The American Love Story through the Ages
The American Love Story through the Ages Too often people wrongly pigeonhole screwball as any comedy with zany components, from films with personality comedians such as the Marx Brothers to the wacky modern comedy styling's of Jim Carrey. Wes Gehring says, "To clarify the nature and role of screwball comedy, the films of the genre can be examined for five key characteristics of the aforementioned comic antihero: abundant leisure time, childlike nature, basic male frustration (especially in relationship to women), a general propensity for physical comedy, and a proclivity for parody and satire," (Gehring, p.29). In addition to Gehring's assertions, the screwball comedy genre can be characterized by a questioning of conventional marriage, mockery of authority and the rich, and lack of rational discourse through our comic antihero protagonist. However, screwball comedies are often confused with populist and romantic comedies. While this confusion is understandable, the genres are, in truth, very different. For example, romantic comedy's earnestness regarding love, as found in the slow establishment of characters and story to build a strong audience/character connection and provocative adult conversation concerning impassioned conclusions about right and wrong are entirely absent from screwball comedy, and if they were, such sentiments would immediately be subject to satirical
An examination of how far Elyot's Dictionary, Johnson's Dictionary and the Oxford English Dictionary
An examination of how far Elyot's Dictionary, Johnson's Dictionary and the Oxford English Dictionary In any discussion of the way in which dictionaries reflect their era we must consider three things: the intellectual environment which gave rise to a given dictionary; the factors that contributed to its compilation and how each one effected subsequent lexicography in England. Let us look first at the Renaissance to see how contemporary concerns about language helped shape the dictionaries of the day. The Renaissance, (circa 1500-1650), was a period of revolution. Changes were wrought in virtually every area of life and this necessitated a fitting development in the vernacular because every class of man wanted access to the fruits of the Renaissance; its influence would have been limited if works of the period had not been translated into English. Thus the language grew to accommodate these changes and several key points heavily influenced this expansion: The 'Revival of learning' (that is, the renewed interest in Classical literature); the introduction of the printing press by Caxton in 1476; better education and the expansion of trade with the growth of the Empire; all these factors led to an awareness of the deficiencies of the vernacular to reflect such momentous changes. The printing press provided the literate public with dozens of replica texts but, without a
Feedback in teaching
With Specific reference to augmented feedback and intrinsic feedback, critically debate the role and importance of feedback in dance teaching and learning. ...feedback contributes to learning and this effect has received the most attention throughout the history of motor learning research. It contains information about success in goal achievement and allows subjects to know their error rate Swinnen 1996 p.51-52 The interpersonal relationship between the learner and teacher provides opportunity for the comprehension and achievement of new skills. It is within this relationship that feedback corresponding to the acquisition of a skill occurs. Feedback in dance teaching and learning has been a topic of abundant research and examination. Appendix A illustrates the types of feedback that will subsequently be discussed. The role and importance of feedback to a students skill attainment, in specific relation to augmented feedback and intrinsic feedback provides the following debate. Independently from the teacher, students are able to provide themselves with intrinsic feedback. Task-intrinsic feedback can be defined as ''the sensory - perceptual information that is a natural part of performing a skill'' (Magill 2007 p.269). Each sensory system is capable of providing this manner of feedback. Visual feedback is possible for a dance student as they can observe themselves
Compare and Contrast two choreographers works and choreographic process
Rosie Deane Compare and Contrast two choreographers works and choreographic process Jiri Kylian and William Forsythe's choreography can be seen to be strongly linked to their roots as performers. It can be seen through their vast amount of repertoire that their beginnings and background has a huge amount of influence on their creations as composers in dance. Jiri Kylian began his dance training when he was nine years of age at the ballet school of the Prague National theatre studying classical ballet, folk dance and the modern technique of Martha Graham this continued as he moved up into the Prague conservatory when reaching the age of fifteen. In 1967 at twenty years of age he joined the royal ballet school with a scholarship, here he studied not only classical ballet but also contemporary dance, which Kylian became very interested in. From this a major choreographer of this time John Cranko offered him a place in the Stuttgart ballet under a dancers contract but directed him into creating his own dance compositions, here Jiri could begin to develop his talent and ambitions as a choreographer. In his earliest years William Forsythe was especially interested in modern dance, rock and musical comedy. Forsythe like Kylian gained a scholarship, he proceeded to join the Joffery Ballet School and the school of American ballet. Whilst his training he was able to take
Examine either overt or covert relationships with the work of particular artists or movements and the political contexts in which they where made.
Examine either overt or covert relationships with the work of particular artists or movements and the political contexts in which they where made. Art movements through out history have been created in the midst of various political upheavals. Even though the larger part of art has always given an impression of no politicisation as it would have liked itself to be known as an autonomous entity functioning with no political aspirations, or under the banner of any political correctness. Having itself looked upon as a form of expression with the sole purpose of providing aesthetic pleasure. Which was very much the view provided by prominent art critics and the more mainstream galleries. But the authenticity of this ideological concept was contradicted and faced head on in the late 1950's with the emergence of a predominately American Art movement by the name of Pop Art. Pop emerged in the late 50's and managed to thrive in the 60's and way in to the late seventies. It utilized the imagery and techniques of consumerism and popular culture. Many perceived pop as a mere continuation of abstract expressionism, well at least in part, or if anything more a reaction against it. Emerging from a shift of various sources. Surrealism with its appeal to the subconscious was replaced by dada, with its concern with the frontiers of art. This was not a purely intellectual choice. There were
Assess the influence and importance of dissidents in Brezhnev era Russia.
Assess the influence and importance of dissidents in Brezhnev era Russia. Dissent, which may be defined as voiced or written disagreement with aspects of the Soviet regime, appeared in many forms during the years after Stalin's death. Literary dissent stimulated other forms of 'intellectual opposition', which continued to flourish during the 1960s and the 1970s, despite increased crackdowns. However, by the early 1980s the vast majority of dissidents were imprisoned, exiled or repressed into silence.1 In order to assess whether or not the dissident movement of the 'stagnation period' should be accounted a failure, it is necessary to first define the term 'dissident movement' and the aims and activities of those involved before considering what influence it had, what it achieved and whether it should be considered a failure. The three main types of dissent which existed during the 'stagnation period' were linked to religious, nationalist and humanitarian causes. The latter is often known as the 'human rights movement', or the 'democratic movement', and in this essay the term 'dissident movement' will apply to this group. The democratic movement was morally opposed to the regime's suppression of civil liberties and constitutional rights, and concerned with the lack of protection for the individual and their rights.2 Initially, the dissident movement of the 'stagnation
Feminist Art. Representation of Womens Bodies in Art , Rap and Film.
Merlos ________________ Feminism v Women In today’s society most people don’t know the difference between being a women and a feminist. It might be because history doesn’t bother to tell herstory. In academic environments women don’t make the cut to be included in textbooks or curriculums. Throughout history women weren’t considered “important” enough to contribute to society. They were inferior in every aspect; the inequalities that women suffered gave birth to feminism. When analyzing art, literature, theatre, and performance at the microscopic level, one can differentiate between what came from a women and what came from a feminist. Through the analysis of different women artist, authors, performers, and comics’ one will be able to know why these works of art are feminist or not feminist. What makes someone a woman? A woman is a female human being, someone biologically born with a vagina. Most people think that because someone is a woman, that automatically makes them a feminist. However, a feminist can be a man or a woman. It is not strictly for women. According to the Webster dictionary, feminism is the “advocacy of women’s rights on the grounds of political, social, and economic equality to men.” Feminist try to achieve equality among men and women. In order to understand the differences between women products and feminist products one must know
Designer Jewellery Art and Design Investigation
My immediate interest in jewellery was established when I created a workbook on jewellery as part of my GCSE Art and Design course. Since then, my interest in this field has developed further, which is why I have chosen to base my dissertation on this particular theme. However, considering that the general term 'jewellery' can be defined as, 'ornaments containing precious stones worn for personal adornment', I have decided that to base my dissertation simply on 'jewellery' would be covering too wide a scope. Therefore, instead, I have chosen to focus mainly on designer jewellery, which in my opinion, is one of the most original, and compelling kinds of jewellery in existence today. In my dissertation I plan to examine the work of a selected number of leading contemporary designer jewellers, as well as explore a range of contemporary jewellery exhibitions, presently being held in prestigious galleries within the UK. J CHAPTER ONE Before launching into designer jewellery I have decided first of all to examine briefly the history of jewellery, because indeed many of today's contemporary jewellery designs depict inspirations from the past. The history of jewellery covers over several thousand years of civilisation, and begins with that of the ancient World. It was during this period, that techniques such as granulation and modelling of tools were first practised by groups
The Development of the Brassiere
The Development of the Brassiere The brassiere is perhaps the secret touch of exotica in every woman's wardrobe. Throughout history this piece of clothing has been an object of seduction, glamour, or oppression depending on one's stance. Women have always tried to enhance their female figures by squeezing themselves into restricting uncomfortable garments. Waists have been reduced and bust lines have been increased, decreased, flattened or spread out, depending on what is fashionable. Far from being an imposition, the brassiere has emerged in the twentieth century as a major component of clothing for the modern women. By becoming a material and social artefact the brassiere has developed into becoming the focal point of a multimillion dollar industry which will be examined in this essay. The brassiere has played a practical, as well as aesthetic role and it was during the late nineteenth and early twentieth century that this caused bitter arguments. The traditional view, that tight fitting corsets were beneficial to women's moral character and physical stance were challenged by the Pre-Raphaelites, with their un-corseted aesthetic dress. Janey Morris was one of the leaders of this Artistic dress movement in late nineteenth century England. She and her circle preferred loose, drapey styles, coloured with vegetable dyes and decorated with embroidery ( Farrell-Beck 1).
Illuminated Manuscripts: the Heir of the Ancient Celtic Artistic Tradition
Kathryn Kell 064513070 November 26th 2008 ML300 Dr. R. Ross Illuminated Manuscripts: the Heir of the Ancient Celtic Artistic Tradition Celtic art is a complex, unique and beautiful style. Through its history it has undergone many changes and yet remained a distinct and identifiable style. Celtic art underwent a number of changes like the adoption of a number of Roman motifs, which continued to be used during the Christian era, during the Roman occupation of the Celtic heartland. Celtic art was also greatly influenced by foreign artistic styles, including Germanic and Mediterranean art, and underwent a rapid shift, from symbolic to realistic, during the Celtic conversion to Christianity. This essay will argue that the illuminated manuscripts of the 8th-9th centuries CE are the heirs of ancient, pagan Celtic style; that despite all the changes and foreign influence that Celtic art experienced that the genius, ingenuity and resilience of the Celtic artists and his artistic traditions allowed Celtic art to remain a distinct identifiable style. Early Celtic is full of complex and beautiful abstract patterns and aimed to situate itself between the two extremes of realism and abstraction1. The La Tene style of the last four hundred years BCE is described by Ramsey MacMullen as showing "a fondness for abstraction [... through] the reduction of faces to triangles or in the