The Twin Track Approach In Sports Physical Education Essay

The Twin Track Approach In Sports Physical Education Essay With the profile of sport in England so high, and in light of the successful Olympic bid for 2012, the opportunity for participation in sport in this country has risen dramatically. The government recognises this opportunity and has always tried to link its self to sporting success, to help promote patriotism, social values and education. The game plan is a strategy for delivering the governments sport and physical activity objects. With the government setting an ambitious task of: increasing sport and physical activity. With the target of achieving 70% of the population participating in 30 minutes of moderate exercise, five times per week. (Sport development.info Oct 2009) The twin track approach in this country is designed to increase the number of people participating in sport on a regular basis. The assumption being that more people participating means the need for more modern facilities, with better coaches which will lead to more medals at elite levels and the country hosting more mega events. This report will show how the national governing body of gymnastics is tackling the challenge that the government has set them at grass-roots and elite levels of performance, as well as hosting mega events. British gymnastics British gymnastics is the UK governing body for gymnastics it is dedicated to developing levels and quality across a range of discipline. British gymnastics is a non profit organisation. Hundreds of thousands of young gymnasts enjoy the sport in school, recreational sessions at leisure centres and at British gymnastic registered clubs that complete the path way from beginner to Olympian. British gymnastics works along side, English gymnastics, sport England, sport UK, lottery funded and many more. (British gymnastics Oct 2009) Grass roots Gymnastics is a foundation sport, this is because it develops, speed, co-ordination, balance and agility. These physical qualities are inherent in most sports, for this reason all British children would benefit from this and most do in their first eight years. Participating in gymnastics from an early age, will acquire physical literacy, which is the foundation for a lifelong participation in physical activity and for a successful performance at elite level of sport. (Gymnastics England Oct 2009) National school games The new key stage 1 and 2 competitions, incorporates body management, floor and vault exercises to develop a young persons core skills. This not only strengthens the first tier of the gymnastics pathways but also: encourages partnerships to engage in gymnastics, strengthens school club links, encourages talent identification, standardises competition in schools, encourages an appropriate competitive environment is set, ensures an increase in the number of children accessing gymnastic competitions, provides a foundation for other sports, nurtures each young persons confidence to continue with an active life style. England gymnastics is working towards creating a single structure for gymnastic competitions in schools. England gymnastics have created an accessible standardised local gymnastic competition for beginners. The programme aims to provide safe enjoyment that will improve learning and lead to a lifelong participation in physical activity. (England gymnastics Nov 2009) The UK school games The UK school games is used to bring a change in the content, structure and presentation of competitive sporting opportunities for young people whilst promoting the work underway in each home nation to improve sport and physical education. The show case opportunity provided by this event offers opportunity to promote and secure change within existing competitive structures. It is used to involve more young people in volunteering in sport, create first class child protection and for identifying young sporting talent. Gymnasts competing in the games have developed through the talent development programmes and will hope to go on to represent their country at international level. The British gymnastics association is working with the schools association to implement national school completion framework to establish development pathways. (Gymnastics England Oct 2009) Schools that register with the British Gymnastic Association (BGA) are allowed to register their details and record levels and nature of participation in gymnastics in a school setting. Registration is free and schools receive the following benefits, e-news featuring profiles of gymnasts, expert ideas for warm ups, competition and judging advice, case studies, and success stories from other schools. Information about: professional development. Free preview resources. Access to: British gymnastics recourses. (British gymnastics Oct 2009) Government announces grassroots grants 2008 Grass root grants aim to make a real difference by working with small local community groups, with an annual income below  £20,000 this could be for new kit, coaching new volunteers, or simply just a lick of paint in the sports hall. Local regional and national businesses are invited through investing in the schemes innovative endowment match challenge, the first of its kind in England. The government has set aside a pot of  £50 million from which it will match endowment investments from businesses, this offers businesses the chance to support and contribute in the communities they operate. (British gymnastics Oct 2009) A commitment to sport The present government has been committed to the development of sport in school since 2000. The launch of the strategy a sporting future for all in 2000 included the following provision, funding for primary schools to provide facilities for pupils and the wider community, the establishment by 2003 of 110 specialist sports colleges, the appointment of 600 sports school co-ordinators and the development of more after school sport provision. Further allocations in funding in 2002 were followed in 2004 by an announcement that a further  £500 million was to invest in school sport for, the completion of the network 400 sports colleges, improving the quality of coaching provision, improving links between schools and sports clubs and training and developing PE/sports teachers skills. (Teaching experience Oct 2009) Development British gymnastics provides British gymnastics registered clubs with information to support their development. It identifies key areas that can help strengthen the club structure and philosophy programmes that can ensure the best environment is available for the gymnasts. (British gymnastics Nov 2009) Gym mark The introduction of sport Englands club mark has encouraged British gymnastics to adopt its own criteria to enable gymnastics clubs to work towards nationally recognised accreditation. Gym mark is British gymnastics club accreditation scheme that recognises a quality club. Gym mark addresses issues such as equality and child protection, which gives confidence to parents choosing a club for their children. Gym mark provides an excellent template for continuing club development, especially its junior structure. Gym mark also gives help and advice in developing skills for everyone including coaches, officials and volunteers. Clubs will be listed with relevant sports directory which will help attract new members and raise clubs profile. (British gymnastics Oct 2009) Coaching British gymnastics has a coach education programme in place to ensure enough fully qualified coaches provide the highest quality of coaching at all levels from grass roots to elite gymnasts to realise their full potential. British gymnastics is approved by the qualification and curriculum authority (QCA) as an awarding body for official gymnastic qualifications in the UK. (British gymnastics Oct 2009) English gymnastics has just been awarded a three year grant of  £2.14 million from Sport England to provide high quality coaches in its clubs throughout England. Clubs and other regional associations have come together and raised  £1.8 million to match the funding and maximise the benefits of the programme. (English gymnastics Nov 2009) Surveys Between March and May this year 45 funded sports including gymnastics were surveyed to measure levels of satisfaction in the individual sport. Over the next four years Sport England will be working with these sports to help improve quality of sporting provision to people in England. (Sport England Oct 2009) Gymnastics and movement for people with disabilities Gymnastics for people with disabilities is an adaptation of main stream gymnastics covering all aspects and can be recreational or lead to competitive opportunities; British gymnastics have been developing a programme for disabled gymnasts starting with motor skills for those with more severe mobility problems, and leading on to a foundation programme for the more able gymnasts. The disability groups can be split into four major areas; learning, physical, hearing and visual impairment. Currently a motor activity programme is being developed which will provide a frame work through which even the most profoundly disabled gymnasts can participate. A competitive programme has been established in artistic, tramp lining, rhythmic, acrobatic and aerobic gymnastics. (English gymnastics Nov 2009) Mega events With the government saying that hosting mega events, will heighten the profile of the sport, which in turn will increase participation, which will lead to better athletes and more medals. Britain has already got the 2012 Olympics, but in October 2009 the artistic world gymnastics championships were held in London for the first time, the championships brought together elite gymnasts from China, France, Korea, Croatia, Japan, USA, Romania, Poland, Spain, Germany, Ukraine, Great Britain, and many more counties, (world gymnastics 2009) The event was a great success for team GB as Beth Tweddle just four days after falling from her favoured uneven bars, won gold on the floor, having become Britains first ever world champion in 2006 on the un even bars Tweddle, became only the 5th woman in history to claim world titles in both events. Beth said I had to prove to myself that I was one of the best on the floor, it is the best feeling in the world. (Daily mail web site 2009) Winning medals Olympic and paralympic sport has come a long way in recent times, it typically takes athletes around eight years to reach their peak once their talent has been identified and nurtured, this involves lots of support from coaches, doctors to bio-chemists. Nothing is left to chance from the food they eat to the kit and apparatus they use. UK sport is dedicated to the delivery of medal success at the worlds biggest events, mainly the Olympic and paralympic games. They are set to invest  £10 million in the next four years in gymnastics to help gymnasts get the best coaching, kit and equipment available. (UK sport) Plans for success After winning 5 medals at the European artistic championships, British gymnastics plans to step up things for success at London 2012, by further developing sport, science and medical services within their elite programme. Louise Fawcett will join the English Institute of sport as head of sport, science and medicine for British gymnastics, co-ordinating support services for the world class funded Olympic performance programme. Fawcett says having worked with high performance sport for many years, having the opportunities to co-ordinate support services for such an exciting Olympic sport is a great challenge. (British gymnastics Nov 2009) Summary With the 2012 Olympics round the corner, and the success of the world artistic championships, the profile of gymnastics in England will never have been so high, thousands of young gymnasts at their local clubs will be hoping that they can go on and become the next Beth Tweddle or Daniel Keating. Schools are doing there up most to ensure that everyone takes part both on a recreational and elite level. Now British gymnastics has introduced its disabled classes it means that everyone can take part. British gymnastics working alongside English gymnastics and sport England means the future of our counties gymnasts is very bright, and with the  £10 million pound being invested in our gymnasts of the next four years the chance of more medal success has never been so great.

Art history

Romanticism began in Germany and England in the early 19th century and spread throughout Europe by the 1820. The Romantic Movement was caused by the sudden social changes that occurred during the French Revolution as a revolt against Neo- classicism and its emphasis on order, harmony and balance. (Britannica Online Encyclopedia) The movement began as an artistic movement that rejected the traditional values of social structure and religion and encouraged individualism. Romantic artists valued imagination over reason and beauty.They loved nature and ere dedicated to examining personality and moods. Their paintings represented celebration of the heroic struggle of common people. Some of the well-known Romantic artists are John Constable, Thomas Cole, Francisco De Soya and Henry Fusels. (The Art World, n. D. ) Some of the characteristics of paintings of this period are their focus on heroic subjects, use of intense colors, loose brush strokes and dense texture of the painting. With the Industrial Revolution came new technology and machine power that changed the social condition.People had to move away from mom to crowded cities to find Jobs and work long hours. Romantic artists painted to get away from the cruel struggle of common people and for yearning for idealized rural pastoral life. AY. Realest: (1850- 1880) The Realist artists in France revolted against romantic ideals of distorted beauty and imagination. Realists believed in objective reality, seeking to represent the truth and accuracy of ordinary world. They wanted to show the natural truth of their subject and chose from everyday life around them, often painting images of the poor working class and displaying human misery and poverty.Paintings of realism often carried a moral or social message portraying the drudgery of everyday life. Some of the artists who represent realism period are Gustavo Courier, Jean-Francis Millet, Eduardo Meant (The Art World, n. D. ) and also American artists who studied in F rance, Thomas Skins and Henry Tanner and characterized by accurate portrayal of ordinary working people without personal bias or interpretation. Social condition that contributed to this art movement was France Revolution that began during the 1848 and lasted until 1880 which was a consequence of the industrial revolution.With the implementation of machine power, factory owners grew wealthy while the common workers labored long hours for low pay. Anger and resentment fueled strikes and revolts. AY. Analysis During the middle of the sass, Romanticism began to show signs of being extreme partly because of the fact that most art works were becoming increasingly opulent. Art lovers and enthusiasts who were accustomed to this form of art began to find it rather dull. Therefore, there was a need to introduce another form of art that was different from romanticism. People wanted to see the world in realistic point of view. Gnocchi, n. . ) This is how Realism was introduced. European nation s were engaged in wars, for example Russia had dominated Poland. People who had been crushed had a need to express a sense of patriotism and devotion to their traditions. Artists used their paintings to express the importance of their own culture. Revolution was also an element in paintings of the romantic era, but Realism focuses on practical subjects. AAA. Similarities or Differences Both movements were reactions to social conditions resulted by the industrial revolution.The industrial revolution caused the building of large factories and the wieners got wealthy while the lower working classes labored long hours for low pay. Workers' attempts to fight for better pay were often suppressed. Anger and resentment at capitalism often resulted in strikes and revolts. Romanticism and realism were two competing styles of artistic and practice. Romanticism emphasized heroic achievement and the power of the emotions whereas realism focused on individuals, work and social Justice portraying the actual living conditions of common working people, and often used gloomy color in their paintings.Romantic painting is nearly characterized by an imaginative and a dreamlike quality and strives to express feeling intense, mystical, or elusive. Realism, on the other hand, is an attempt to accurately describe human behavior and objects precisely as in real life. Babe. Explanation By deviating from earlier tradition of idealizing situation of Romantic artists' imagined beauty, the realists were attempting to capture the actual experience and struggle of common people in hope that it would spur social and economic reform. Babe. Reference to Work of Art John Constable and Jean Millet represent the difference in these two art periods.John Constable was an English painter who painted his landscape in the romantic style. â€Å"The Hay Win† is a countryside scene with romantic and dreamy features like streams and county cottages. He used luminous colors and bold thick brushwork an d focused on the qualities of light and sky rather than details of a scene. (The National Gallery, n. D. ) Jean- Franà §ois Millet was a French painter who focused on realistic things of everyday life and painted ordinary working people. In his painting â€Å"The Gleaners†, Millet displays the hard working peasants removing the last bits of the rain from a wheat field.He used dark, muted colors instead of luminous colors like Constable. There is no fanciful imagination, Just a painting of everyday life. Babe. Relation of Later Work to Earlier Work Again, the realist artists used their work to portray the actual living conditions of common people in contrast to romantic view of earlier works. John Constable's cottage scene with a tranquil stream represented the yearning nostalgia for idealized pastoral life of the lowly desperate fame's who must glean every last grains of wheat in Millet's painting. AC. Art History In not more than 300 words, write a descriptive account of Harmen Steenwyck's: Still Life: An Allegory of the Vanities of Human Life ( Illustration Book, Colour Plate 10), paying particular attention to the organisation and lighting of the composition and to the effects of tone and colour. Harmen Steenwyck illustrates an eclectic mix of objects in this fine oil painting. The objects are placed close to the picture plane, as within reach of the spectator, drawing the eye from left to right as the clustered objects increase in height. This suggests that this is the way that Steenwyck wanted the spectator to view them. His skilful use of light draws us to the principal object, the illuminated skull, bringing out the richness of its golden colour whilst depriving the hollows of the eyes to add depth. Many of the objects have spherical parts to them that again are highlighted through the use of light. Steenwyck manipulates light and shade through gradual transition to form the illusion of their roundness. Not only do these contrasts produce a striking illustrative effect but they also help to define the objects from one another. The fine brushwork picks up the finest detail, such as the leaves of the well thumbed books, the dial on the watch and the fraying rope on the urn. Harmen has organised the majority of his objects to the right side of the piece leaving the left feeling rather vacant, with our attention drawn to the pearlescent shell that stands almost solitary. The painting depicts objects of grandeur, inducing the idea of wealth and travelling through such choice objects as the Japanese sword, Grecian style urn and the shell, those these are overshadowed by the objects with the most emotional quality, the skull and the waning lamp symbolising death and the frailty of life. The skull seems out of place sharing a table with such other splendid objects, leaving the spectator questioning the choices Steenwyck has made, perhaps these symbols of death serve as a warning to those who seek happiness in the â€Å"Vanities of Human Life†. TMA 02 Part 2 Literature Read also History Quizzes Read John Keat's Sonnet, â€Å"When I have fears that I may cease to be† ( resource book 1, A39). In not more than 300 words, write an analysis of the sonnet basing your response on the questions below. 1. Comment on the use of repetition. (e.g. â€Å"when†, â€Å"before†, â€Å"never†.) 2. What is the relationship between the octave and the sestet? 3. What part do the different rhymes, including the final couplet, play in conveying the meaning of the sonnet? Keats begins by setting the tone for the sonnet, â€Å"When I have fears†¦Ã¢â‚¬ , indicating the major theme that is to run throughout. In the first two quatrains he writes about the fear of dying young, fearing he will not have the time he needs to fulfil himself as a writer and the third quatrain fearing that he will lose his beloved. Farming metaphors, â€Å"rich garners the full-ripen'd grain†, emphasize how he sees his imagination and creativity, like a fertile field waiting to be sown, with the alliteration in garners and grain highlighting this further. Keat's emotive language draws attention to his love poetry, â€Å"before my pen has gleaned my teaming brain†, believing the world to be full of material he can create countless poetry from, devoting more lines to his love of verse than his beloved. Enchanting imagery illustrates his philosophy on love, â€Å"faery power† a mystical and supernatural force that he has no control over. Alongside this immense fear of death, is the concern with time, the repetition of â€Å"When I† beginning both quatrains of the octave and introducing the sestet, stresses Keats preoccupation with time and the fear of it consuming him. This sense of time running out is emphasized through the enjambment in the third quatrain; the final line runs into the closing couplet, urging the reader on. The rhyming scheme, abab cdcd gg, helps to intensify the poems train of thought and has great effect in the closing couplet as Keats resolves his fears by declaring the triviality of love and fame, â€Å"love and fame to nothingness do sink.† The octave and the sestet share the continuity of rhyme, and underlying theme of death, though there is a clear change in the range of emotions as the sonnet develops. The octave concentrates on the emotions of confusion and fear whilst the sestet focuses on the fear of loving and being loved until reaching a feeling of acceptance over his fears. TMA 02 Part 3 Music For this part of the TMA you will need to listen to Track 10 on the TMA CD. You will hear the â€Å"First Tableau: The Shrovetide Fair† from Petrushka by Stravinsky. Listen to the track a few times and then answer the question below in up to 300 words on continuous prose. How does Stravinsky combine the elements of music, introduced to you in Unit 3, to establish the atmosphere of the fair? Stravinsky begins the piece with a high-pitched flourish of woodwind instruments, such as the flute and clarinet and is then accompanied by the strings which increase in volume to meet with a fanfare of trumpets, it sounds like the fair is opening. Rhythm plays a key role throughout the entirety of the piece, fluctuating sounds are created as the fluttering of the woodwind section meet with the loud sharp sounds of the strings. Stravinsky manipulates this rapidly changing rhythm to establish the excitement and commotion of the fair. The choice of instruments, and concentration on certain sections of the orchestra in particular parts adds colour to the piece, perhaps representative of the colours and vibrant images of the fair. In the same way, the fullness of the orchestra may relate to the busy crowds at the fair and at the same time sounds very grand. Full use is made of the orchestra, to create great noise and effect, where the strings are concentrated on, the music is very grand and striking; whereas the effect the woodwind has on the piece is fleeting and soft. The gradual change in tempo is marked by drum rolls which introduces adagio and accelerando, the timbre of the drum is loud and echoes briefly creating the feeling of suspense at the fair. Each movement brings its own highlight, from the strong trumpet blasts to the precise beats of the triangle, which accompanies the softer woodwind section at the end of the piece. The atmosphere of the fair is lively and upbeat as Stravinsky ends his â€Å"First Tableau†, he employs a melody of sounds that are reminiscent of Russian dance and manages to shift effortlessly from establishing excitement, commotion and suspense throughout the piece to this buoyant finale. TMA02 Part 4 Philosophy Answer these questions in not more than 300 words in total. 1. Here are some claims. If possible, give a sound argument for each claim. Where this is not possible, give a valid argument anyway. Do indicate those cases where you believe your argument is sound. A.) The Queen is a mother B.) The rain in Spain falls mainly on the plain C.) The earth is flat. D.) Eating people is wrong. E.) Oranges are not the only fruit. All women who give birth are mothers. The Queen has given birth. The Queen is a mother. Rain clouds can only form over plains. It rains in Spain. The rain in Spain falls mainly on the plain. People cannot walk any other surface than horizontal. People walk the earth. The earth is flat. Eating people is illegal. If something is illegal, it is wrong. Eating people is wrong. Every morning I eat fruit. I never eat oranges. Oranges are not the only fruit. Arguments A and E are both sound arguments, as the premises for both are al true, and it follows that if the premises to an argument are true then the conclusion must be true. Arguments B and C fail at being sound arguments as the information used can be disproved. Argument D is not sound, as in some countries and within some cultures cannibalism is legal. 2. Give an example of an inductive argument, and explain why it is not deductive. I've owned lots of cars. All the cars I've owned have had four wheels. All cars have four wheels. This argument cannot be deductive because it is based purely on assumption. I'm assuming that all cars have four wheels because I've only owned cars with four wheels; however the volume of cars I've owned is minute in comparison to the variety of models and makes. Therefore, I cannot presuppose that every car follows the same rule. Art History Compare and Contrast Essay Ancient Egyptian and Ancient Aegean art are both great influences to what we call art today. Egyptian art emphasized engravings, sculptures and paintings while Aegean art emphasized sculptures, paintings and decorations. One piece I chose to compare and contrast from the Egyptian art was Sekhmet. Another piece I chose to compare and contrast from the Aegean art period is the Snake Goddess. These two beautiful artworks are alike and similar in many ways.The Snake Goddess and Sekhmet are alike because they are both sculptures that show signs of power. The Snake Goddess is a sign of power because she has a form-fitting outfit that exposed her breasts and a flounced skirt with many layers that covered her feet. She is holding two snakes tightly in each arm. Some researchers claimed that Minoans worshipped the Snake Goddess as â€Å"Mother Goddess†. In Aegean culture they believed snakes were good and that they showed a sign of water.This also indicated f ertility, health and wealth. She also had a panther on top of her head, which shows that she is in touch with nature and that was a sign of power as well. Not only is she in touch with nature but her elaborate headdress and extravagant outfit shows wealth. Sekhmet also shows many signs of power. Her name is derived from the Egyptian word â€Å"Sekhem† (which means â€Å"power† or â€Å"might†) and is often translated as the â€Å"Powerful One† This ancient Egyptian goddess Sekhmet is known as the Eye of Ra.She is the power that protects the good and gets rid of the wicked. Sekhmet is the wrathful form of Hathor who is the Goddess of joy, music, dance, sexual love, pregnancy and birth. She is also Goddess of the sun and one of her powers is intense blinding heat. Her weapons were arrows, which were supposed to pierce hearts. Also Sekhmet would get a fiery glow from her body when she got upset and hot desert winds came from her breath. She was also a goddes s of healing. When people became ill, she was capable of healing them with her powers.The Snake Goddess and Sekhmet are also very different in many ways. One way they are different is the rolls of women in their time period. Egyptians and Aegean people both believed that women held power but they weren’t similar. For example in Aegean time women were a powerful symbol of fertility and having a connection with the earth and animals easily fits in with what they worshipped. On the other hand, Sekhmet showed a different view on women. The woman's body that was Sekhmet carried was for birth and new life.The head of the lioness that was Sekhmet showed a sign of destruction, danger and death and reflected the steady and piercing gaze of the hunter that she is. Sekhmet also represents the presence of good and evil, creation and destruction and the ability and willingness to nurture and protect life, and the ability to take it away in a blink of an eye. Not only are their rolls in so ciety different but how the pieces of arts were worshipped also contrasted. The Snake Goddess was used to show rebirth, resurrection or renewal of life.They believed this because the snake was a sign of power and symbolized the purification by water in the funeral cult, so the snake became a protector of the pharaohs in their death. On the other hand, Sekhmet was worshipped Sekhmet was worshiped throughout Egypt, particularly wherever a wadi opened out at the desert edges. This is the type of terrain that lions are often found. Many of them came to the desert to be able to drink and to prey upon cattle in that area. Art History Compare and Contrast Essay Ancient Egyptian and Ancient Aegean art are both great influences to what we call art today. Egyptian art emphasized engravings, sculptures and paintings while Aegean art emphasized sculptures, paintings and decorations. One piece I chose to compare and contrast from the Egyptian art was Sekhmet. Another piece I chose to compare and contrast from the Aegean art period is the Snake Goddess. These two beautiful artworks are alike and similar in many ways.The Snake Goddess and Sekhmet are alike because they are both sculptures that show signs of power. The Snake Goddess is a sign of power because she has a form-fitting outfit that exposed her breasts and a flounced skirt with many layers that covered her feet. She is holding two snakes tightly in each arm. Some researchers claimed that Minoans worshipped the Snake Goddess as â€Å"Mother Goddess†. In Aegean culture they believed snakes were good and that they showed a sign of water.This also indicated f ertility, health and wealth. She also had a panther on top of her head, which shows that she is in touch with nature and that was a sign of power as well. Not only is she in touch with nature but her elaborate headdress and extravagant outfit shows wealth. Sekhmet also shows many signs of power. Her name is derived from the Egyptian word â€Å"Sekhem† (which means â€Å"power† or â€Å"might†) and is often translated as the â€Å"Powerful One† This ancient Egyptian goddess Sekhmet is known as the Eye of Ra.She is the power that protects the good and gets rid of the wicked. Sekhmet is the wrathful form of Hathor who is the Goddess of joy, music, dance, sexual love, pregnancy and birth. She is also Goddess of the sun and one of her powers is intense blinding heat. Her weapons were arrows, which were supposed to pierce hearts. Also Sekhmet would get a fiery glow from her body when she got upset and hot desert winds came from her breath. She was also a goddes s of healing. When people became ill, she was capable of healing them with her powers.The Snake Goddess and Sekhmet are also very different in many ways. One way they are different is the rolls of women in their time period. Egyptians and Aegean people both believed that women held power but they weren’t similar. For example in Aegean time women were a powerful symbol of fertility and having a connection with the earth and animals easily fits in with what they worshipped. On the other hand, Sekhmet showed a different view on women. The woman's body that was Sekhmet carried was for birth and new life.The head of the lioness that was Sekhmet showed a sign of destruction, danger and death and reflected the steady and piercing gaze of the hunter that she is. Sekhmet also represents the presence of good and evil, creation and destruction and the ability and willingness to nurture and protect life, and the ability to take it away in a blink of an eye. Not only are their rolls in so ciety different but how the pieces of arts were worshipped also contrasted. The Snake Goddess was used to show rebirth, resurrection or renewal of life.They believed this because the snake was a sign of power and symbolized the purification by water in the funeral cult, so the snake became a protector of the pharaohs in their death. On the other hand, Sekhmet was worshipped Sekhmet was worshiped throughout Egypt, particularly wherever a wadi opened out at the desert edges. This is the type of terrain that lions are often found. Many of them came to the desert to be able to drink and to prey upon cattle in that area. Art history Romanticism began in Germany and England in the early 19th century and spread throughout Europe by the 1820. The Romantic Movement was caused by the sudden social changes that occurred during the French Revolution as a revolt against Neo- classicism and its emphasis on order, harmony and balance. (Britannica Online Encyclopedia) The movement began as an artistic movement that rejected the traditional values of social structure and religion and encouraged individualism. Romantic artists valued imagination over reason and beauty.They loved nature and ere dedicated to examining personality and moods. Their paintings represented celebration of the heroic struggle of common people. Some of the well-known Romantic artists are John Constable, Thomas Cole, Francisco De Soya and Henry Fusels. (The Art World, n. D. ) Some of the characteristics of paintings of this period are their focus on heroic subjects, use of intense colors, loose brush strokes and dense texture of the painting. With the Industrial Revolution came new technology and machine power that changed the social condition.People had to move away from mom to crowded cities to find Jobs and work long hours. Romantic artists painted to get away from the cruel struggle of common people and for yearning for idealized rural pastoral life. AY. Realest: (1850- 1880) The Realist artists in France revolted against romantic ideals of distorted beauty and imagination. Realists believed in objective reality, seeking to represent the truth and accuracy of ordinary world. They wanted to show the natural truth of their subject and chose from everyday life around them, often painting images of the poor working class and displaying human misery and poverty.Paintings of realism often carried a moral or social message portraying the drudgery of everyday life. Some of the artists who represent realism period are Gustavo Courier, Jean-Francis Millet, Eduardo Meant (The Art World, n. D. ) and also American artists who studied in F rance, Thomas Skins and Henry Tanner and characterized by accurate portrayal of ordinary working people without personal bias or interpretation. Social condition that contributed to this art movement was France Revolution that began during the 1848 and lasted until 1880 which was a consequence of the industrial revolution.With the implementation of machine power, factory owners grew wealthy while the common workers labored long hours for low pay. Anger and resentment fueled strikes and revolts. AY. Analysis During the middle of the sass, Romanticism began to show signs of being extreme partly because of the fact that most art works were becoming increasingly opulent. Art lovers and enthusiasts who were accustomed to this form of art began to find it rather dull. Therefore, there was a need to introduce another form of art that was different from romanticism. People wanted to see the world in realistic point of view. Gnocchi, n. . ) This is how Realism was introduced. European nation s were engaged in wars, for example Russia had dominated Poland. People who had been crushed had a need to express a sense of patriotism and devotion to their traditions. Artists used their paintings to express the importance of their own culture. Revolution was also an element in paintings of the romantic era, but Realism focuses on practical subjects. AAA. Similarities or Differences Both movements were reactions to social conditions resulted by the industrial revolution.The industrial revolution caused the building of large factories and the wieners got wealthy while the lower working classes labored long hours for low pay. Workers' attempts to fight for better pay were often suppressed. Anger and resentment at capitalism often resulted in strikes and revolts. Romanticism and realism were two competing styles of artistic and practice. Romanticism emphasized heroic achievement and the power of the emotions whereas realism focused on individuals, work and social Justice portraying the actual living conditions of common working people, and often used gloomy color in their paintings.Romantic painting is nearly characterized by an imaginative and a dreamlike quality and strives to express feeling intense, mystical, or elusive. Realism, on the other hand, is an attempt to accurately describe human behavior and objects precisely as in real life. Babe. Explanation By deviating from earlier tradition of idealizing situation of Romantic artists' imagined beauty, the realists were attempting to capture the actual experience and struggle of common people in hope that it would spur social and economic reform. Babe. Reference to Work of Art John Constable and Jean Millet represent the difference in these two art periods.John Constable was an English painter who painted his landscape in the romantic style. â€Å"The Hay Win† is a countryside scene with romantic and dreamy features like streams and county cottages. He used luminous colors and bold thick brushwork an d focused on the qualities of light and sky rather than details of a scene. (The National Gallery, n. D. ) Jean- Franà §ois Millet was a French painter who focused on realistic things of everyday life and painted ordinary working people. In his painting â€Å"The Gleaners†, Millet displays the hard working peasants removing the last bits of the rain from a wheat field.He used dark, muted colors instead of luminous colors like Constable. There is no fanciful imagination, Just a painting of everyday life. Babe. Relation of Later Work to Earlier Work Again, the realist artists used their work to portray the actual living conditions of common people in contrast to romantic view of earlier works. John Constable's cottage scene with a tranquil stream represented the yearning nostalgia for idealized pastoral life of the lowly desperate fame's who must glean every last grains of wheat in Millet's painting. AC. Art History In not more than 300 words, write a descriptive account of Harmen Steenwyck's: Still Life: An Allegory of the Vanities of Human Life ( Illustration Book, Colour Plate 10), paying particular attention to the organisation and lighting of the composition and to the effects of tone and colour. Harmen Steenwyck illustrates an eclectic mix of objects in this fine oil painting. The objects are placed close to the picture plane, as within reach of the spectator, drawing the eye from left to right as the clustered objects increase in height. This suggests that this is the way that Steenwyck wanted the spectator to view them. His skilful use of light draws us to the principal object, the illuminated skull, bringing out the richness of its golden colour whilst depriving the hollows of the eyes to add depth. Many of the objects have spherical parts to them that again are highlighted through the use of light. Steenwyck manipulates light and shade through gradual transition to form the illusion of their roundness. Not only do these contrasts produce a striking illustrative effect but they also help to define the objects from one another. The fine brushwork picks up the finest detail, such as the leaves of the well thumbed books, the dial on the watch and the fraying rope on the urn. Harmen has organised the majority of his objects to the right side of the piece leaving the left feeling rather vacant, with our attention drawn to the pearlescent shell that stands almost solitary. The painting depicts objects of grandeur, inducing the idea of wealth and travelling through such choice objects as the Japanese sword, Grecian style urn and the shell, those these are overshadowed by the objects with the most emotional quality, the skull and the waning lamp symbolising death and the frailty of life. The skull seems out of place sharing a table with such other splendid objects, leaving the spectator questioning the choices Steenwyck has made, perhaps these symbols of death serve as a warning to those who seek happiness in the â€Å"Vanities of Human Life†. TMA 02 Part 2 Literature Read also History Quizzes Read John Keat's Sonnet, â€Å"When I have fears that I may cease to be† ( resource book 1, A39). In not more than 300 words, write an analysis of the sonnet basing your response on the questions below. 1. Comment on the use of repetition. (e.g. â€Å"when†, â€Å"before†, â€Å"never†.) 2. What is the relationship between the octave and the sestet? 3. What part do the different rhymes, including the final couplet, play in conveying the meaning of the sonnet? Keats begins by setting the tone for the sonnet, â€Å"When I have fears†¦Ã¢â‚¬ , indicating the major theme that is to run throughout. In the first two quatrains he writes about the fear of dying young, fearing he will not have the time he needs to fulfil himself as a writer and the third quatrain fearing that he will lose his beloved. Farming metaphors, â€Å"rich garners the full-ripen'd grain†, emphasize how he sees his imagination and creativity, like a fertile field waiting to be sown, with the alliteration in garners and grain highlighting this further. Keat's emotive language draws attention to his love poetry, â€Å"before my pen has gleaned my teaming brain†, believing the world to be full of material he can create countless poetry from, devoting more lines to his love of verse than his beloved. Enchanting imagery illustrates his philosophy on love, â€Å"faery power† a mystical and supernatural force that he has no control over. Alongside this immense fear of death, is the concern with time, the repetition of â€Å"When I† beginning both quatrains of the octave and introducing the sestet, stresses Keats preoccupation with time and the fear of it consuming him. This sense of time running out is emphasized through the enjambment in the third quatrain; the final line runs into the closing couplet, urging the reader on. The rhyming scheme, abab cdcd gg, helps to intensify the poems train of thought and has great effect in the closing couplet as Keats resolves his fears by declaring the triviality of love and fame, â€Å"love and fame to nothingness do sink.† The octave and the sestet share the continuity of rhyme, and underlying theme of death, though there is a clear change in the range of emotions as the sonnet develops. The octave concentrates on the emotions of confusion and fear whilst the sestet focuses on the fear of loving and being loved until reaching a feeling of acceptance over his fears. TMA 02 Part 3 Music For this part of the TMA you will need to listen to Track 10 on the TMA CD. You will hear the â€Å"First Tableau: The Shrovetide Fair† from Petrushka by Stravinsky. Listen to the track a few times and then answer the question below in up to 300 words on continuous prose. How does Stravinsky combine the elements of music, introduced to you in Unit 3, to establish the atmosphere of the fair? Stravinsky begins the piece with a high-pitched flourish of woodwind instruments, such as the flute and clarinet and is then accompanied by the strings which increase in volume to meet with a fanfare of trumpets, it sounds like the fair is opening. Rhythm plays a key role throughout the entirety of the piece, fluctuating sounds are created as the fluttering of the woodwind section meet with the loud sharp sounds of the strings. Stravinsky manipulates this rapidly changing rhythm to establish the excitement and commotion of the fair. The choice of instruments, and concentration on certain sections of the orchestra in particular parts adds colour to the piece, perhaps representative of the colours and vibrant images of the fair. In the same way, the fullness of the orchestra may relate to the busy crowds at the fair and at the same time sounds very grand. Full use is made of the orchestra, to create great noise and effect, where the strings are concentrated on, the music is very grand and striking; whereas the effect the woodwind has on the piece is fleeting and soft. The gradual change in tempo is marked by drum rolls which introduces adagio and accelerando, the timbre of the drum is loud and echoes briefly creating the feeling of suspense at the fair. Each movement brings its own highlight, from the strong trumpet blasts to the precise beats of the triangle, which accompanies the softer woodwind section at the end of the piece. The atmosphere of the fair is lively and upbeat as Stravinsky ends his â€Å"First Tableau†, he employs a melody of sounds that are reminiscent of Russian dance and manages to shift effortlessly from establishing excitement, commotion and suspense throughout the piece to this buoyant finale. TMA02 Part 4 Philosophy Answer these questions in not more than 300 words in total. 1. Here are some claims. If possible, give a sound argument for each claim. Where this is not possible, give a valid argument anyway. Do indicate those cases where you believe your argument is sound. A.) The Queen is a mother B.) The rain in Spain falls mainly on the plain C.) The earth is flat. D.) Eating people is wrong. E.) Oranges are not the only fruit. All women who give birth are mothers. The Queen has given birth. The Queen is a mother. Rain clouds can only form over plains. It rains in Spain. The rain in Spain falls mainly on the plain. People cannot walk any other surface than horizontal. People walk the earth. The earth is flat. Eating people is illegal. If something is illegal, it is wrong. Eating people is wrong. Every morning I eat fruit. I never eat oranges. Oranges are not the only fruit. Arguments A and E are both sound arguments, as the premises for both are al true, and it follows that if the premises to an argument are true then the conclusion must be true. Arguments B and C fail at being sound arguments as the information used can be disproved. Argument D is not sound, as in some countries and within some cultures cannibalism is legal. 2. Give an example of an inductive argument, and explain why it is not deductive. I've owned lots of cars. All the cars I've owned have had four wheels. All cars have four wheels. This argument cannot be deductive because it is based purely on assumption. I'm assuming that all cars have four wheels because I've only owned cars with four wheels; however the volume of cars I've owned is minute in comparison to the variety of models and makes. Therefore, I cannot presuppose that every car follows the same rule. Art History Compare and Contrast Essay Ancient Egyptian and Ancient Aegean art are both great influences to what we call art today. Egyptian art emphasized engravings, sculptures and paintings while Aegean art emphasized sculptures, paintings and decorations. One piece I chose to compare and contrast from the Egyptian art was Sekhmet. Another piece I chose to compare and contrast from the Aegean art period is the Snake Goddess. These two beautiful artworks are alike and similar in many ways.The Snake Goddess and Sekhmet are alike because they are both sculptures that show signs of power. The Snake Goddess is a sign of power because she has a form-fitting outfit that exposed her breasts and a flounced skirt with many layers that covered her feet. She is holding two snakes tightly in each arm. Some researchers claimed that Minoans worshipped the Snake Goddess as â€Å"Mother Goddess†. In Aegean culture they believed snakes were good and that they showed a sign of water.This also indicated f ertility, health and wealth. She also had a panther on top of her head, which shows that she is in touch with nature and that was a sign of power as well. Not only is she in touch with nature but her elaborate headdress and extravagant outfit shows wealth. Sekhmet also shows many signs of power. Her name is derived from the Egyptian word â€Å"Sekhem† (which means â€Å"power† or â€Å"might†) and is often translated as the â€Å"Powerful One† This ancient Egyptian goddess Sekhmet is known as the Eye of Ra.She is the power that protects the good and gets rid of the wicked. Sekhmet is the wrathful form of Hathor who is the Goddess of joy, music, dance, sexual love, pregnancy and birth. She is also Goddess of the sun and one of her powers is intense blinding heat. Her weapons were arrows, which were supposed to pierce hearts. Also Sekhmet would get a fiery glow from her body when she got upset and hot desert winds came from her breath. She was also a goddes s of healing. When people became ill, she was capable of healing them with her powers.The Snake Goddess and Sekhmet are also very different in many ways. One way they are different is the rolls of women in their time period. Egyptians and Aegean people both believed that women held power but they weren’t similar. For example in Aegean time women were a powerful symbol of fertility and having a connection with the earth and animals easily fits in with what they worshipped. On the other hand, Sekhmet showed a different view on women. The woman's body that was Sekhmet carried was for birth and new life.The head of the lioness that was Sekhmet showed a sign of destruction, danger and death and reflected the steady and piercing gaze of the hunter that she is. Sekhmet also represents the presence of good and evil, creation and destruction and the ability and willingness to nurture and protect life, and the ability to take it away in a blink of an eye. Not only are their rolls in so ciety different but how the pieces of arts were worshipped also contrasted. The Snake Goddess was used to show rebirth, resurrection or renewal of life.They believed this because the snake was a sign of power and symbolized the purification by water in the funeral cult, so the snake became a protector of the pharaohs in their death. On the other hand, Sekhmet was worshipped Sekhmet was worshiped throughout Egypt, particularly wherever a wadi opened out at the desert edges. This is the type of terrain that lions are often found. Many of them came to the desert to be able to drink and to prey upon cattle in that area.

Antigone - the Use of the Classical Tragedy Concept of...

In Sophocles Antigone, it is evident that the author incorporated the concepts used in classical tragedies in relation to the downfall of the heroine, Antigone. These factors being; hamartia, hubris, and fate clearly demonstrate how Antigone providing a proper burial for Polynices put her against Creon and her provocation against his power. Throughout the play there are various instances where Antigone displays such factors and ultimately they contribute, to a great extent, her demise. The use of the classical tragedy concept of hamartia is largely demonstrated through the character of Antigone. In the play, Antigone s brothers Polyneices and Eteocles begin a struggle for power against one another. Their father, Oedipus, was†¦show more content†¦It was fate that at some point this curse would by some means affect Antigone. At the beginning of the play while talking with her sister, Antigone herself states both her motivation to bury her brother and her fate. Â…whose disobeys in aught, his doom is death by stoning before all the folk. Thou knowest it now; and thou wilt soon show whether thou wilt soon show whether thou art nobly bred, or the base daughter of a noble-line. (Antigone, p.3). Antigone would rather follow the divine law and die than to live by Creon s law and suffer internally knowing that she left her brother unburied. It was fate that Antigone would die if she buried her brother but she never once regretted it. To an extent fate played a si gnificant role in her demise considering that she could not tamper with it since it was her destiny. Through the use of hamartia, hubris, and fate, all devices of the tragic mode, Sophocles created an excellent play. The use of the devices proves that the three factors played a significant role in the downfall of the tragic heroine. He employed these devices through the use of the protagonist, Antigone which created an emotional and dramatic play for the audience. While reflecting on the play, one would question if it was it noble of Antigone to follow divine law, or if she should have obeyed Creon sShow MoreRelatedHistory of Theatre Lesson Notes Essay5401 Words   |  22 Pagesunderstanding of its relationships to the powers that govern its well-being and its own interrelationships (include elements that entertain and give pleasure). Much that is found in ritual, also in theatre (must be actors/directors, both use performing and viewing areas, may use same elements but the distinction between them ultimately depends on their functions). Explain the most significant theories of the origins of theatre: most widely known theory is championed by anthropologists in the late 19th and