Friday, September 6, 2019
The Integrative Nature of Psychology and Music Essay Example for Free
The Integrative Nature of Psychology and Music Essay Creativity, while it is recognized and valued by many, means different things to different people. Artists, musicians, and poets are considered to be creative individuals because their products are creative. Art works are valued for their novelty, beauty, uniqueness, and a host of other qualities that are considered to reflect creativity. Scientists who discover a new medicine or cure are considered creative. Young children who have created a finger painting or a poem are praised for their creativity. Often proud parents will even excuse perverse behavior traits in their offspring by saying, â€Å"he is just being ‘creative’. † Creativity is a part of everyday life as much as eating is.            However, creativity is a concept that is difficult to define with specific measures and parameters. For the purposes of this discussion, the author provides theories on creativity in terms of psychological concepts. Freud’s (1952) psychoanalytic technique seems to be the prerogatives of art. The creation of a meaning for a patient’s random acts resembles literary creation. In both psychiatric interpretation and artistic creativity meaning does not emerge fully clothed out of the raw material of incident and language. Rather, from a first experience significance is gradually inferred and elaborated by a process of free association.            What links psychoanalysis and creativity is the notion of symbolic function. Ricouer (1970) speaks of the symbolic function as meaning something other than what is said and therefore he defines a symbol as â€Å"a double meaning linguistic expression that requires an interpretation†(p. 9). An interpretation is seen as a work of understanding that aims at deciphering symbols. Psychoanalysis is first and foremost a form of interpretation, hermeneutic that arrives at an understanding of the facts of mental life by regarding both dreams and neurotic symptoms as symbols to be analyzed. Freud’s interpretation of dreams reveals the dynamics of the mental processes, the â€Å"strategies of man’s deepest desires and instincts†, and provides the paradigm for the analysis of all men’s cultural activities (Ricoeur, 1970, p. 162).            For Freud the dream symbolism is not merely one device of the dreamwork; but rather provides the dreamwork with the material for condensation, displacement and dramatization. These devices then, are all methods of disguise clothing the unconscious symbolic meaning. This universal symbolism is not limited to dreams, but is to be found in fairy-tales, myths, legends, folklore, and also underlies all art, including music.            According to Dalhaus (1978), absolute music is historically rooted in the idea of an unspeakable sublime, in the idea that â€Å"music expresses that words are not even capable of stammering†(p. 63). As a performer, composing or listening to some Western music is an experience of the sublime. As with Freud’s dream symbolism, every music symbolizes something that requires interpretation. Music, through which some of feelings of the musicians are expresses, is essentially a system of symbols. Each symbol is equivalent to an event or an object; when these symbols are put together they give us a kind of an interpretation of the world. According to Langer (1957), the world of sentiments and emotions could also be expressed in a symbolic manner. Music is, therefore, an alternative means of symbolic expression. Elements of music, just as with dreams, do not contain in themselves fixed references to things, but rather a flexible system of symbols capable of expressing various complex feelings. Through music, a composer can express ambivalent and contradictory feelings simultaneously.  With dreams which, as Freud explains, are disguised fulfillment of repressed wishes or desires of the dreamer. Since the instincts hide themselves in dreams, interpretation is necessary to reveal them. The same thing is true with music.            To illustrate this, Kivy (1991) Bach’s Prelude in C Minor from the first book of the Well-Tempered Clavier. In referring to this piece he gives an â€Å"autumnal†interpretation, â€Å"the rustling sixteenth-notes figure, in both the right and left hands, that pervades the entire piece, represents the rustling of the dry autumn leaves in the cold October wind†(p. 206-207). What is relevant is the meaning of the listener fins departing from musical experience and musical analysis. Or at least that is what the listener thinks he does. Perhaps this is the point which Kivy describes when the listener who obtains pleasure from absolute music without needing free associations.            On the most basic level, the interpretation of art is analogous to the interpretation of dreams, for art is based on the same universal symbolism of the unconscious. The first assumption of a Freudian aesthetic then is that it is possible to analyze a work of art in order to reveal its hidden motivations in the same way as we unlock the secrets of the dream.            Weiss has extended and placed more emphasis on Freud’s analysis of the condensation of psychic energy that gives a minimum of pleasure in wit, and discovered that the spectator gets pleasure, at least in regarding a painting, from two kinds of perceptual economies, one quantitative and one qualitative. The pleasure of perceptual economy which form affords is the pleasure of overcoming repression of archaic visual modes by sharing in the artist’s childish and primitive visualization (Shapiro, 1966).            However, this pleasure does have the more noteworthy effect of contributing, in the form of a bonus, to the erotic, aggressive and cynical tendencies of the mind. That is, the technique of wit, the use of puns, strange and funny combinations and the like, seduces us to enjoy those sadistic or obscene tendencies whose expression would repel us if it were not combined with the skillful technical creation of the joke itself. In the same way, all the aesthetic pleasure we gain from the work of the imaginative writer is of the same type as this ‘forepleasure’. Therefore, the true enjoyment of art proceeds from the release of unconscious tensions in our minds.            According to Freud (1958), †¦the capacity of certain art forms to express and elicit emotions directly, that is, without reference to representational or symbolic images of drive related objects. This is expressed in the idea that art forms are isometric with the forms of feeling and mood. (p. 11) According to this view, significant content could include those art elements and forms capable of effecting instinctual discharge through the relatively immediate arousal of affective states. This seems to be particularly true of music. The question – whether is it the work or the emotions the work arouses in us that conveys the powerful meaning of music – by saying that our emotions by themselves are the result of our interaction with the music. They are the byproduct of the musical experience. Music seems to create similar emotions and furthermore a similar meaning for different people. People can all have different ways to express our subjective feelings and meanings of the music but at the same time relate to an object that has its own characteristics. Another such psychological concept is the psychology of perception. The most influential theory of perception in the first half of the twentieth century was developed by the gestalt psychologists Kohler and Koffka. In a series of experiments, they were able to demonstrate that inherent in the process of seeing is a natural tendency to bisect the visual field into two distinct areas, a significant figure and an insignificant ground. They also maintained that it is impossible to hold within a single sweep of vision figure and ground simultaneously, focusing on one automatically excludes the other.  Even when perceiving the famous Rubin profiles, a series of diagram whose meaning is ambiguous because figure and ground are equally significant, attention is forced to centre on either the figure, so that a certain diagram will appear as the outline of two vases, or on the ground, in which case the same diagram appears as two faces in profile. The apparent ambiguity in these visual counterchanges arises from the fact that either the figure or ground represents a coherent object but attention cannot perceive both meaning at the same time.            This mutually exclusive, ‘either-or’ structure of attention is found in aural phenomena as well, particularly in the perception of music in which a clear melodic line is distinguished from the harmonic matrix of chords in which it is situated. Finally, the significant figures or forms spotlighted by attention tend to possess the properties of simplicity, wholeness, and coherence while at the same time eliminating any vague, incoherent or inarticulate structures from our perception (Ehrenzweig, 1965).            Through the study of philosophers, theorists, and musicians, aesthetics is no longer simply a â€Å"theory of nice feelings†(as Hegel put it) but a complex philosophy of art: it involves interpretation, criticism and reflection upon works of art. A work of art, such as a symphony, has an existence, a history and a place that constitute it as the object of the aesthetic experience. Having said that, psychoanalysis presents a new way of looking at things – not only at music or art. It is in this way the departure point for an aesthetic revolution, in the sense of a new treatment of what we hear (and see) in the world.            Musical works have represented an enormous value for each culture. In psychoanalytic terms we can say that music generates a jouissance, which for many musicians and non-musicians alike becomes on occasion an experience of the sublime. References: Dalhaus, C. (1978). The idea of absolute music. Chicago: University of Chicago Press. Ehrenzweig, A. (1965). The psychoanalysis of artistic vision and hearing. London. Freud, S. (1952). A general introduction to psychoanalysis. New York. Freud, S. (1958). The Moses of Michelangelo. In S. Freud (Ed.), On creativity and the unconscious. New York. Kivy, P. P. (1991). Sound and semblance. Cornell University Press. Langer, S. (1957). Philosophy in a new key. Cambridge: Harvard University Press. Ricoeur, P. (1970). Freud and philosophy. New Haven. Shapiro, M. (1966). Leonardo and Freud: An art historical study. Journal of the History of Ideas, 17(2).
Thursday, September 5, 2019
Life Poetry And Legacy Of Emily Dickinson English Literature Essay
Life Poetry And Legacy Of Emily Dickinson English Literature Essay Emily Dickinson is a monumental figure, a true icon, to the realm of poetry in the 19th century. A time when transcendentalism ruled upon the civilized world and when American poetry was masked by European influences, Emily Dickinson broke off of conventional norms and established her own style of poetry. Through her reclusive upbringings to her untimely death, Emily Dickinson has invoked her unique style and language into her poetry that has established herself into one of the founders of modern American poetry. Emily Dickinsons external and internal life was nothing less than unadventurous (Context 909). She read widely English literature and would often think deeply about what she read. She expressed a particular fondness for the poetry of John Keats and Robert Downing, the prose of John Ruskin and Sir Thomas Browne, and the novels of George Elliot and Charlotte and Emily Bronte. One of her most favorite books is the King James translation of the bible, which contained influences of both Walt Whitman and of her own. One of Dickinsons styles involves the influence of religion. Dickinsons adaptation of 2 hymn meter unifies with her adaptation of the traditional religious doctrines of orthodox Christianity. Although her poems reflect a Calvinist heritage particularly in their probing self-analysis she was not an orthodox Christian. (Context 911) Her religious views, like her life and poetry, were distinctive and individual. Even when her views tend toward orthodox teaching, as in her attitude toward immortality, her literary expression of such a belief is strikingly original. In addition, Dickinsons mischievous humor contrasts sharply with the menacing gravity characteristic of much Calvinist-inspired religious writing. Finally, her love for nature separates her Puritan precursors, allying her instead with such transcendentalist contemporaries as Emerson, Whitman, and Thoreau, though her vision of life is starker than theirs. One notable poem of Dickinsons is Success is Counted Sweetest. The speaker starts off by saying that those who neer succeed put the greatest rate on success: They count it sweetest. To comprehend the cost of a nectar, the speaker says, one has to sense a sorest need. (Dickinson 914) She says that the associates of the victorious army are not able to define triumph as well as the conquered, failing man who hears from a distance the melody of the victors. (Dickinson 914) Several of Emily Dickinsons most notable works seem to take the structure of brief ethical proverbs, which emerge as apparently straightforward, but in reality describes complicated moral and psychological truths. Success is counted sweetest is a fine example. Its first two verses convey its moralistic point in which success is counted sweetest by those who neer succeed; people tend to desire things in a greater aspect when they do not possess them. (Dickinson 914) The following lines then develop that manifest truth by submitting two pictures that illustrates it: the nectar is an emblem of conquest, and lavishness, and success can best be understood by someone who needs it. (Dickinson 914) The conquered, failing man comprehends triumph better than the victorious army does. The poem demonstrates Dickinsons 3 ardent consciousness of the complex facts of human desire, and it shows the beginnings of her abrupt, firm style, whereby intricate connotations are condensed into tremendously short expressions. (Dickinson 914) I taste a liquor never brewed is another such poem by Dickinson in which her views are vividly depicted. The speaker in Emily Dickinsons I taste a liquor never brewed is describing a spiritual state that she experiences through her soul awareness; the state is so overwhelmingly invigorating that she feels as if she had become intoxicated by drinking alcohol. However, there is vast difference between her spiritual intoxication and the literal, physical intoxication of drinking an inebriating beverage. The poem consists of quadruple four-line stanzas. The second and fourth lines in each stanza rhyme, with the first rhyme pair Pearl and Alcohol being seemingly a slant rhyme. (Dickinson 917) Emily Dickinsons style of writing contributes to the irony of her life; she uses dashes profusely throughout I taste a liquor never brewed. Dashes are meant for interruption; thus, she seems to be questioning herself as she writes the poem. There are many dashes in this poem, indicating many pauses throughout; this could be for added dramatic effect or simply for interruptions. Dashes allow the reader time to think and feel (as shown after the first line). The dashes create the impression of a struggling voice, as if a violent wind is carrying some of the words away from the reader. The dashes help to make the speakers voice in the poem seem distant, as if he or she is speaking from somewhere else, even another dimension away. She uses simple diction which creates a down to earth feeling of hope. Her verses are very short which can indicate her short life. As a young woman, Emily Dickinson was a very intelligent and conscientious. (Context 909) However, over time, she decided to secl ude herself from the rest of the world, only talking to certain family members. Her father was a very strict man whose heart was pure and terrible. Because of that, she became very shy and grew a discomfort in social 4 situations. She gradually became more and more self-conscious and decided to go out less and less. Eventually, she lived all alone in her familys house and would not leave to see anyone. However, she still managed to keep in touch with a few close acquaintances through letters. The only time she ever let anyone inside her room was when she became terminally ill and needed a doctor to come see her. Even so, she only allowed the doctor to examine her from a distance. I died for Beauty but was scarce truly portrays Dickinsons thoughts on life and death. The speaker says that she died for Beauty, but she was barely accustomed to her tomb before a man who died for Truth was placed in a tomb beside her. When the two gently told each other the reasons for their death, the man announced that Truth and Beauty are the same, and thus, he and the speaker were Brethren. The speaker says that they met at night, as Kinsmen, and conversed between their tombs until the moss arrive at their lips and enclosed the names on their tombstones. (Dickinson 926) The bizarre, allegorical death fantasy of I died for Beauty recalls Keats, but its approach of appearance belongs exclusively to Dickinson. In this brief lyric, she is able to invoke a feeling of the disturbing physicality of death, Until the Moss had reached our lips-, the great impracticality of martyrdom, I died for Beauty. . . One who died for Truth, a specific type of romantic nostalgia signified with the yearning for divine friendship, And so, as Kinsmen, met a Night-, and a cheerfulness about the hereafter with scarcely sublimated horror about the reality of loss: it would be pleasant to possess a companion with similar interests; it would be terrible to lie in the cemetery and talk through the walls of a grave. (Dickinson 926) As the poem progresses, the high impracticality and desire for friendship steadily surrender to silent, chilly death, as the moss sneaks up the speakers carcass and her headstone, demolishing both her ability to speak (covering her lips) and her identit y (covering her name). The definitive result of this poem is to portray that every feature of human life, whether it be ideas, feelings, or identity 5 itself, is ultimately obliterated by death. However, in the process of creating the obliteration steadily-something to be adjusted to in the tomb-and by depicting a speaker who is unaffected by her own bleak condition, Dickinson devises a picture that is bizarre, persuasive, terrifying, and at the same time, soothing. (Dickinson 926) This is one of her most extraordinary declarations about death; in addition to several of Dickinsons poems, it has no comparisons to the works of any other writer. A Bird came down the Walk is another one of Dickinsons poem for which she utilizes her style and language. The speaker witnesses a bird come down the walk, ignorant that it was being observed. The bird ate an angleworm, then drank a Dew from a convenient Grass-, then jumped sideways to let a beetle pass over. The birds anxious, round eyes looked in all directions. (Dickinson 921) Carefully, the speaker proposes to him a Crumb, but the bird unrolled his feathers and flew away-as though rowing in the water, but with a beauty more soothing than that of Oars divide the ocean or butterflies leap off Banks of Noon; the bird seemed to swim without splashing. (Dickinson 922) Emily Dickinsons life has shown that one does not need to travel throughout the world or live a full life in order to write great poetry. Living alone in Amherst, she considered her experience as fully as any poet who has ever lived. (Context 909) In this poem, the effortless practice of viewing a bird jump down a trail permits Dickinson to demonstrate her astonishing poetic power of surveillance and portrayal. Dickinson eagerly describes the bird as it is devouring a worm, jabs at the grass, skips by a beetle, and peeks around horrendously. As an ordinary being alarmed by the speaker into flying away, the bird becomes a symbol for the rapid, energetic, ungraspable untamed spirit that separates nature from the human beings who intend to cultivate it. However, the most outstanding aspect of this poem is the descriptions in the final stanza where Dickinson offers one 6 of the most spectacular images of flying in all of poetry. By merely offering two quick contrasts of flight and by using aquatic motion, she brings to mind the frailty and variability of moving through air. The picture of butterflies jumping off Banks of Noon, effortlessly swimming through the heavens, is one of the most unforgettable scenes in all Dickinsons works. (Dickinson 922) Dickinson pursues that knowledge wherever it is to be found, no matter how it makes her feel. She reports her pursuits with such great attention to her poetry that her works offer excitement, now matter how dismal the topic. (Critics 948) Emily Dickinson was brilliant, well educated, and confident in her use of conceptual, scientific, legal and linguistic terminology; however, the truly remarkable quality of her poetry illuminates from her refusal to separate mind from body and the emotions which are bound in it. She writes close to the traditions of post-Romantic poetry and womens poetry in that her poetry expresses strong emotion. She stands to the side of her poetry that seeks to ensure that knowledge dominates, and the matters of the heart and soul are seen as part of that knowledge, united as one. (Critics 948) Emily Dickinson is thought of as an influential and continual figure in American culture. Although much of the early reception centered on Dickinsons unconventional and secluded nature, she has become widely acknowledged as an original, pre-modernist poet. (Context 909) Critics have placed her alongside Walt Whitman, Robert Frost, and T. S. Eliot as a major American poet. Dickinsons poetry is difficult to comprehend because it is far-reaching and unique in its denunciation of most traditional nineteenth-century themes and techniques. (Context 910) Her poems demand vigorous awareness from the reader, because she seems to dismiss so much with her indirect style and remarkable contracting metaphors. Even so, these obvious openings are packed with connotations if we are susceptible to her use of devices such as personification, allusion, symbolism, syntax, and grammar. Because her use of dashes is at 7 times confusing, it aids read her poems out loud to hear how vigilantly the words are positioned. What might seem threatening on a simple piece of paper can shock the reader with meaning when heard. Dickinson was not always consistent in her views, as they can change from poem to poem depending upon how she felt at a given moment. (Critics 948) American poetry characteristically embodies acts of process: the Dickinsonian process is a passionate investigation. Her investigative process often implies narrative by taking speaker and reader through a sequence of rapidly changing images; even when all the action is interior. These investigations structure Dickinsons poetry; the flexibility of her investigative movement is the major reason why Dickinson generally was contented with common meter. She may even have enjoyed the way her condensed discoveries press against the limits of small form. (Critics 949) All and all, form and function, Emily Dickinson exerted an influence upon American poetry beyond measure during her time despite the fact that she lived a reclusive life: An irony indeed. 8
Wednesday, September 4, 2019
Alphonse Mucha Art Style Overview
Alphonse Mucha Art Style Overview Alphonse Mucha is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Interest in his work was revived in 1980 when it was shown at an exhibition at the Grand Palais in Paris. Alphonse Mucha was born in South Moravia. In 1882 he started to earn a living by painting portraits in Mikulov. The following year Count Khuen commissioned Mucha to decorate his castle at Emmahof and his brother Count Egon Belasi became his patron. He was educated at the Munich Academy of Arts and at the Acadà ©mie Julian in Paris and after completing work for Count Khuen began work as an illustrator in 1889. His first work was a theatre magazine entitled Le Costume au Theatre and in it his first drawing of Sarah Bernhardt as Cleopatra appeared in 1890. By 1895 he had signed a six year contract with Bernardt to produce stage and costume designs as well as posters. At the same time Mucha joined the Salon des Cent, a Symbolist group that included Bonnard, Mallarmà © and Toulouse-Lautrec. He designed a poster for their 20th exhibition in 1896 and the next year he exhibited many of his works at this exhibition as well as at his own one-man show at the Topic Gallery in Prague. Between 1903 and 1922 Alphonse Mucha made four visits to the United States where his work proved particularly successful. Charles Richard Crane, a Chicago industrialist and Slavophile, agreed to finance Muchas series of 20 huge paintings entitled Slav Epic (1909-1928). He continued to work on a number of projects, however, including the design of new postage stamps for Czechoslovakia in 1918 and producing a number of posters and designs for public buildings besides the Slav Epic for example, Allegory of Prague (1911) for the Prague Town Hall. He completed the full cycle of the Slav Epic finally in 1928 and it was exhibited at the Trade Fair Palace. Just three years later he was commissioned to produce a stained-glass window for the St. Vitus Cathedral, then in 1938 embarked on yet another mammoth project involving a triptych, The Age of Wisdom, The Age of Love and The Age of Reason. Sadly they were never completed as he died in 1939. For the Slavs, the plastic arts are a common striving towards a symbolic manifestation a taste for symbols is part of the inheritance of all Slavs That is why the language of symbols is the surest way to communicate our feelings to our brother Slavs. Alphonse Mucha. Alfons Mucha was born in Southern Moravia on July 24, 1860. At the age of seventeen the artist left his home, to work as a painter of stage decorations at the Vienna Ringtheater. When there was a fire at the theater, Mucha lost his job. He found new employment at the Vienese castle with Count Khuen, who became his patron and sent him to the Munich art academy a few years later. From there, Alfons Mucha went on to Paris in 1887 to continue his studies at the Acadà ©mie Julian and then at the Acadà ©mie Colarossi. Due to a lack of financial support from Khuen, however, the student was forced to leave the academy and earn a living as an illustrator. During this time he produced a large number of sketches and drawings. These were studies for illustrations, which were later published in Figaro illustrà ©, Petit Parisien illustrà © and other journals. This early work and the prints for illustrated books like L ´Ãƒ ©là ©fant blanc by Judith Gauthier, at which Alfons Mucha worked during this time, still reflect the usual academic historic style of the time. By coincidence, thanks to an employer of Lemercier printers, Mucha was commissioned to design a poster for Sarah Bernhardt in 1894. This provided the launchpad for Muchas future success and importance as an influencial designer of French Art Nouveau. Sarah Bernhardt was impressed by the artists work. From then on, the famous actress not only had Mucha design her posters but also her costumes and stages. The public also liked Muchas works very much and he became a famous, widely talked about and celebrated master almost over night. Around 1900 Alfons Mucha reached the peak of his fame. Muchas theoretical theses Documents Dà ©coratives and Figures Dà ©coratives influenced the applied art of the time significantly. From now on, people talk about Mucha style whose typical elements like the arabesque hair and the aureole surrounding the female profile, were often copied. In 1900 Alfons Mucha took part in the Paris World Exposition, evoking general attention with his wall decorations in Bosnia and Herzegovinas pavilion. In 1904 Alfons Mucha went to America, where he produced wall decorations, stages settings and portraits during a prolonged stay in New York. Alongside he taught drawing and compostition at the Chicago Art Institute. After Muchas return to his home country, shortly before World War I, he dedicated considerable time to lithographic work. Then he became increasingly occupied by a series of 20 pictures entitled Là ©popà ©e Slave, the Slavian Epos. Mucha finished the large format continuation (6 x 8m) of the decoration of the Bosnian pavilion in 1928 and donated it to the city of Prague. Alfons Mucha died in Prague shortly before the invasion of Czechoslovakia by German troops on July 14, 1939. Alphonse Mucha with his decorative posters has become a kind of trademark and synonym for the Art Nouveau movement. In the sixties his poster reproductions had a revival and were popular again among the flower-power and hippie generation. The images on this page are link-sensitive and take you to other articles or web sites in which you might be interested. Alphonse Mucha his Academic Training Alfons Maria Mucha was born in Ivancice, a small provincial town in the Czech Republic. He started his artistic career as an autodidact. Alfons Mucha had a vocational training in stage decorations in Vienna from 1879 to 1881. In the evening he attended a class in drawing. After a few occasional commissions for decorative paintings, he went to Munich in Southern Bavaria. Here he studied at the Munich Academy of Fine Arts from 1885 until 1887. After Munich, Mucha moved to the mecca of arts, Paris. Here he studied with different teachers. He lived in modest conditions and could survive with small commissions for book and newspaper illustrations. For a short period he shared a studio with Paul Gauguin. The Breakthrough In December 1894 Mucha became famous with a commission for a poster for the actress Sarah Bernard. Sarah Bernard was a celebrity of her time. His poster design for the play Gismonda became a sensation in Paris. Sarah Bernhard was delighted. He received an exclusive contract for six consecutive years by the actress. In the following years, he not only designed all her posters, but her theater decorations and costumes as well. From now on the artist was swamped with commissions for all kind of commercial print advertising. His Style By this time Mucha had developed his own personal style characterized by art nouveau elements, tender colors and bycantine decorative elements. And all these elements were ranked around images of fairy like young women with long hair and splendid, refined costumes. In the coming years, this type of female images should become his trademark. Mucha used lithography as the printing technique for his posters. The posters are usually signed in the block. Some of his posters were produced as sets like The Four Seasons. Complete sets count among the most searched for of his works. Public Recognition for Alphonse Mucha In 1890 the artist had his first one man show in Paris with 448 works on display. His art work was not confined to the printing media. He designed tissues, stamps and even bank bills. In 1900 he received a commission by the Austrian government to decorate the Austrian pavilion for the World Fair in Paris of 1900. He became also active in designing jewelry. Between 1904 and 1921 Mucha traveled frequently to the United States. He took commissions in the US and taught art at art academies in New York and Chicago. In 1939 the German Nazis occupied Czechoslovakia. The popularity of the artist made him a number one target for the Gestapo, the Nazi secret police. He was arrested, interrogated and realeased. Shortly afterwards, Alphonse Maria Mucha died on July 14, 1939 in Prague. The city of Prague has dedicated an Alphonse Mucha Museum to the artist.
Romeo And Julit Journal :: essays research papers
Act I Scene i      Today I wept and wept as I found out my one true love Rosaline does not love me back. The way I loved her. So today my coz tried to make me feel better. He did make me smile a few times but I still felt bad after knowing I am out of love. Act I Scene ii      As a new I still feel out of love after being kicked in my chin. I still feel sorrow and miserable. I still can’t believe I went to supper at the Capulet’s after being asked by that servant. I only went to go see Rosaline I knew she was going be there. Act I Scene IV      I couldn’t believe I let Mercutio talk me into going to that party at the Capulet’s. It was extremely dangerous going there. I have no idea on how Mercutio talked me into going but he has his way with words. Act I Scene V      I was nervous entering the Capulet’s house at first I thought we would have been caught. When I saw Juliet I knew she was the one I loved her so much she was so beautiful. I just wanted to not let her go. I know that she loves me and my empty spot with Rosaline is gone finished my chin has been healed with Juliet’s love. And my lips have been sealed with her lips. What a beautiful day. Act II Scene i      I couldn’t wait to see her I couldn’t take it so I went back that night to go see her. When I saw her again I new she was the one to marry. She is so much better then Rosaline in everyway beauty way of talking. Act II Scene ii      I do not know how I talked to her with those very nice words. I never talked to anyone before like that not even Rosaline. I believe its because the way she just grasps my heart. Like no other person in the world not even like my parents. Act II Scene iii      I can’t believe the friar said yes to marry Juliet and me. I can’t wait we will be so happy will go around the world together. Are families will stop fighting. We can connect our great accomplishments to something great. I can’t believe the friar told me quick love dies fast. Act II Scene iv      I felt so happy when the nurse told me when we were getting married.
Tuesday, September 3, 2019
Phencyclidine: The Dawn Of A New Age Essays -- essays research papers
Phencyclidine: The Dawn of a New Age April, 1956 : The pharmaceutical company Parke & Davis first synthesize what they believe to be the perfect anesthetic (Souza, 1995). When administered to patients, it causes a completely dissociative state, with no significant respiratory or cardiovascular depression. Patients appear to be awake, eyes open, breathing normally.but are unaware of their surroundings or the procedures being performed upon them (Souza, 1995). Indeed, this is the perfect drug. Unfortunately, like all good things, this one has a darker side. 15% of patients awake from their slumber with what appeared to be an acute case of paranoid schizophrenia (Peterson; Stillman, 1978). The drug is PCP, and to this day it is the scourge of the underground drug community, and the focal point of intense scientific research. Parke Davis and Company did not know how terrible, and wonderful, a discovery they made that day; but our world has been changed forever because of it.quite possibly for the better. The Dust of Angels Phencyclidine, more commonly known as PCP, is a polycyclic compound belonging to the arylcyclohexylamine class of chemicals [figure 1.0] (Souza 1993). In pure form, it is a white powder which readily dissolves in water. The cyclohexamines are known for their the potent neurological effects, with PCP being the most potent. Almost every variation has been administered to, or abused by, humans at some time (Nintey Fifth Congress, 1978). All these compounds have similar pharmacological effects, which vary considerably according to the amount administered. Small doses produce a `drunken' state, in which subjects report a numbness in the extremities, while some species (like dogs and cats) become quite excited (Halberstadt, 1995). Intermediate doses have anesthetic and analgesic effects , with the psychic state resembling sensory isolation with one important exception: the sensory impulses (when tested electrophysiologically) reach the neocortex but "the neuronal signals are grossly distorted" (Halberstadt, 1995). Large doses, especially of PCP, may produce convulsions. Any dose produces cataleptoid muscle effects (Halberstadt, 1995). All the chemicals in this class produce a range a physiological effects, including tachydardia and hypertension (Halberstadt, 1995). Unlike the other cyclohexamines, however, PCP causes severe "e... ...phy - dont forget this! Carroll, Marilyn. (1992). Encyclopedia of Psychoactive Drugs. New York, N.Y: Chelsea House Publishers. Halberstadt, A.L. (1995). The phencyclidine-glutamate model of schizophrenia. Clinical Neuropharmacology. (Vol. 18) 237-249. Nintey Fifth Congress. (1978). Abuse of dangerous and illicit drugs - psychotropics, phencyclidine (PCP), and talwin; Hearings before the select committee on narcotics abuse and control house of representatives. Washington, DC: US Government Printing Office. Okuyama, Shigeru. (1994). NE-100, a novel sigma receptor ligand: Effect on phencyclidine-induced behaviors in rats, dogs, and monkeys. Life Sciences. (Vol. 55) PL133-138 Peterson, R.C, & Stillman, R.C. (1978). PCP-Phencylidine Abuse: An appraisal. New York, NY: National Institute on Drug Abuse. Restak, R.M. (1994). Receptors. New York, N.Y: Bantam Books. Souza, Errol B., & Clouet, D., & London, E.D. (1993). Sigma, PCP, and NMDA Receptors. New York, NY: National Institute on Drug Abuse. Svensson, T.H. (1995). Mode of action of atypical neuroleptics in relation to the phencyclidine model of schizophrenia. Journal of Clinical Psychopharmacology. (Vol. 15) 11S-18S
Monday, September 2, 2019
Marc Antony Speech Essay
Antony’s skillful ways To be a good public speaker, a person needs a very specific set of skills to deliver a powerful speech. In the play, The Tragedy of Julius Caesar, by William Shakespeare, a group of men conspire to assassinate Julius Caesar. Throughout the play, they succeed in killing Caesar by stabbing him multiple times. The conspirators have to convince the people of Rome that Caesar is a bad man and he had to be killed for the sake of Rome. Another man by the name of Marc Antony, who was a loyal friend of Caesar, comes and turns the tide over to his favor. He does this by delivering a powerful speech to the people of Rome at Caesar’s funeral. Marc Antony is a skilled orator because he excels at using rhetorical devices such as:ethos, pathos, and logos. One of the many ways that Mark Antony is an excellent speaker is how he uses the rhetorical device ethos. He persuades the crowd by giving them compliments such as, â€Å"Friends, Romans, countrymen, lend me your ears. †This shows that Mark Antony is getting into the crowd’s heart with his status as a trustworthy man. Furthermore, Antony is familiar with the crowd, and he knows how to get into their heads. He also persuades them using an ethical argument by saying, â€Å"Come I to speak in Caesar’s funeral. He was my friend, faithful and just to me. †Mark Antony is telling the plebeians that he was close to Caesar and that he knew him very well – that they should believe his word. Mark Antony’s speech was success at persuading the crowd because he used his own characteristics to his advantage (III, ii, 73-86). Mark Antony was also able to announce an admirable speech because he exposed his apathy towards Caesar using the rhetorical device pathos. He touched the plebeians hearts by saying, â€Å"O judgment, thou art fled to brutish beasts, And men have lost their reason! Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me. †At this point in his speech, Antony is showing his anger towards the conspirators making the crowd filled with rage. He also shows his sorrow by pausing in the middle of his speech,showing the crowd that he is mournful towards his noble friend Caesar. He also moved the crowd by speaking about Caesar, â€Å" When that the poor have cried, Caesar hath wept. †By stating this he is letting the Romans know that Caesar understood their pain and compassion. Anthony’s remarkable speech was successful because of the way he delivered his emotions (III, ii,92-108). Using logic, Antony was able to affect the crowd over to his side. For example, in his speech , he tells the Romans, â€Å" You all did see that on the Lupercal I thrice presented him a kingly crown, which he did thrice refuse. Was this ambition? †By using his debate skills, he is maneuvering the audience into believing that Caesar was not ambitious by stating that he did not want to take the crown every time he presented it to him. Another way to prove that Antony’s arguments were reasonable was when he questions the crowd, â€Å"You all did love him once, not without cause;What cause withholds you then to mourn for him ? †This reminds the crowd of how their lives were before Caesar was killed, making them realize how the conspirators manipulated them. Antony was able to successfully persuade the crowd by using the rhetorical device logos. Anthony’s speech was magnificent because it contained rhetorical devices. By using ethos he was able to make the crowd consider him truthful. He also conveyed the crowd to rebel and feel sympathy by using pathos. Finally, he was able to completely turn the crowd over by reasoning with them. In the end, Mark Antony was able to convince a large group of people because he contained debate skills like no other.
Sunday, September 1, 2019
Television Impact On On Presidential Elections
I do believe that television has had a positive impact on presidential elections. In modern times there is a need for television for these types of events. The authors mentioned agreed with the fact that television has had a positive impact on presidential elections. One source, Source D, is a chart of the ratings for presidential debates. I believe that television has had a positive impact on presidential elections because the world has changed in recent years, the people have changed, there is a trust in the people who are on television, and there is a more honest aspect when someone sees it themselves.I believe that television has been a positive impact for presidential elections because the world has changed into more modern times. Most people will agree that people today use technology for almost everything, presidential elections are no different. Watching a debate on television rather than over the radio has more of an impact in the fact that watching someone delivering a spee ch is much different than simply hearing it. When you can see a person and their actions, you can have a better understanding on whether or not that person is trustworthy.Because of this, there is a more honest aspect when you can observe who is giving a speech over just hearing it or hearing other people talk about it. This is positive because you can make better judgments about a person when you see them rather than just hearing them. Television has also had a positive impact on presidential elections because the people themselves have changed. In his article, â€Å"Has Television Reshaped Politics? †Source A states, â€Å"The people have once more become the nation, as they have not been since the days when we were small enough each to know his elected representative.As we grew, we lost this feeling of direct contactâ€â€television has now restored it. †(Campbell) The United States have grown exponentially in numbers since its beginning, and because of this one cannot truly know what came from where when it comes to these issues. The United States has grown too big in numbers to not have the technology like television to educate and allow the people to see these debates first hand. This is positive because there are too many people to not have this technology to help. The people also put their trust in people that have power.In his article, â€Å"Channels of Power: The Impact of Television on American Politics,†Source E states, â€Å"Johnson was a great believer in public opinion polls, and he knew that a recent poll had shown that the American people trusted Walter Cronkite more than any other American to â€Å"tell it the way it is. †(Ranney) Because of this, the American people placed their trust in the hands on Cronkite. They trusted him more than they did their president, and because of that President Johnson made the decision to get out of Vietnam and not run for another term as President.President Johnson knew that the American people would listen to Cronkite more than they would him. This made television positive because they could see for a fact what Cronkite had to say. The chart in Source D shows the television ratings for presidential debates. The ratings have had an overall decline as the years go on. This is because the people tend to change, and the technology is not advanced enough yet for them to be satisfied.As in the above argument, where they needed to see the candidates in order to truly have a grip on what they are saying, they now need a newer way to view the candidates in the debates for the people to have a better understanding of them. This is positive because the human race is never truly satisfied and will keep on wanting a better understanding of the things that are important to them. In conclusion, television has had a positive impact on presidential elections. It is positive because the people can make better judgments about a person when they watch them, rather than m erely hearing them.It is also positive because the population of the United States is too immense for word to get around, the people cannot afford to not have this type of technology. Another reason why it is positive is because the people generally tend to put their trust in people in power, in order to see for a fact what is true. Finally, television is positive for presidential elections because the people will keep craving for more ways to have a better understanding of the people they are voting for.
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