573a: on the French humanist Michel de M who created the personal/reflection Essay as a literary genre: "A generation ... 'Of [= About] Cannibals' ... of barbarity.'" = on the uncivilized/inhumane/unChristian deeds of Europeans in the New World & also in France, ...
- mid578-mid579: on AD's art - woodcut #17.9 & oil-painting #17.10 - both reflecting Protestant themes: " ... Last Supper ... The Four Apostles ... of the gospels."
CHAPTER 18 - top-mid589a: "In 1519 to ... blood sacrifice." + upper590b-mid591a: "Throughout these events ... war and disease.": on the Spanish conquest of the Aztec empire in Mexico led by H. Cortes with Indian allies + bottom591a + #18.5 + top-mid592: on the Spanish astonishment upon seeing the Aztec grandeur of Tenochtitlan
- mid-lower592b: on FP in Inca Peru & the painting #18.6 of the Inca king Atahuallpa: "Spain conquered Peru ... in this work.": on Fr. Pizarro & At'pa
- 604a-b: Shah Jahan "was a great patron ... beauty and splendor.": on the Taj Mahal = Mogul Indian mausoleum = ornate white marble tomb honoring wife-queen MM
- mid607a-upper608a: on the 7 voyages of the Chinese admiral Zheng He's "Treasure Fleet": "Among the largest [of the emperor's projects] was his ... and carpets." - look at Map 18.4
- upper-lower610a & #18.22: on the landscape painting in ink & color with poem by Shen Zhou: "Furthermore, in the ... far from court."
- mid615b-upper616a + #18.28: "Namban and ... the presence of ... palaces and castles.": stunning 6-panel screen-art depicting Portuguese traders & servants & Catholic missionary-priests in Japan c.1593-1600
Selected review-pages for QUOTATIONS PART from RB's play AMFAS:
- 8-9: ThM & RR - "But, Richard, ... believe that? ... Be a teacher."
- 12-13: ThM & RR - "Master Rich is ... Nasty book, ... The doctrines of M'velli ... think; ... Master Cromwell ... of it ..."
- bottom20-mid21+22: Cardinal W & ThM - "Then the King ... your support ... your own, private conscience ...Yes, I should."
- top38: ThC - "Well, I suppose ... King wants ... do it."
- 56:King H - "No opposition, ... Your conscience is ... my Chancellor! ... my word ... out of it. But ... opposition."
- 61: ThM & WmR - "I've been offered ... Parliament. ... take it? ... No ... Church Reform ... My views ... Devil's ministers!"
*** The Exam-Format will be explained on our Retrospective/Review-class, Monday, April 8. Similar to Exam #1. As stated in the revised Syllabus, only an honest, true, legitimate reason (doctor's note, ...) will allow for a make-up exam.
2/28/13- Here are the selected Review Pages for our MIDTERM Exam @ 100 points. I urge you to do your own reviewing in preparation for our RETROSPECTIVE (= in-class review-session) this coming MON & WED. The exam will be on FRIDAY 3/8 during our class-time.
--- SAYRE's HUM/ARTS text: - CHAPTER 14: pages 458-59: REread the introductory overview on the Renaissance era, paying attention TO the revived interest in the accomplishments of ancient Greece and Rome AND TO the Age of 1400-1600 as a period of invention, discovery, and innovation seen in social, political, and creative (literary, artistic, ...) developments/endeavors that helped Humanity to advance.
- pp. 460-61: REread this chapter-overview on Italian civic humanism best exemplified in Florence: to inspire/encourage citizens "for lives of virtuous action ... in public life for the common good" and to celebrate "the dignity of the individual" as contributor to society's betterment through the Arts, politics, ... .
-466a: on B'schi's Dome: "Competing Plans ... died in 1446." + the CLOSER LOOK on 468-69: on B's Roman travels & inspiration and his architectural triumph (which is still standing impressively - Marissa and her grandmother climbed all the way to the turret-top!)
- bottom466b (from "Scientific ...")-bottom470a (up to "... visual field."): on B'schi & L.B. Alberti in relation to perspective - Alberti's treatise: its main theme = replicate/imitate Nature = DISEGNO = G. Vasari's definition (= top467a) + GV's VERY important huge series of biographies Lives of ... .
- top470b (from "Perspective and ...")-471b (up to "... a Roman bust."): on the fresco-painting by Masaccio = Fig. 14.12 - "The Tribute Money"
***For ALL THE REST of the Review Pages for our MIDTERM, scroll down to the date 2/28/13 for CHAPTER 14 continued
--- Thomas More's UTOPIA: REread top44 (from "There's a delightful ...")- lower-mid45 (up to "... robbing Peter."): Raphael critiques "capitalist countries" where "capitalism" leads to behavior he, as a Christian, condemns. So, 1) What is his critique? And 2) Are his ideas relevant to Western society today?
The Exam-Format will be in 3 PARTS: PART I derived from Prof. Sayre's HUM/ARTS book = Matching Columns of 5 pairs - numbered names and accomplishments - to be matched @ 2 pts. = 10 points. PART II also derived from HUM/ARTS: 1 in-class handwritten Essay @ 20 points with choice of topic: Examine by presenting DESCRIPTIVE DETAILS (= what we see) from EITHER the emotional drama in Ghiberti's sculptural "Sacrifice of Isaac" OR the biblical 3-part story-scene in Masaccio's fresco-painting "The Tribute Money." PART III: I in-class handwritten Essay @ 20 points based on UTOPIA: only 1 topic = What is Raphael's attitude toward/perspective on - his criticism of - what he calls "capitalism" in relation to "private property"? AND do you agree with him when you think of our American society today?
Tuesday 12/4/2012: RevPp from SAYRE for our EXAM on Monday, Dec 17 at 12-2 p.m.
- 557a-b: on Martin L., D. Erasmus, A. Durer - the Reformation & humanist learning, printing-press, Art
Ch. 17: REFORMATION: 562a-563a: "... the challenge of Martin ... nonreligious subject matter.": on ML's protest - German Bible & hymns - printing & Art - AD's "Four Horsemen of the A" - woodcut #17.2
- 564b-top566a: "Martin Luther's Reformation ... Luther's rage.": on ML's life, 95 Theses of 1517 vs. indulgences + 585: intro-par + #27 +see #17.4
- lower566b: "Luther's Popular ... Bible ... was astonishing.": ML's "vernacular" Bible
- lower570b-571b: "The Printing Press ... were well heard." + #17.6: JG - printing-press & Bible & Reformation + top572a: "Writing for Print ... information travelled."
- top-mid578a: "The Reformation had ... place of worship." + mid578b-top579a: on AD's woodcut Last Supper #17.9 "dating from ... bottom right.": plain with German aspects
- upper581a-b: on PB the Elder's The Triumph of Death #17.13 - fantastical painting
CH. 18: ENCOUNTERS: 589a: "In 1519 ... blood sacrifice.." = 590b-591a: "Throughout these events, ... and disease.": on the Spanish conquest of Aztec Mexico - H. Cortes
- mid592b: on Fr. Pizarro's conquest of Inca Peru: "Spain conquered Peru ... and moon (silver)." + #18.6: Inca ruler Atahuallpa
- bottom596a-mid597a: on VdaG: Portugal to India 1497-98 and PC - Brazil, and the slave-trade from Africa to the Americas = the Middle Passage
- 603: on the painting #18.14 by Bichitr presenting East-meets-West = enthroned Jahangir receives visit from King James I of England
- top604: caption to #18.15 - photo of the Taj Mahal, c. 1632-48, built by Shah Jahan as mausoleum for wife Mumtaz
- 607a-608a: "Among the largest ... and carpets.": on the 7 world-expeditions (1404-35) of the Chinese admiral, Zheng He + map #18.4
- 610a: on Shen Zhou's poet & landscape #18.22: caption + the poem: "So, a Southern ... far from court."
- mid615b-top616a: on Namban/Southern Barbarian screen-art - #18.27: c.1600 Spanish & Portuguese traders & priests/monks in Japan
NOVEMBER 2013 - CH.19: TUDOR ENGLAND: 622-23: Fig. 19.1: on London Tower as principal residence of English monarchs
- mid626a-upper626b + Fig. 19.3 on 627: on King H. VIII & painting by Hans Holbein: "Henry VIII was, in almost ... glory of our age.'" - admired initially by Erasmus & Th. More as a scholarly humanist & Renaissance man of many talents
- top628a-lower628b: on Th. More as a humanist author of UTOPIA (1516) who imagined an "ideal" society without the materialistic flaws of England + READING 19.2a: "At the first constitution [= establishment] ... required it.": (King) Utopus's law of religious toleration --- also on King H's Defense tract as a loyal Roman Catholic against M. Luther's Protestant ideas - Henry's title from Pope Leo "Defender of the Faith" BEFORE the Act of Supremacy in 1534
- bottom628b-bottom629b: on Hans Holbein's portrait of Th. More - Fig. 19.4
- upper-bottom630b: on K. H. VIII's disputes with the Papacy - the execution of Th. More (BUT Sayre's statement is an oversimplification)
- 632-633: CLOSER LOOK - on HH's dual portrait "The Two [French] Ambassadors" ((Georges/George & Jean/John = 2 of zee French Beatles) - WHY the distorted/anamorphic skull? Death awaits us all - kings, ambassadors, churchmen, ...
- mid-lower635a: on Queen Elizabeth I and the Arts: "Shakespeare was the direct ... queen and aristocracy."
- bottom637a-mid637b: : on Wm Sh's sonnet: READING 19.7: "Sonnet 18: "However, in many of ... a kind of immortality." love & beauty eternalized in poetry
- 638a: "Elizabeth was an ... so spightfull [= spiteful].": on the song-genre madrigal - Th Morley as composer-lyricist - we listened to his pop-song of love: "Now is the month of Maying ... Fa la la la ..."
- bottom638a-upper639b: on Archbishop of Canterbury (of the Church of England = Protestant Anglican Church) Th. Cranmer, one of Th. More's Inquisitors - wrote The First Book of Common [= in English for daily use] Prayer (1549)
- mid639b-top640a: on the composer Wm Byrd (Catholic) whom Q Eliz admired for his religious music - in praise of singing: READING 19.9: #1, 2, 8 and the concluding verse
- mid639b & top640b: on Elizabethan theaters, with images of the Globe Theater - Figs.19.9 & .10: "The basic price of ... a ghost might rise."
- 641b: Fig. 19.11 = Wm Sh + 642a: Fig. 19.12 = pub'd text of Hamlet + lower641b-lower642a: "Hamlet (Fig. 19.12), one of ... self-reflection." + upper643a-top643b: on Prince Hamlet's famous soliloquy/monologue READING 19.11b: contemplating whether or not to make "his quietus" (= release from life's troubles to the peace/calm/quietude of death/eternal rest) "with a bare bodkin" = to commit suicide or not with a blade (lit. a long, pointed hairpin): "In the next act, Shakespeare ... the name of action." (so, he's an INaction hero)
- bottom644a-lower644b: "The Roanoke Colonies ... Indians are dancing.": on the earliest English settlement in Virginia, with John White's invaluable watercolors of Native American life = Sir Walter Raleigh's efforts to establish a Virginia colony & J Wh's watercolor-art as cultural advertisement - Fig. 19.13 on 645a
- mid645b-646b: on the first permanent English colony in the New World at Jamestown VA + on Pocahontas, wife of John Rolfe, as a significant historical figure - Fig. 19.14
- CH. 20: COUNTER-REFORMATION & MANNERISM: 650-651a: : Fig. 20.1 + mid651a: on El Escorial: "The Escorial ... Spanish Empire." center of Spain's colonial/imperial power + great art-collection (we "visited" it with Rick Steves)
- 654a-b: on the Roman Catholic Church's Counter-Reformation = the Council of Trent 1545-47+1551-52+1562-63: "The resolution of ... Catholic Doctrine."
- top655a-lower655b: on polyphonic music for worship - "Mass for [= honoring] Pope Marcellus" by G P da Palestrina
- lower656b-bottom658a: on M'lo's "Last Judgment" in the Sistine Chapel - Figs. 20.5 & .6: "Michelangelo incorporated ... of the Last Judgment." = a truly grand fresco-mural
- mid660a-mid661a: on Parmigianino's Mannerist Mary the Madonna with infant Jesus & surrounding figures: its unique Mannerist aspects - Fig. 20.9 "Even when Mannerists did ... and St. Jerome."
- top-bottom661b + top664a: on Sofonisba Anguissola's clever double-portrait - Fig. 20.10: "One of the first truly ... their own talents."
- upper-mid664a: on Lavinia Fontana's Consecration [= dedication of the children] to the Virgin = Madonna with infant Jesus & figures + upper664b - Fig. 20.11: "If there was one city ... decorous work." + top-mid670a: Casoni's portrait-medal of image honoring L F
- upper666b-upper667b: on Paolo Veronese's huge 18' X 42' controversial oil-on-canvas "Feast" painting - Fig. 20.15: "Inquisition and Innovation The liberty to invent ... his crowded scene." + READING 20.3: 667a: "Inquisitor: What is the ... talent permits."
- top-mid668b: on El Greco: "The moral strictures ... seventeenth century." +his religious Mannerist "Resurrection" Fig. 20.16 on 669a
- mid668b-mid669b: on M de Cervantes's long picaresque novel about Don Q de la M & Sancho Panza: "In the last half ... 672-673)." + 673a: READING 20.5: bottom672a-lower673a: "Chapter 8 Of the good success ... and various adventures." Remember the WISHBONE episode of D Q vs. the "giants"
- 670a-b: "The Frenzy [= Passion] of Inspiration [= Invenzione]" on Lavinia F. and the self-portrait & importance of our beloved Artemesia G'entileschi - Figs. 20:17 & .18: "Not long before ... modern art world."
SELECTED PAGES from R B's play A Man for All Seasons: The exam-format for this PART is:
I will derive 12 Quotations from the following pages and, like a Matching Column, you will match a Quotation to one of 12 numbered Names forming a name-bank: Cardinal Wolsey, Thomas Cromwell (twice), Alice More, Margaret More, Henry VIII (twice), Richard Rich (twice), Howard Duke of Norfolk, Archbishop Th. Cranmer, Th. More. The pages that you should REread are:
1 - mid4-top5: from "RICH (Enthusiastically) ..." to "... offer him - escape.": ways to persuade & pressure someone
2 - upper-bottom22: from "WOLSEY Then, good ..." to "... I should.": Th. More and the Cardinal dialogue about how to govern
3 - top-bottom38: from "CROMWELL Oh, sly ..." to "... stock my mind."
4 - top56-mid57: from "HENRY Thomas - I chose ..." to "... Mind it, Thomas."
5 - top116-bottom118: from "MORE Charge? ..." to "... was brought.": Th C'well's interrogation of Th. More, then reading the written accusation - "charge" - declared by King H himself
6 - upper120-bottom122: "MORE (Calling) Boatman! ... or the other.": dialogue between, H, D of Norfolk & ThM, who realizes he must protectively separate himself from his friend because it's dangerous for Howard to be associated with him
7 - mid132-bottom133: "NORFOLK (Hardly responds ... harsher punishments.": interrogation of ThM by ThCr & ThC'well & H, DofN to persuade ThM to sign/take the Oath acknowledging King H's "Supremacy" title
8 - bottom138-upper141: dialogue between ThM & daughter Meg: "MARGARET (Disengages ... matter of love [for God and obedience by conscience to God's law].": she tries to persuade him also
9 - mid144-mid147: dialogue between ThM & wife Alice; "MORE (Just ... out of trouble.": how ThM tries to help Alice understand his silence - her love & admiration for him
10 - upper152-lower153: "Because this [= his = ThM's] silence ... is his self!": ThM & ThC'well's dialogue/debate about the meaning of the pertinent law, ThM's silence, and the nature of the soul/self
11 - upper154-bottom157: "CROMWELL (Backs ... your road.": Sir RR's testimony and ThM's reaction at the trial as he declares his legal innocence
12 - upper159-lower162: "NORFOLK (Leaping ... drums cease)": ThM's refutation of the "charges" and his last words in response to Archb. ThCr's statement
***EXAM-FORMAT: 100 + 2 gift-points = 66 from SAYRE = PARTS I-II-III + 36 from AMFAS = PART IV
PART I - SAYRE: Matching Columns: Ch. 19 - 10 pairs @ 1.80 pts. = 18
PART II - SAYRE: Matching Columns: Ch. 20 - 10 pairs @ 1.80 pts. = 18
PART II - SAYRE: Matching Quotations with Numbered Names: 5 @ 3 pts. = 15
PART III - SAYRE: Choice of 1 out of 2 Essay-Questions @ 15 pts. focused on paintings: know the title, theme, painter's name, being able to offer significant descriptive details to justify how the painting illustrates the title, which indicates the painting's theme: OPTION #1: Michelangelo's "Last Judgment": lower656b-bottom658a - #20.5&6 OPTION #2: Paolo Veronese's "Feast in the House of Levi": mid666b-upper667b - #20.15 + READING 20.3
PART IV - AMFAS: Matching Quotations with Numbered Names - 12 pairs @ 3 pts. = 36 - based only on the pages specified in the selections above
*** There MAY be several short-answer BONUS-POINTS questions.
PART V - Essay-Question @ 10 pts. - Choice of 1 topic out of 2 from AMFAS: Based on your reading of RB's play - and offering textual evidence (= brief quotations, scene-details, ...) in support of your ideas - compose an Essay in which you justify the statement that EITHER 1) Thomas More is a "hero of selfhood." OR 2) Richard Rich is a coward of selfhood.
2/28/13: REVIEW PAGES for MIDTERM Exam -
--- CHAPTER 14 continued: 474a-b: on B'celli's Adoration of the Magi honoring the "Holy Family" (= J,M,J) & the Medici family AND himself: 14.15
- bottom474b-475a: on the humanist scholarship patronized by the Medici family, esp. regarding Marsilio Ficino (heir to the fortune of Abercrombino&Ficino): Greek & Roman arts & literature
- bottom479a-top480a: on the humanist ideas of Pico della Mirandola + READING 14.3 = extract from his famous Oration
- mid481a-481b: on B. Castiglione's famous Book of the Courtier: ideals for the nobility + mid491: intro-paragraph on BC's treatise on courtly education & behavior
- mid482b-mid483a: on A. Mantegna's stunning, illusionistic ceiling-fresco for the Gonzaga noble family: 14.23
- upper-mid484b: on G. Vasari's biographical masterpiece on many celebrated figures in the Arts
- mid484b-486b: on L da V's paintings 14.25 & 14.28 = religious/biblical and secular/personal subjects, both naturalistic in figural details & use of perspective
- 488a-b: on M'gelo's David as symbolic figure & classical sculpture: "[The officials in Florence] asked Michelangelo, who had left ... and Catholics alike." - 14.30
- For your own Review READ the THINKING BACK on p. 490
- lower492: on GV's invaluable biographical accounts of Renaissance artists + upper493a-b: READING 14.5: on Leonardo da V: lines 41-65: "And he practiced ..., which is divine."
--- CHAPTER 15: lower500a-b: 15.8 + 501(15.9/10)-502a: on M'gelo's Sistine Chapel ceiling-frescoes, esp. 15.11 "Creation of Adam": "The nine central ... future of humankind."
- 504-5: CLOSER LOOK on Raphael's School of Athens symbolizing that the greatness of Greco-Roman antiquity is alive and well in Renaissance Italy - as in Michelangelo as the philosopher Heraclitus, and in Leonardo as Plato, and in Raphael's self-portrait as artistic creator of it all
- 509a-b: on Machiavelli's The Prince (1513): "[A ruler's] duty, he [M'velli] believed, ... are secured.'" + intro-paragraph on top530 + 531b: lines 119-29
--- from CHAPTER 15: 516a-top517b: on V. Carpaccio's oil-painting as a celebration of a miracle in his beloved, bustling, cosmopolitan city Venice - 15.24 - huge! 12' by 13'
- 521b-top522b: on Laura C's and Lucretia M's "feminist" writings = Readings 15.4 & 15.5a: "Many fifteenth-century ... relation to men.": L C advocates education for women, and L M condemns men's ignoble behavior towards women + see top532: on L M's writing
- mid525b-526b: on A. Palladio's architectural designs, esp. the Villa La Rotunda - 15.30 - he (and Prez ThJ) appreciated ancient Roman buildings as models
- For your own Review read the THINKING BACK: lower528a-top529
--- from CHAPTER 16: 542-mid543b: "This celebration of ... in the south.": on J van E's famous dual-portrait of G'ni & G'na in their "front parlor" = naturalistic & symbolic details - 16.7 (Are they possibly intended to be the "new" Adam and Eve, who dwell in a very plush interior "garden" with worldly AND religious accoutrements? ...)
- 548-549: on Hieronymus B's triptych with Adam/Eve/God, sinning humanity, Hell - see CLOSER LOOK on this surrealistic masterpiece
- lower551a-top551b: on Orlando di L's "pop love-song" - "Matona, mia cara ..."
- bottom551b-mid553a: "The intensity of feeling ... suffering of the moment.": on M Grunewald's Isenheim Altarpiece - focus just on 16.13 (552) = the Crucifixion-scene and its "horrifying realism" and intense emotionalism
- upper558: Read the THINKING BACK for your own review.
*** ThM's UTOPIA - just these selected pages: mid98-upper101: from "Finally, let me tell you ..." to "... controlling providence.": on the main ideas/principles guiding Utopos's policy towards religious beliefs
- lower109-113 (end): from "Well that's the most ... " to "... adopted in Europe.": Raphael's summing-up with moral and social criticisms of how unfair/unjust his (= Thomas More's) 16th-century, European/English society really was in contrast to, of course, Utopia's (fictional/non-existent) ""communism""
*** Exam-Format will be as follows:
PART I - Matching Columns: from Ch. 14 - 10 pairs @ 2.50 = 25 points = numbered #1-10 Names & Titles (of artworks) on the left to be matched with a long phrase on the right by writing the #number on a small blank-line next to the phrase
PART II - Matching Columns: from Chs. 15 & 16 - 10 pairs @ 2.50 = 25 points = same as PART I
PART III - Quotations - you will choose ONLY 1 out of 3 questions @ 20 points, each of which gives a LITERARY quotation from the READINGS in our Sayre-text and asks you to respond to several question relating to the quotation, including, of course, identifying by name the writer of the quotation.
PART IV - Essay on UTOPIA - choice of 1 topic out of 2 @ 30 points correlated to the 2 sets of selected pages given above.
TUES 4/26/11 - Here are the RevPp for the Final Exam - handout tomorrow.
EXAM FORMAT
PART I - MATCHING COLUMN: Chs. 13 & 14 - 10 items @ 2 pts. = 20
PART II - MATCHING COLUMN: Chs. 15 & 16 - 10 items @ 2 pts. = 20
PART III - FILL IN THE BLANKS: 6 statements with 8 blanks @ 2 pts. = 16
PART IV - QUOTATIONS: from Chs. 13-14-15: 8 @ 2.50 pts. = 20
PART V - TRUE or FALSE STATEMENTS - M de F's LAIS: 6 @ 4 pts. = 24
CH. 13 - 416-17: on the castle called "Krak des Chevaliers"
- 420a-b: on Queen E of Aq - Fig. #13.16/17 - royal donors = E of Aq & King H
- 421b-422a: on B de V & troubadour poem-song: R 13.3 - lines on 422a = on love
- 423a-424b: on Chr de T's prose Romance-tale about Sir Lancelot, Knight of the Cart: his devotion to Queen G - Fig. #13.19
- 429b: SUMMARY - helpful for review
- 431a-b: on Gothic-style church architecture - "new urban style" of stained-glass windows & stone sculpture & soaring spires
CH. 14 - 433: Abbot S Quotation + Fig. #14.1
- 434a-b: on Abbot S and the creation of the Gothic style = royal abbey of Saint-Denis: features + 435: Fig. #14.2/4
- 437: Fig. #14.5 + 438: Fig. #14.6/7 + 440-41: on the stained-glass art of Chartres cathedral + 442: stained-glass window-art
- 445a: on the "grotesque" sculpture of Notre-Dame de Paris
- 448b-top449a: on the Rise of the University in 12-13th centuries - Bologna & Paris
- mid450a-top450b: on Trotula and the study of women's diseases: Quotation from her treatise
- mid451b-453: on the "Radiant Style" of Sainte-Chapelle - Fig. #14.22 - sponsored by King Louis IX (d.1270)
- 455: SUMMARY
- 457: on holy figures portrayed in painting & sculpture with "naturalistic representation"
- CH. 15 - theme = growing naturalism/realism in the Arts inspired by a rediscovery of classical Greco-Roman sculpture within an urban society represented by Siena & Florence, 2 city-states in a divided Italy
- 462a-top463b: on "Civic Life" in Siena, a "free commune": "... [Siena's] citizens began to pay allegiance ... enlightened place." = depicted in A. L's huge, patriotic fresco-mural: Fig. #15.4
- lower465a-b: on the sculptural realism of G P - Fig. #15.6 - naturalistic stance larger than life (6'4") on cathedral facade viewed from below
- mid468a-mid468b + 489: R 15.1 - St. F's poem-prayer: on St. F of A - his pious life - painting by G in the church dedicated to St. F
- upper470a-upper470b: on S M's painting of Mary, Our Lady as Queen of Heaven in majesty = Maesta Fig. #15.11 + mid462b: "Watching over the city's ... civic life.": the "Virgin and Child" in the heavenly court watching over Siena's council-chamber
- 474-75: G's fresco-painting in the Arena/Scrovegni Chapel in Padua: life of Jesus - "Lamentation" & "Adoration"
- lower476a-479a: on D A's Divine Comedy: epic-poem of soul's journey from sin to salvation in 3 stages = Hell-Purgatory-Heaven (Inf-Purg-Par) = painting by D di Michelino: Fig. #15.15 - R 15.5: the happy celestial ending + lower489-top491a: the unhappy dark-wood beginning = D's soul darkened by sin seeking Divine Light guided by Latin epic-poet Virgil: lines 1-21 + 58-128
- 480b + top481 = Fig. #15.18: on the vivid pictorial reminder of death at the time of the bubonic plague = "Black Death" = image illustrated by J le N in a prayer-book = Psalter = "Book of Hours" commissioned by a French princess
- 484a: on F P celebrated Italian poet - created the sonnet genre - theme: unrequited love from Laura: R 15.8
- 484b-485a: on G C's Canterbury Tales + R 15.9: on the "Wife of Bath" - her outward appearance & life-experiences
- 487a-top487b: on C de P's "feminist" advocacy in her writings, such as R 15.10
- 493: SUMMARY
- CH. 16 - 497: outline-overview - Buddhist art Fig. #16.1 + M P on Chinese culture in his Travels written in the 1290s
- 501a-b: on M P's journey to China ruled by the Mongol emperor Kublai Khan - he stayed 1274-1291 with his merchant father & uncle
- 504-5: on G X's "Early Spring" (Song dynasty 1072) - Chinese landscape scroll-painting: Nature's grandeur predominates - humanity humbled
- 506b-507a: on Tibetan Buddhist art - the thangka genre of cloth-painting - holy figure named Manjushri in Fig. #16.6
- 510b + 511b-512b: on the Japanese Heian court lady named M S, novelist & diarist, who wrote The Tale of [Prince] Genji (c. 1010) - Fig. #16.12
- 512b-513b: on the samurai culture of the Kamakura shogunate (= shogun/general-in-chief ruling Japan) est'd by M Y = realistic portrait by F T - Fig. #16.13
- top518a-lower518b + 519: Fig. #16.21: on the Shona culture of Great Zimbabwe = Ruvimbo's class-presentation
--- Selected (very few) pages from M de F's LAIS:
- LE FRESNE: top-bottom67: "'You are my ... its heroine."
- YONEC: mid87-bottom88: "Having lamented ... great joy."
- LAUSTIC: top95-lower95: "When the copses [= woods] and ... joy from her."
- MILUN: upper99-top101: "Milun returned home ... time to time."
- CHEVREFOIL; lower109-lower110: "Tristram received ... summoned him."
- ELIDUC: upper119-upper120: "The knight delayed ... other affectionately."
FRIDAY 2/25/11 - Greetings, ALL! As given in our Syllabus, our Midterm Exam is NEXT Friday, March 4, with next Mon & Wed being our Retrospective (= review-session) Days - in CB 109 This is the first installment of RevPp from our HUMANITIES text - selected pages from Chs. 11 & 12 to be added, and also pages from Marie de France's lais. So, more on all this next week. Not a Scantron-exam. Format to be presented next week.
CHAPTER 9 - upper281a: "From the ... everlasting peace.": on the Messiah & messianic hope in Judaism
-- lower281a-mid281b: "Of the three sects Josephus ... the other sects.": on the Essenes of Qumran - Dead Sea Scrolls + top304 paragraph on Josephus's The Jewish War
-- mid283b: "Paul's epistles, ... king, and prophet.": on Paul the apostle/evangelist's message about Jesus (the) Christ = "the Anointed One" = "Messiah"
-- lower285a-top285b: "The gospels of ... Lazarus.": 4 Gospels (= "good news") = narratives of Jesus's life & ministry attributed to Mt, Mk, Lk, & Jn
-- mid286b: "Another very common ... sacrificial lamb." + 287: Fig. 9.7: Jesus symbolized as "The Good Shepherd" caring for his symbolic "flock" of followers
-- mid291b: "At any rate, it seems ... in the Empire.": Roman Emperor Constantine ended persecution of Christianity in 313 with the E of M after his conversion
-- mid295a: on the Nicene Creed: "Perhaps his [= Constantine's] most important ... orthodox Christianity." + R 9.6: just the first verse: "We believe ..."
-- mid296b: on the basilica as church-design: "The church proper ... faith re-energized." + look at 297: Figs. 9.16/17
-- lower301a-b: on Augustine of Hippo (in No. Africa) & his Confessions + R 9.7a: "As I became ... unholy desire." + bottom302b: his autobiography's significance: "Augustine's worldview ... City of God." + top308 paragraph on A's Confessions
-- 309: REread the Summary
CHAPTER 10: 318 (Fig. 10.4) + mid319a-lower319b: on the HS/HW church built during Justinian's reign: "At the emperor's ... (Reading 10.2):" + R 10.2: from Procopius, On Justinian's Buildings (ca. 537): "So the church ... gleaming sunlight." + "Above the arches ... the space."
-- 326-top328a: on San V's imperial mosaics: "In Ravenna, ... of the viewer." = Figs. 10.10/11
-- 333: on the Theotokos mosaic in the HS/HW church portraying 2 emperors with Mary as heavenly Queen & Mother of Jesus as infant: "Many scholars ... the Turks." = Fig. 10.17
-- 334: REread the Summary
CHAPTER 11: mid338b: on Prophet Muhammad: "Born in Mecca [Saudi Arabia] in about 570 [CE] ... Moses to Jesus.": Muhammad as the last of God/Allah's messengers & prophets - his recitations of divine revelations through the Archangel Gabriel [Jibril] = the Holy Qur'an, Islam's sacred scripture
-- upper339a-b: on the Qur'an: "Muslims, or ... 'the five pillars' [of faith-practice] ... bismillah ... five times a day [by devout Muslims] consists of ... and 17.": creedal declaration = Shahadah, prayer, alms-giving, fasting, the Hajj pilgrimage
-- top340: on the bismillah: "The bismillah consists of the ... in 691." [[We can visually appreciate the inventiveness of Arabic calligraphic art even if we can't read it - like the illuminated Gospels in Latin as on p.380 - thanks also to your SCRIPTORIUM visit to the NYPL on-line!]]
-- 343a: R 11.1b: Qur'an, Surah (Chapter) 5, verse 8: "O you who believe! Be upright ... you do.": act justly, fairly/equitably, do not hate, be pious/devout - God is all-knowing = omniscient
-- 350a: on Arabic calligraphy - Fig. 11.9 (ca. 900 CE) & 342a: Fig. 11.3 (ca. 1300 CE): "... Arabic, as the language of divine revelation [= the Qur'an] ... developed into the preeminent form of visual art" - esp. in MOSQUES as decorative designs - no human/animal imagery allowed following the Second Mosaic Commandment
-- top354: Fig. 11.13: Great Mosque in Cordoba, Spain - 1000+ years old mosque = building for private prayer & congregational worship-service
-- mid360a-b: "The Thousand and One Nights is a ... for the night.": Scheherazade as story-teller + bottom364 on the Fisherman & Genie tale + lower365a-upper365b: R 11.6: "But suddenly, ... Be happy, Fisherman!" We watched the film-clip "The Thief of Baghdad" (1940) - think of the blue "Genie of the LaaaaaaaaaaaammmmP!" in Disney's ALADDIN (his name means "the height of religion" or "sublime faith")
-- lower360b-top361a: "Sufism (from the ... that is God." + Fig. 11.17: on the Sufi tradition, or mystical path to God, in Islam using music, chant, dance, poetry - as in class, Rumi and his "Song of the Reed" = poem of yearning for union with God the Beloved
-- 367: REread Summary
CHAPTER 12: upper-mid373b: "A purse cover from ... animal motifs." + Fig. 12.2: "animal style" = stylized "animal interface" & interlacing/weaving of abstract line-patterns - all symmetrically designed - of this Nordic artifact excavated in a burial-mound in 1939, S Hoo, England - dated to ca. 625 CE
-- mid375a: "This rigidly [feudal] hierarchical ... described.": the epic-poem Beowulf, written in Anglo-Saxon/Olde English, reflects Nordic culture + mid375b: "The findings at Sutton Hoo ... eighteenth century." AND the story's events occur in Denmark and Sweden/Geatland - Beowulf to the rescue!: lower376a-bottom376b: "The poem opens ... R 12.1b: "I come to proffer ... his mind." ... R 12.1c: "O flower of ... you away.": B helped King Hrothgar, who counsels B about Life's brevity and ultimate destiny = "eternal rewards" in Heaven. B embodies feudal values: loyalty, honor, bravery, kindness, even gentleness
-- upper379b: "Hiberno [Irish]-Saxon manuscript ... scriptorium ... Book of Kells ... Matthew 1:18." + 380: Fig. 12.8: the B of K as superb example of the "illuminated manuscript" tradition perfected in monasteries by monks
-- bottom382b-mid383a: on the Old French epic-poem Song of [Count] Roland, who is Emperor Charlemagne's nephew and demonstrates feudal values as his lord's vassal: top-mid384a: R 12.3: "Roland replies, 'The better ... and proud.' The loyalty of ... 'In his lord's service ... served his lord'.": self-sacrifice above all! Semper fi[delis]!
-- lower387b-mid388b: Frankish Emperor Charlemagne promoted literacy - monks, led by Alcuin of York (Anglo-Saxon), innovated a style of writing still used = Carolingian miniscule = upper & lower case letters, word-separation, standardized script
Selected Review-Pages from Marie de France's LAIS for PART IV of the Midterm:
-- p.41: PROLOGUE: "In your honor, noble king, ... ever more."
-- bottom82-mid83: LES DEUS [TWO] AMANZ [LOVERS]: "There was in the country ... grieve him." + upper85: "Now I shall tell ... Two Lovers."
-- mid49-mid50: GUIGEMAR: "When the lady had heard mass [= religious service], ... soon discovered."
-- mid-bottom58: EQUITAN: "Any wise and courtly lady ... their death." + mid60-end: "Suddenly the seneschal [= king's administrative officer] returned ... another's misfortune."
-- bottom71-mid72: BISCLAVRET: "Since his clothes ... lived noseless."
-- mid80-81end: LANVAL: "Just as they [King Arthur's courtiers] were about ... anymore."
*** As presented in my email of 2/27/11, the Exam-Format is as follows:
PART I - Matching Columns - 15 pairs @ 2 pts. = 30 - Sayre: Chs. 9-10-12
PART II - Fill-in-the-Blanks in 5 sentences @ 2.40 pts. = 12 - Sayre: Ch. 11 - no word-bank
PART III - Matching Quotations - 8 pairs @ 3 pts. = 24 - Sayre: Chs. 9-10-11-12
PART IV - MdeF - LAIS: Matching Quotations - 6 pairs @ 6 pts. = 36
Total points-potential = 102: A+/A/A- = 102-97/96-93/92-90, ...