Evolution

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Prohibition


------ The severe and mundane quality of life led to excessive drinking


among all members of society; including women, senators, and clergy


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members.


------ The embarrassing and disturbing effects of alcohol became prevalent


in the events of the time. i.e.) Reoccurring fights in inappropriate places


such as weddings and funerals; decreased labor efficiency; an increase of


accidents in workplace; threatening of family balance and spiritual welfare;


general rise in crime, poverty, and violence.


------ These effects led to a want of reform to decrease the level of drinking


in society. Here started the continuing war of the prohibitionists who are


constantly seeking the ban of alcohol.


------ Prohibition party in 186 established; this party advocates that the


nation would never achieve prohibition, and that, once achieved,


prohibition would never be adequately enforced, under either the


Democratic or Republican Party; this was full-fledged organization,


offering candidates for offices at the national, state, and local levels.


-----The Woman’s crusade of 187-74 was a culmination across the United


States of many years of women taking direct action against the saloon and


the liquor traffic.


------ A literary response to demon drink is seen clearly in T.S. Arthur’s


melodramatic novel, Ten Nights in a Bar Room and What I Saw There


(1854). It described in shocking detail how a once-happy village was


ruined by Sam Slade’s tavern. An additional book that shared a similar


message was Stowe’s best-seller in the 1850’s, Uncle Tom’s Cavern.


------ The strategies of prohibitionists can be seen in two major facets;


The moderate one was to simply strengthen the individuals will to resist


the temptation of liquor. Thus, this party was favored temperance over


total annihilation of intoxicants. The other group, however, took a much


more radical approach to the problem at hand. They believed that strong


arm of legislation to all together halt the production of alcohol.


------ Neal S. Dow of Maine is perhaps Demon Drink’s greatest foe. As the


mayor of Portland and an employer of low, Dow had witnessed, first hand,


the deteriorating effect of alcohol. He sponsored the so called Maine Law


of 1851, which called for the termination of liquor manufacturing and


consumption. Various other states followed Maine’s example, but this


response proved to be ineffective and impermanent, for in the following


years most prohibition measure were repealed or declared


unconstitutional.


----- The times put up to great a fight to have its thirst simply terminated by


legislation. But although their ultimate goal was not accomplished, the


prohibitionists did succeed in the sense that there was a decrease in


drinking among women than earlier in the century an overall lessening in


per capita consumption of hard liquor.


----- The movements also clearly foreshadowed the addition of the 18th


Amendment to the constitution in the early 0th century and set the stage


for a future battle of much greater proportions.





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Is Easel Painting Dead?

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Is Easel Painting Dead?


The traditional idea of an artist standing at an easel is probably not a reality today. All the skills that have been acquired over hundreds of years are now being lost. Painting no longer has the force it once had.


500 years ago, people couldn’t read. Artists at that time were very important people. People had to look at their paintings to find out about things, this time was called the renaissance.


Impressionism


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Impressionists were a break from tradition. They were the first artists to use bright colours. This is because they took their canvases outside. When you work out of doors, you have to work quite quickly to catch sunsets e.t.c.


For the people in those days, the pictures looked unfinished and messy, so when they tried to exhibit their pictures in all the official galleries, the academy refused. So in 1874 they organised their own exhibition in a photographers studio and it was nicknamed by a journalist, that they weren’t really paintings, just impressions. They didn’t paint what people thought were suitable subjects.


As well as the usual slapdash paintings, the critics didn’t like the things that they painted e.g. railway stations, people in cafes, ordinary people doing ordinary things.


The impressionists reflected the political thinking of the time; they started to pay attention to the ordinary people and not just the rich.


The impressionists said, “We want to paint modern life in a modern way.” They used, what was then, the modern discovery of photography. It helped them paint things that only lasted for a short time.


They were also influenced by newly discovered work by Japanese artists.


One of the most important impressionists was Claude Monet. He was born in 1840 and died in 16.


The most important part about him was that he decided to work exclusively in front of his subject. He loved all the different colour effects he saw in nature, he wanted to paint the pretty pictures. One of the most helpful things was the invention of paints in tubes. He was brought up in a town called Le Havec on the West Coast of France. The local artist at the time was a man called Boudon. Monet knew him and Boudon was encouraging him to paint outside because the paintings done outside were more lively and fresher. When he was 1/0, he decided to move to Paris. When he went to Paris he was taught in the Academy Swiss by an artist called Charles Gleyre. He taught them the traditional style of painting, but he also encouraged his students to paint outdoors in the woods around Paris. They took advantage of the new transport systems, went into the country, and painted people swimming e.t.c.


The impressionists could be described as light hearted, pleasant, colourful, hearty pictures. There are artists who paint very serious pictures, very deep pictures with a strong meaning. Some people critisised the impressionists because they were only interested in the skin of the subject; their pictures were shallow. To find colourful pictures, Monet built himself a garden outside Paris in Givernay. He spent the rest of his life painting in this garden.


The impressionists chose subjects that would allow them to experiment with colour. They looked for complementary colours, for instance red for green. They would delight in painting a pink house with contrasting purpley shadows or an orange boat on blue water. They applied the paint in quick, spontaneous strokes and scrambles, trying to retain the purity of the colour.


In the picture I am looking at, there is a man and a woman sitting on a boat with houses in the background. There are blues, creams, reds, oranges and yellows, it is a very bright, colourful picture with lots of contrasts. The paint is put on in short strokes. The mood in the picture is a kind of happy, summery and relaxed.


Post-Impressionists


Many artists were impressed with this new use of colour. Some of them wished to take these ideas a little further. These artists were known as the Post-Impressionists. One of these artists was Vincent Van Gough. He was born in Holland in 185 and died in 180.


Vincent’s first choice of career was to be a minister. However he was rejected by the church and turned to his second love, which was painting. Most of his earlier pictures were of peasants and miners painted in dark, earthly colours. Vincent had a brother who sold paintings in Paris and he invited Vincent to come and stay over, it was this time when Vincent first saw the impressionist paintings.


Vincent was always an outsider in Paris society and decided to move to the south of France where he spent the most productive period of his life. He left Paris in 1888 for a town called Arels in the south of France.


Although he never sold any pictures, he managed to get by with financial help from his brother. In one of the letters to his brother he describes how much he was inspired by the landscapes and the people in the south of France. “My emotions are so strong and I work without even being aware of working.” He said. Van Gough loved life, he loved the things he saw and the people he met. His paintings expressed these feelings and he used colour to symbolise the way he felt. He said, “When I paint the brush strokes just flow and are just like words in a speech.”


In his painting ‘Cafe in Arels’ he tells his brother he wants to capture the loneliness and sometimes the suffering of the people who stay there through the night. In his ‘Bedroom in Arels’ he tried to give a feeling of restfulness and sleep, of a place where he could be safe and secure, so he used nice, soft colours.


The way Van Gough applied his paint also gives us a clue about the way he felt. His brush strokes were very expressive. He often used complimentary colours, if he was painting an orange face, he would use a purple sky e.t.c.


Van Gough was not interested in accurate drawing, he didn’t want his paintings to look like a photograph, but he was more interested in conveying the way he felt. Because of this he exaggerated things, he exaggerated colours to show how he felt.


He invited a sophisticated artist to stay with him, but they just didn’t get on, he cut his ear off, so his brother put him into a mental home where he shot himself.


Van Gough was a very influenced artist. He was the one artist that started the painting style of expressionism.


Cubism


An artist who developed Van Gough’s ideas of expressive use of line and colour was Picasso. Picasso was one of the most inventive artists of the twentieth century. He was born in Malaga in the South of Spain in 1881 and died in 17. After showing tremendous promise as an artist he soon outgrew the provincial life in Spain and in 100 he moved to Paris, which was a magnet for artists at the time.


In Paris he was introduced to the work of Van Gough, Cezanne and Guagium, under their influence his pictures became more colourful and impressive. Round about the time, he adopted a predominately blue colour scheme, which he thought was appropriate when drawing the people round about him. He was also influenced by African sculptures (Strong, simplified, expressive shapes) and he incorporated these into his paintings. He invented a new style of painting called Cubism.


In cubism he invented a new style of painting where everything was reduced to flat shapes. When Picasso had become established he was asked by the Spanish Government to decorate the Spanish Pavilion at the World’s Trade Fair in Paris in 16.


He decided to paint an episode from the Spanish civil war. General Franco had bombed the Basque town of Guernica with the help of Hitler’s German bombers; there was no strategic value. They just wanted to teach people a lesson and destroy their morale. Many innocent people died. Picasso was very angry and decided to make this the subject for his picture. “I want to express my hatred of the war which has sank my country into an ocean of pain and death.”


He used his inventions to his pictures more expressive like the woman holding the dead baby screaming. It is a mural painting; it is 11’ 6” high and 6’ long. It is done blacks, whites and greys. He wanted it to be a sad, somber painting so he didn’t use any colour. He used the horse as a symbol for the hard working Spanish people, they were innocent, loyal, then they were cruelly tortured, and he uses the bull to symbolise brutality.


In Guernica, Picasso is making his protest against the futility of war.


The End of Painting?


Painting had come to a dead end, artists had dispensed with subject matter, they didn’t use any recognisable techniques. In fact, the most important thing seemed to be ideas.


Artists now a days seem to have forgotten how to draw and paint pictures. They call themselves conceptual artists. The idea is enough. The Turner prize gives thousands of pounds to artists for switching lights on and off or exhibiting their unmade bed. Perhaps artists have run out of ideas.


Where will artists go now?


What do we need artists for?


You do need people that care and feel about things, people like Van Gough and Picasso who tried to change things and cared about the way we live. And we need people with new ideas.


Maybe the future skills will be with computers.


Monet, Picasso and Van Gough are remembered not only because they could draw and paint well, but also because they had new ideas. They changed the way artists painted pictures.


They expressed their ideas through their paintings.


As art developed in the 0th century, less and less emphasis has been placed on skills. What the artist thinks or feels becomes more important.


Now a days the idea alone is what matters- Conceptual Art.


It’s quite valid for artists to exhibit piles of rubbish, their unmade beds, or switching on and off lights.


Very few people can relate to these ideas and serious art is in danger of being ignored.


Where does popular art exist today?


Perhaps creative artists will work in computer graphics in the future; this is where the largest audience will be.


Computer graphic artists have followed on the traditional art in their own way, rather than conceptual art. They reach a wider audience.





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love never dies

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love never dies.it last forever.breaking up with someone doesnt necessarily mean that the feelings no longer there. the love remains and never fades. thank you.when i get too much locked up inside


because i cant easily get my words across


my thoughts incessantly build up and hide


until the pressure extends to its worst


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i only want my relationships to stay


and feel everybody is at ease with me


but sometimes things go different ways


leaving me wasted in all my necessities


why cant it be even just for this moment


i will not feel the need for someone to be real


why cant life be like things will no longer be taken


away from me when they havent had the chance to begin


i didnt need someone to belong to


i only wanted security for myself


only when the essence of what love really is


sunk in me that i longed for somebody else


although i feel me more than anybody should


the warmth of embraces reminds me of my need


to submit a feeling and get something good


in return that will always be kept to live


but hey, im here. single and on my own


doing things that make me cool and happy


love can wait and will come someday i know


so be real for the present and feel so free


and then on the right time love will lead the way


to where i am destined to forever stay


from the start of immaturity through the path of mistakes


in the end life is good and love is surely worth the wait





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American History of Art

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The cultural and developmental aspects of American history in the 17th and 18th centuries are certainly among the most important and influential factors in the shaping of this countrys long and storied history. Historiographically speaking, there are undoubtedly thousands upon thousands of different studies and opinions on the most influential cultural strides of early Americans well as the pros and cons that each colonial region developed in shaping America and readying it for the Revolutionary Era. Each of these four studies brings a slightly different and even, at times, conflicting approach to analyzing the cultural and social roots of early America, but each one provides a fresh perspective that enhances the idea that America is a true melting pot of ideas, social values, and cultural traits.


Zuckerman, in his article, focuses his attention on the middle colonies and the erroneous tendencies of historians to ignore controversial or pertinent historical issues in favor of obvious, harmless social arguments. Historians have focused on New England as the true birthplace of America because of its early literature and thought that focused solely on Puritanism, and therefore offered an obvious and easy starting point with which to measure the regions cultural metamorphasis. However, as Zuckerman points out, New England was fairly unrepresentative of the real America, as it was a homogenous society dominated by English Puritans and their inflexible doctrines and unstatic customs and economy. The middle colonies, on the other hand, were made up of people of many different origins, races, and creeds, and their interrelationships are definitely more symbolic of American culture. Like most peoples idea of America, the middle colonies developed a commercial culture ba!


sed on a balanced economy, and, besides that, showed no real homogenous cultural traits that ran through the region. Indeed, most of the different groups that coexisted in this region did not intermingle with each other at all, but instead kept their own distinctive cultural and social habits. Because of this, the argument can be made that the middle colonies were not the heterogenous, melting pot culture that Zuckerman claims existed. After all, heterogenous seems to suggest a fusion of different types of people, when in fact these colonies offered more of a clannish type of policy when it came to dealing with their new neighbors. However, the simple fact that they coexisted with relative peace in such a dynamic and volatile atmosphere is evidence enough that the middle colonies were indeed representative of Americas melting pot reputation.


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Jack Greene hypothesizes that the idea of mastery and the relationship between the new colonies and Great Britain were foremost in shaping Americas colonial culture. Greene suggests that the idea of the English who migrated to the Americas was to achieve mastery over the rugged land of America as well as other groups, a mastery that was unavailable to them in their homeland. The problem with this mastery hypothesis is that it covers only the English migration to the New World, and only a relatively small portion of that group. After all, many English people chose to relocate to America for a wide variety of reasons that had nothing to do with mastery over others, and mastery was surely not at the top of their wish list once they arrived in the New World. Greene also advocates relating the culture of colonial America back to that of Great Britain, and that technique can be useful in some ways, such as delineating the differences between the two areas. However, taking thi!


s approach too far can be extremely dangerous, as the English in America were quick to develop cultural traits that had no connection whatsoever to their homeland and a comparison of some of these cultural aspects would only serve to confuse. Also, the many people who came to America from countries besides England would not fit into this historical approach.


Mintz and Price focus their concentration on the development of a distinct Afro-American culture in the New World. Their conclusion that the majority of Afro-American customs and cultures were consummated in the New World and did not directly stem from any particular pre-migration group culture seems sound, even if some of their methods of documentation are somewhat dubious. Their hypothesis can also help to understand the European migration to the Americas, as it seems that the development of mainstream American culture would undergo a similar pattern. With many different people arriving from Europe, it is logical to assume that their intermingling would cause a similar merging of cultural traits that they brought from their birthplaces. Greene would argue differently, and it is true that the fusion of a single American culture took a longer time to develop, but it is certainly likely that the European contingent in the New World underwent similar processes in becoming a!


n independent and self-sufficient group.


Finally, McCusker and Menard, like Zuckerman, focus on the middle colonies and their influence on the colonial period, but their concentration is centered on the commercial aspects of middle America. They see the middle colonies as more of a commercial balancing point between the plantation dominated southern colonies and the manufacturers of New England. Like Zuckerman, they believe that because the middle colonies offered such a balance in commercial capabilities as well as native inhabitants, that they should be seen as the focal point of America in its early years. Menard and McCuskey do give New England more credit than does Zuckerman, as they show that New England did indeed lead the way in foreign trade capabilities, but they also document the rise of Philadelphia and New York as the major urban areas ofAmerica by the mid 18th Century. Overall, Menard, McCuskey and Zuckerman take a similar view on the importance of the middle colonies in colonial America.





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King Lear

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King Lear was a respected and powerful king at the beginning of the play. But the king loses his power because of his stupidity and blindness. The tragedy of this play is demonstrated through several characters - the kings daughters and the fool. When Cordelia will not tell him how much she loves her father, the king is upset. He divides the land between her other sisters. This leads the king


into peril and he destroys himself by the end of the play.


Giving the land to the two daughters was the first mistake. When Goneril and Reagan are in power, they try to make Lear look incompetent. The loving daughters command Lear to let go fifty of his servicement. This is the beginning of Lears deterioration.


In conclusion, the reader is shown how Lear went from being a respected and powerful king to a regular man who seems to have lost all of his family. The two people that he trusted the most were the cause of his downfall. The people that truly loved King Lear were hurt and destroyed. Cordelia dies while trying to help her father. Thus, this is a true tragedy as King Lear dies carrying his daughter, Cordelia.


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When Lear goes to Regans castle, he discovers that Reagan and her husband have gone. Lear becomes angry when he learns that the two sisters no longer care for him. Reagan kicks Lear out of Gloucester castle. Lear is left out in a raging storm. Lear believes the elements have joined forces with his daughters. Lear begins to yell at the storm.and


he is driven mad.





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The Pyramids of Teotihuacan

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Fifteen hundred years ago, almost every traveler in Mexico would take enough time to visit the great city of Teotihuacan and the great pyramids within the city. Teotihuacan was the largest settlement in the Americas, it had a population of at least 100,000 people. Thousands of scattered villages depended on the markets and manufacturers in the city. At certain times in the year, the entire countryside gathered to participate in the annual ceremonies that ensured the city’s prosperity. Although the city was great, in only a few short centuries, the city had vanished forever. All that remains of this prosperous city is a few pyramids, that scarcely show Teotihuacan’ greatness.


Within a few centuries of when the first pyramids were built, around 100 B.C., Teotihuacan had grown into an enormous city. The center of the city was the great Pyramid of the Sun. This structure stood 10 feet high and was made out of adobe mud and stone.


Any traveler to Teotihuacan went to the market first. There were several markets in the city, but the largest was located on the Street of the Dead. The markets provided the needs of the whole city, which once had almost 100,000 people. Some of the more privileged people lived near the markets, but the majority of the people lived outside the city.


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By 500 AD, Teotihuacan had secured a unique position for itself in the Valley of Mexico. It possessed a reputation and power that was uncommon at the time. However, just as Teotihuacan had reached it’s peak, Teotihuacan started to fall apart. The population had declined so rapidly that the once proud city was now a little more than a series of villages. Around 700 AD, a great disaster occurred, the bpeople started moving eastward. This disaster reduced the population to below 70,000. The city was set on fire and destroyed.


Over the years buildings collapsed and the pyramids became overgrown with thick plant growth. Teotihuacan’s decline was almost as rapid as it’s rise to greatness. Even so, many centuries later, Teotihuacan was still known as a sacred place. Though no one remembered who had built it or that tens of thousands of people had once lived there.





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Lord of the flies

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Imagery


? ..... the white face bone and that the pig?s skull grinned at him ...... the skull that gleamed as white as ever the conch had done and seemed to jeer at him cynically. An inquisitive was busy in one of the eye sockets ......?


? He rubbed his cheek along his forearm smelling the acrid scent of salt and sweat and the staleness of dirt.?





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? There came again that high, bird-like cry that swept along the line ......?


? ..... curious trickling sound and then a louder crepitation as if someone were unwrapping great sheets of cellophane....... Smoke was seeping through the branches in white and yellow wisps, the patch of blue sky over head turned to the color of a storm cloud, and then the smoke billowed around him.?


? For a moment he had a fleeting picture of the strange glamour that had once invested the beaches. But the island was scorched up like dead wood-....?


? There was no sign left of storm, and the beach was swept clean like a blade that has been scoured. The sky and the mountain were at an immense distance, shimmering in the heat; and the reef was lifted by mirage, floating in a kind of silver pool-half-way up to the sky.?


? Jack had backed right against the tribe and they were a solid mass of menace that bristled with spears.?


? By him stood Piggy still holding out the talisman, the fragile, shining beauty of the shell. The storm of sound bet at them, an incantation of hatred.?


? The rock struck Piggy a glancing blow from chin to knee; the conch exploded into a thousand white fragments and ceased to exist....?


? Piggy fell forty feet and landed on his back across that square, red rock in the sea. His head opened and stuff came out and turned red. Piggy?s arms and legs twitched a bit, like a pig?s after it had been killed.? Then the sea breathed again in a long slow sigh, the water boiled white and pink over the rock; and when it went, sucking back again, the body of Piggy was gone.?


? Then there was a vicious snarling in the mouth of the shelter and the plunge and thump of living things ...... Ralph and Piggy?s corner became a complication of snarls and crashes and flying limbs.?


? By early evening the sun had gone and a brassy glare had taken the place of clear daylight. Even the air that pushed in from the sea was hot and held no refreshment.?


? The palms that still stood made a green roof, covered on the underside with a quivering tangle of reflections from the lagoon.?


? Most of the wood was so rotten that when they pulled it broke up into a shower of fragments and woodlice and decay......?





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