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During cloud migration data can be lost in the process but due
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in other systems. Also in cloud management of data is very
crucial and it is advisable to always have a copy of the
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effects on the company. So as to stay on the safe side, it is
important for companies to duplicate their data to ensure
security and confidence
that there is no point they will be able to lose their data
completely which can be devastating (Maciel, et al, 2019). Load
balancing in Action As
earlier stated, the main intention of load balancing is to ensure
that there is equal dist4ibution of data traffic throughout the

network thus
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considering migration to cloud computing, their cloud
computing service
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traffic and overload
that would lead to the system related errors and malfunctions
(Nandy, et al, 2019). IaaS cloud would offer elementary
resources of IT like
networking features, more flexibility and computing to the
company. Because cloud computing offers storage according to
the subscription, it
would be possible for a company to either upscale or downscale
their data efficiently without any hitches. This is made possible
through the
offsite data centers available. In the process of upscaling for
instance, it is important that the data traffic that would now be
highly generated,
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elastic load balancers that ensure distributing of this new data
traffic all over the
network and only to the healthy nodes. In the case of
maintenance, the nodes will switch data traffic flow to the
healthy nodes while providing
ample time for the maintenance of the unhealthy nodes. Once
the unhealthy nodes have been repaired, it would now be

possible to return the
data back to the healthy nodes, again, in a proportional
distribution (Adhikari, et al, 2018).
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THE HUMANITIES
THROUGH THE ARTS
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THE HUMANITIES
THROUGH THE ARTS
N i n t h E d i t i o n
F. David Martin
Professor of Philosophy Emeritus
Bucknell University
Lee A. Jacobus
Professor of English Emeritus
University of Connecticut
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THE HUMANITIES THROUGH THE ARTS, NINTH EDITION

Published by McGraw-Hill Education, 2 Penn Plaza, New York,
NY 10121. Copyright © 2015 by
McGraw-Hill Education. All rights reserved. Printed in the
United States of America. Previous editions
© 2011, 2008, and 2004. No part of this publication may be
reproduced or distributed in any form or by
any means, or stored in a database or retrieval system, without
the prior written consent of McGraw-Hill
Education, including, but not limited to, in any network or other
electronic storage or transmission, or
broadcast for distance learning.
Some ancillaries, including electronic and print components,
may not be available to customers outside
the United States.
This book is printed on acid-free paper.
1 2 3 4 5 6 7 8 9 0 DOC/DOC 1 0 9 8 7 6 5 4
ISBN 978-0-07-352398-9
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All credits appearing on page or at the end of the book are
considered to be an extension of the copyright
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Library of Congress Cataloging-in-Publication Data
Martin, F. David, 1920– author.
The humanities through the arts / F. David Martin, Bucknell
University; Lee A. Jacobus, University of
Connecticut–Storrs.—Ninth Edition.
pages cm
Includes index.
ISBN 978–0–07–352398–9 — ISBN 0–07–352398–4 (hard :
alk. paper)
1. Arts–Psychological aspects. 2. Art appreciation. I. Jacobus,
Lee A., author. II. Title.
NX165.M37 2014
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The Internet addresses listed in the text were accurate at the
time of publication. The inclusion of a website
does not indicate an endorsement by the authors or McGraw-
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does not guarantee the accuracy of the information presented at
these sites.
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v
ABOUT THE AUTHORS
F. David Martin (PhD, University of Chicago) taught at the
University of
Chicago and then at Bucknell University until his retirement in
1983. He was a
Fulbright Research Scholar in Florence and Rome from 1957
through 1959, and
he has received seven other major research grants during his
career as well as the
Christian Lindback Award for Distinguished Teaching. In
addition to more than
100 articles in professional journals, Dr. Martin is the author of
Art and the Religious
Experience (Associated University Presses, 1972); Sculpture
and the Enlivened Space
(The University Press of Kentucky, 1981); and Facing Death:
Theme and Variations
(Associated University Presses, 2006).

Lee A. Jacobus (PhD, Claremont Graduate University) taught
at Western
Connecticut University and then at the University of
Connecticut (Storrs) until he
retired in 2001. He held a Danforth Teachers Grant while
earning his doctorate.
His publications include Hawaiian Tales (Tell Me Press,
2014); Substance, Style and
Strategy (Oxford University Press, 1999); Shakespeare and the
Dialectic of Certainty
(St. Martin’s Press, 1992); Sudden Apprehension: Aspects of
Knowledge in Paradise Lost
(Mouton, 1976); John Cleveland: A Critical Study (G. K. Hall,
1975); and Aesthetics
and the Arts (McGraw-Hill, 1968). Dr. Jacobus writes poetry,
drama, and fi ction.
He is the editor of The Bedford Introduction to Drama
(Bedford/St. Martin’s, 2013).
His A World of Ideas (Bedford/St. Martin’s, 2013) is in its
ninth edition.
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We dedicate this study to
teachers and students of the humanities.
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vii

BRIEF CONTENTS
PREFACE xiii
Part 1 FUNDAMENTALS
1 The Humanities: An Introduction 1
2 What Is a Work of Art? 18
3 Being a Critic of the Arts 47
Part 2 THE ARTS
4 Painting 63
5 Sculpture 95
6 Architecture 126
7 Literature 171
8 Theater 199
9 Music 225
10 Dance 256
11 Photography 278
12 Cinema 304
13 Television and Video Art 333
Part 3 INTERRELATIONSHIPS
14 Is It Art or Something Like It? 352
15 The Interrelationships of the Arts 379
16 The Interrelationships of the Humanities 400
GLOSSARY G-1

CREDITS C-1
INDEX I-1
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viii
CONTENTS
PREFACE xiii
Part 1 FUNDAMENTALS
1 Th e Humanities:
An Introduction 1
The Humanities: A Study of Values 1
Taste 4
Responses to Art 4
Structure and Artistic Form 9
EXPERIENCING: The Mona Lisa 10
Perception 12
Abstract Ideas and Concrete Images 13
Summary 16
2 What Is a Work of Art? 18
Identifying Art Conceptually 19
Identifying Art Perceptually 19
Artistic Form 20

Participation 24
Participation and Artistic Form 26
Content 27
Subject Matter 29
Subject Matter and Artistic Form 30
Participation, Artistic Form, and Content 30
Artistic Form: Examples 32
Subject Matter and Content 38
EXPERIENCING: Interpretations of the Female Nude 44
Further Thoughts on Artistic Form 44
Summary 45
3 Being a Critic of the Arts 47
You Are Already an Art Critic 47
Participation and Criticism 48
Three Kinds of Criticism 48
Descriptive Criticism 49
Interpretive Criticism 53
Evaluative Criticism 56
EXPERIENCING: The Polish Rider 60
Summary 61
Part 2 THE ARTS
4 Painting 63
Our Visual Powers 63
The Media of Painting 64
Tempera 64
Fresco 66
Oil 67
Watercolor 69
Acrylic 69
Other Media and Mixed Media 70

Elements of Painting 72
Line 73
Color 76
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CONTENTS ix
6 Architecture 126
Centered Space 126
Space and Architecture 127
Chartres 128
Living Space 131
Four Necessities of Architecture 132
Technical Requirements of Architecture 132
Functional Requirements of Architecture 133
Spatial Requirements of Architecture 137
Revelatory Requirements of Architecture 137
Earth-Rooted Architecture 139
Site 140
Gravity 140
Raw Materials 142
Centrality 143
Sky-Oriented Architecture 145
Axis Mundi 148
Defi ance of Gravity 149
Integration of Light 150
Earth-Resting Architecture 151
Earth-Dominating Architecture 153

Combinations of Types 154
Guggenheim Museum Bilbao and Sydney Opera House 155
High-Rises and Skyscrapers 157
EXPERIENCING: Sydney Opera House 158
FOCUS ON: Fantasy Architecture 163
Urban Planning 166
Summary 170
7 Literature 171
Spoken Language and Literature 171
Literary Structures 174
The Narrative and the Narrator 174
The Episodic Narrative 176
The Organic Narrative 179
The Quest Narrative 182
The Lyric 184
EXPERIENCING: “Musée des Beaux Arts” 187
Literary Details 188
Image 189
Texture 77
Composition 77
The Clarity of Painting 80
The “All-at-Onceness” of Painting 81
Abstract Painting 81
Intensity and Restfulness in
Abstract Painting 83
Representational Painting 84
Comparison of Five Impressionist Paintings 84

FOCUS ON: The Self-Portrait: Rembrandt van Rijn, Gustave
Courbet, Vincent van Gogh, and Frida Kahlo 90
Frames 92
Some Painting Styles of the Past 150 Years 92
EXPERIENCING: Frames 93
Summary 94
5 Sculpture 95
Sensory Interconnections 96
Sculpture and Painting Compared 96
Sculpture and Space 98
Sunken-Relief Sculpture 98
Low-Relief Sculpture 99
High-Relief Sculpture 100
Sculpture in the Round 101
Sculpture and Architecture Compared 103
Sensory Space 104
Sculpture and the Human Body 105
Sculpture in the Round and the
Human Body 106
EXPERIENCING: Sculpture and Physical Size 108
Contemporary Sculpture 109
Truth to Materials 109
Protest against Technology 112
Accommodation with Technology 115
Machine Sculpture 116
Earth Sculpture 117
FOCUS ON: African Sculpture 119
Sculpture in Public Places 122

Summary 125
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x CONTENTS
Tonal Center 235
Musical Structures 237
Theme and Variations 237
Rondo 238
Fugue 238
Sonata Form 238
Fantasia 239
Symphony 240
FOCUS ON: Beethoven’s Symphony in E ♭ Major, No. 3,
Eroica 245
Blues and Jazz: Popular American Music 250
Blues and Rock and Roll 252
Summary 254
10 Dance 256
Subject Matter of Dance 256
EXPERIENCING: Feeling and Dance 258
Form 259
Dance and Ritual 259
Ritual Dance 261
Social Dance 261
The Court Dance 262

Ballet 262
Swan Lake 264
Modern Dance 267
Alvin Ailey’s Revelations 269
Martha Graham 271
Pilobolus and Momix Dance Companies 272
Mark Morris Dance Group 273
FOCUS ON: Theater Dance 275
Popular Dance 276
Summary 277
11 Photography 278
Photography and Painting 278
EXPERIENCING: Photography and Art 282
Photography and Painting: The
Pictorialists 283
Straight Photography 286
Stieglitz: Pioneer of Straight Photography 287
Metaphor 191
Symbol 194
Irony 195
Diction 196
Summary 198
8 Th eater 199
Aristotle and the Elements of Drama 200
Dialogue and Soliloquy 201
Archetypal Patterns 203

Genres of Drama: Tragedy 205
The Tragic Stage 205
Stage Scenery and Costumes 207
Shakespeare’s Romeo and Juliet 209
Comedy: Old and New 212
Tragicomedy: The Mixed Genre 215
A Play for Study: The Swan Song 215
EXPERIENCING: Anton Chekhov’s The Swan Song 219
FOCUS ON: Musical Theater 220
Experimental Drama 223
Summary 224
9 Music 225
Hearing and Listening 225
The Elements of Music 226
Tone 226
Consonance 227
Dissonance 227
Rhythm 228
Tempo 228
Melodic Material: Melody, Theme, and Motive 228
Counterpoint 229
Harmony 229
EXPERIENCING: “Battle Hymn of the Republic” 230
Dynamics 231
Contrast 231
The Subject Matter of Music 231
Feelings 232

Two Theories: Formalism and Expressionism 234
Sound 234
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CONTENTS xi
Part 3 INTERRELATIONSHIPS
14 Is It Art or Something
Like It? 352
Art and Artlike 352
Illustration 355
Realism 355
Folk Art 356
Popular Art 358
Propaganda 363
EXPERIENCING: Propaganda Art 364
FOCUS ON: Kitsch 364
Decoration 366
Idea Art 369
Dada 369
Duchamp and His Legacy 371
Conceptual Art 372
Performance Art 374
Shock Art 375
Virtual Art 376
Summary 378

15 Th e Interrelationships
of the Arts 379
Appropriation 379
Synthesis 381
Interpretation 382
Film Interprets Literature: Howards End 382
Music Interprets Drama: The Marriage of Figaro 385
Poetry Interprets Painting: The Starry Night 388
Sculpture Interprets Poetry: Apollo and Daphne 390
EXPERIENCING: Bernini’s Apollo and Daphne and Ovid’s
The Metamorphoses 392
FOCUS ON: Photography Interprets Fiction 393
Architecture Interprets Dance: National
Nederlanden Building 395
Painting Interprets Dance and Music: The Dance and
Music 396
EXPERIENCING: Death in Venice: Three Versions 398
Summary 399
The f/64 Group 288
The Documentarists 290
The Modern Eye 296
FOCUS ON: Digital Photography 300
Summary 303
12 Cinema 304
The Subject Matter of Film 304

Directing and Editing 305
The Participative Experience and Film 308
The Film Image 309
EXPERIENCING: Still Frames and Photography 310
Camera Point of View 312
Violence and Film 315
Sound 316
Image and Action 318
Film Structure 319
Cinematic Signifi cance 321
The Context of Film History 322
Francis Ford Coppola’s The Godfather 323
The Narrative Structure of The Godfather Films 324
Coppola’s Images 325
Coppola’s Use of Sound 326
The Power of The Godfather 326
FOCUS ON: Alfred Hitchcock’s Vertigo 327
Experimentation 330
Summary 332
13 Television and Video Art 333
The Evolution of Television 333
The Subject Matter of Television and Video
Art 334
Commercial Television 335
The Television Series 336
The Structure of the Self-Contained Episode 337
The Television Serial 337
Video Art 342
FOCUS ON: Downton Abbey 343

Summary 350
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xii CONTENTS
FOCUS ON: The Arts and History, The Arts and Philosophy,
The Arts and Theology 406
Summary 411
GLOSSARY G-1
CREDITS C-1
INDEX I-1
16 Th e Interrelationships
of the Humanities 400
The Humanities and the Sciences 400
The Arts and the Other Humanities 401
EXPERIENCING: The Humanities and Students
of Medicine 402
Values 403
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xiii
PREFACE
The Humanities through the Arts , ninth edition, explores the
humanities with an
emphasis on the arts. Examining the relationship of the
humanities to values, ob-
jects, and events important to people is central to this book. We
make a distinction
between artists and other humanists: Artists reveal values, while
other humanists
examine or refl ect on values. We study how values are revealed
in the arts, while
keeping in mind a basic question: “What is Art?” Judging by the
existence of an-
cient artifacts, we see that artistic expression is one of the most
fundamental human
activities. It binds us together as a people by revealing the most
important values
of our culture.
Our genre-based approach offers students the opportunity to
understand the
relation of the arts to human values by examining in-depth each
of the major artis-
tic media. Subject matter, form, and content in each of the arts
supply the frame-
work for careful analysis. Painting and photography focus our
eyes on the visual
appearance of things. Sculpture reveals the textures, densities,
and shapes of things.
Architecture sharpens our perception of spatial relationships,
both inside and out.
Literature, theater, cinema, and video make us more aware of
the human condition,

among other ideas. Our understanding of feelings is deepened
by music. Our sensi-
tivity to movement, especially of the human body, is enhanced
by dance. The wide
range of opportunities for criticism and analysis helps the
reader synthesize the
complexities of the arts and their interaction with values of
many kinds. All of this
is achieved with an exceptionally vivid and complete
illustration program alongside
detailed discussion and interactive responses to the problems
inherent in a close
study of the arts and values of our time.
Four major pedagogical boxed features enhance student
understanding of the
genres and of individual works within the genres: Perception
Key boxes, Concep-
tion Key boxes, Experiencing boxes, and new Focus On boxes
(the latter described
in detail in the “Key Changes in the Ninth Edition” section of
this Preface):
• The Perception Key boxes are designed to sharpen readers
in their responses
to the arts. These boxes raise important questions about specifi
c works of art in
a way that respects the complexities of the works and of our
responses to them.
The questions raised are usually open-ended and thereby avoid
any doctrinaire
views or dogmatic opinions. The emphasis is on perception and
awareness, and
how a heightened awareness will produce a fuller and more
meaningful under-
standing of the work at hand. In a few cases our own
interpretations and analyses

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xiv
PREFACE
follow the keys, and are offered not as the way to perceive a
given work of art
but, rather, as one possible way. Our primary interest is in
exciting our readers to
perceive the splendid singularity of the work of art in question.
• We use Conception Key boxes, rather than Perception
Key boxes, in certain
instances throughout the book where we focus on thought and
conception rather
than observation and perception. Again, these are open-ended
questions that
involve refl ection and understanding. There is no single way of
responding to
these keys, just as there is no simple way to answer the
questions.
PERCEPTION KEY Public Sculpture
1. Public sculpture such as that by Maya Lin, Richard Serra,
and Judy Chicago usually
produces tremendous controversy when it is not representative,
such as a conven-
tional statue of a man on a horse, a hero holding a rifl e and fl
ag, or person of local
fame. What do you think causes these more abstract works to

attract controversy?
Do you react negatively or positively to any of these three
works?
2. Should artists who plan public sculpture meant to be viewed
by a wide-ranging
audience aim at pleasing that audience? Should that be their
primary mission, or
should they simply make the best work they are capable of ?
3. Which of the three, Vietnam Veterans Memorial, Sequence,
or The Dinner Party, seems
least like a work of art to you? Try to convince someone who
disagrees with you
that it is not a work of art.
4. Choose a public sculpture that is in your community,
photograph it, and establish
its credentials, as best you can, for making a claim to being an
important work of
art.
5. If we label Chicago’s The Dinner Party a feminist work, is it
then to be treated as
political sculpture? Do you think Lin’s Vietnam Veterans
Memorial is a less political
or more political sculpture than Chicago’s work? Could Serra’s
Sequence be consid-
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PMCONCEPTION KEY Archetypes
1. You may wish to supplement the comments above by reading
the third chapter of
Northrop Frye’s Anatomy of Criticism or the Hamlet chapter in
Francis Fergusson’s

The Idea of a Theater.
2. Whether or not you do additional reading, consider the
recurrent patterns you
have observed in dramas—include television dramas or
television adaptations of
drama. Can you fi nd any of the patterns we have described? Do
you see other
patterns showing up? Do the patterns you have observed seem
basic to human
experience? For example, do you associate gaiety with spring,
love with summer,
death with fall, and bitterness with winter? What season seems
most appropriate
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• Each chapter provides an Experiencing box that gives the
reader the opportu-
nity to approach a specifi c work of art in more detail than the
Perception Key
boxes. Analysis of the work begins by answering a few
preliminary questions to
make it accessible to students. Follow-up questions ask students
to think criti-
cally about the work and guide them to their own
interpretations. In every case
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xv
PREFACE

we raise major issues concerning the genre of work, the
background of the work,
and the artistic issues that make the work demanding and
important.
EXPERIENCING Sydney Opera House
1. Would you recognize the function of
the building if you did not know its
name?
2. Which type does this building ful-
fi ll, earth-resting, earth-rooted, or
sky-oriented?
In the late 1950s the design was a
sensation in part because no one
could know by looking at it that it
was a concert and opera hall. Its
swooping “sails” were so novel that
people were more amazed at its
construction than by its function.
Additionally, the fact that the build-
ing was fl oating in a harbor rather than being built on solid
earth was all the
more mystifying. Today, however, with the innovations of
computer-generated
plans for buildings like Gehry’s Guggenheim in Bilbao (Figures
6-24 to 6-26), we
are accustomed to the extraordinary shapes that make these
buildings possible.
In fact, now we are likely to associate the shape of the Sydney
Opera House
(Figure 6-27) with a function related to the arts. This tells us
that our percep-

tion of function in a building is established by tradition and our
association with
a class of buildings. Therefore, the dogma that was so fi rmly
established years
ago—“form follows function”—is capable of distinct revision.
FIGURE 6-27
Jørn Utzon, Opera House, Sydney,
Australia. 1973.
This is considered an expressionist
modern design. The precast
concrete shells house various
concert and performance halls.
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Organization
This edition, as with previous editions, is organized into three
parts, offering
considerable fl exibility in the classroom:
Part 1, “Fundamentals,” includes the fi rst three introductory
chapters. In
Chapter 1, The Humanities: An Introduction , we distinguish
the humanities from the
sciences, and the arts from other humanities. In Chapter 2,
What Is a Work of Art? ,
we raise the question of defi nition in art and the ways in which
we distinguish art
from other objects and experiences. Chapter 3, Being a Critic
of the Arts , introduces
the vital role of criticism in art appreciation and evaluation.
Part 2, “The Arts,” includes individual chapters on each of the
basic arts. The
structure of this section permits complete fl exibility: The

chapters may be used in
their present order or in any order one wishes. We begin with
individual chapters
on Painting , Sculpture , and Architecture , follow with
Literature , Theater , Music , and
Dance , and continue with Photography , Cinema , and
Television and Video Art . Instruc-
tors may reorder or omit chapters as needed. The Photography
chapter now more
logically precedes the Cinema and Television and Video Art
chapters for the conve-
nience of instructors who prefer to teach the chapters in the
order presented.
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xvi
PREFACE
Part 3, “Interrelationships,” begins with Chapter 14, Is It Art
or Something Like
It? We study illustration, folk art, propaganda, and kitsch while
raising the ques-
tion “What is Art?” We also examine the avant-garde as it
pushes us to the edge of
defi nition. Chapter 15, The Interrelationships of the Arts ,
explores the ways in which
the arts work together, as in how literature and music result in a
Mozart opera; how
poetry inspires a Bernini sculpture; and how a van Gogh
painting inspires poetry
and song. Chapter 16, The Interrelationships of the Humanities

, addresses the ways in
which the arts impact the other humanities, particularly history,
philosophy, and
theology.
Key Changes in the Ninth Edition
• New “Focus On” boxes. In each chapter of “The Arts” and
“Interrelationships”
sections of the book, we include a Focus On box, which
provides an opportunity
to deal in-depth with a group of artworks as a way of exploring
art in context with
similar works. For example, we focus on African sculpture,
fantasy architecture,
self-portraits, kitsch, and other topics via a variety of examples.
In the Cinema
and Television and Video Art chapters, we focus in-depth on
specifi c works (Alfred
Hitchcock’s Vertigo and the popular PBS drama Downton
Abbey, respectively)
from a variety of perspectives. Each of these opportunities
encourages in-depth
and comparative study.
FOCUS ON Downton Abbey
By 2013, in its third season, the British serial drama Down-
ton Abbey (PBS) became one of the most watched television
programs in the world. Almost the diametrical opposite of
The Sopranos and The Wire, it presents a historical period in
England in which the language is formal by comparison and
the manners impeccable. What we see is the upheaval of
the lives of the British aristocracy in the wake of historical
forces that cannot be ignored or stemmed.
The fi rst season began with a major historical event, the
sinking of the Titanic in 1912. With the ship went Patrick

Crawley, the young heir to Downton Abbey. The result is
that, much to the dismay of the Dowager Countess Vio-
let Crawley (Figure 13-8), the great house will now go to
the Earl of Grantham’s distant cousin, Matthew Crawley,
a person unknown to the family. Young Matthew enters as
a middle-class solicitor (lawyer) with little interest in the ways
of the aristocracy. But
soon he fi nds himself in love with his distant cousin, Lady
Mary Crawley, beginning
a long and complicated love interest that becomes one of the
major centers of the
drama for three seasons. Lord Grantham and his wife Cora,
Countess of Grantham,
have three daughters (Figure 13-9), and therefore the question
of marriage is as im-
portant in this drama as in any Jane Austen novel.
The fate of Downton Abbey itself is a major center of interest
in the drama—not only
because of the question of who is to inherit and live in the great
house, but also because
in season 3 Lord Grantham announces that, as a result of bad
investments, he has lost
FIGURE 13-8
Maggie Smith as Violet Crawley in
Downton Abbey. She is the Dowager
Countess of Grantham and the
series’ most stalwart character in
her resistance to change. She has
been a scene-stealer since season 1.
mar23984_ch13_333-351.indd 343 22/01/14 8:21 PM
mar23984_fm_i-xx.indd xvimar23984_fm_i-xx.indd xvi
06/02/14 7:47 PM06/02/14 7:47 PM

xvii
PREFACE
• Updated illustration program and contextual discussions.
More than 30 per-
cent of the images in this edition are new or have been updated
to include fresh
classic and contemporary works. New discussions of these
works appear near
the illustrations. The 200-plus images throughout the book have
been carefully
chosen and reproduced in full color when possible, resulting in
a beautifully
illustrated text. Newly-added visual artists represented include
painters Lee
Krasner, Frida Kahlo, and Gustave Courbet; sculptors Ron
Mueck, Frank Stella,
and Jeff Koons; photographers Edward Steichen, Cindy
Sherman, and Lewis
Hine; and video artist Janine Antoni. Newly-added fi lm and
television stills rep-
resent Alfred Hitchcock’s Vertigo , James Cameron’s Avatar,
Quentin Taranti-
no’s Django Unchained , the PBS series Downton Abbey , and
more.
• New literature, dance, theater, and music coverage. Along
with the many
new illustrations and contextual discussions of the visual arts, fi
lm, and televi-
sion, new works and images in the literary, dance, theatrical,
and musical arts
have been added and contextualized. These include works by

Edgar Lee Masters,
Miguel de Cervantes Saavedra, Anton Chekhov, John Milton,
Gerard Manley
Hopkins, Sarah Norcliffe Cleghorn, Samuel Beckett, Steven
Sondheim, Mark
Morris, Joseph Haydn, and Wolfgang Amadeus Mozart. The
theater chapter
also includes a new section on stage scenery and costumes.
• Increased focus on non-Western art. This edition contains
numerous new
examples of non-Western art, from painting (Wang Yuanqi’s
Landscape after Wu
Zhen ) to sculpture (Focus On: African Sculpture) to
architecture (the Guangzhou
Opera House) to dance (the Nrityagram Dance Ensemble) to fi
lm (Yasujiro−
Ozu’s Tokyo Story ).
• Additional references to online videos. Since many
opportunities exist for ex-
periencing the performing arts online, we point to numerous
online videos that
can help expand our understanding of specifi c works of art.
Virtually all the arts
have some useful illustrations online that become more
intelligible as a result of
our discussion of the medium or the specifi c work of art.
Supplements
McGraw-Hill Create
Simplicity in assigning and engaging your students with course
materials. Craft your teaching resources to match the way you

teach! With McGraw-Hill Create,
http://www.mcgrawhillcreate.com/, you can
easily rearrange chapters, combine material from other content
sources, and quickly
upload content you have written, such as your course syllabus
or teaching notes.
Find the content you need in Create by searching through
thousands of leading
McGraw-Hill textbooks. Arrange your book to fi t your teaching
style. Create even
allows you to personalize your book’s appearance by selecting
the cover and adding
your name, school, and course information. Order a Create book
and you’ll receive
a complimentary print review copy in three to fi ve business
days or a complimentary
electronic review …
Date 2020-03-16
Words 881
Characters 5209
In cloud computing, most of the services are provided on the
internet. This includes but is not limited to services of web
hosting, application
development, intelligence services, analysis, storage and many
other services. These are offered by third party cloud service

providers like
azure and AWS. Infrastructure as a service IaaS is a third party
provision of hosting hardware, software, storage systems and
servers of a
company r an organization among other infrastructure in an
offsite center of data. This technique f cloud computing is
helpful in data recovery
and disaster planning. The cloud computing service providers
will also provide maintenance services also to ensure that the
systems are in
shape and do not experience any downtime or maintenance
related system technicalities (Paul, et al, 2018). Comparison and
contrast
between Redundancy and Load balancing using IaaS
Redundancy Redundancy refers to the process of creating
multiple copies of the same
data in many different systems. This is done by cloud
computing service providers to ensure that data is not lost due
to the co pro missing of
one or more of a company’s servers or the malfunction of its
systems. Imagine a case where all the data if a company is
stored in one
computer and only has one storage facility then this facility has
a malfunction. This could lead to loss of the company’s data in
entirety. To
avoid this kind of situation, cloud computing companies came
up with the technique of redundancy (Jin, et al, 2017). Since

they are third
parties to the organizational structure and leadership, they
mainly just store these multiple copies in offsite data centers. In
the case of a
malfunction in the main systems of a company, the system
automatically switches n to the next copy of data from a healthy
service. This
works more or less the same a s a backup system. Also, with the
maintenance of the machines and other systems, redundancy
comes in
place. Since infrastructure as a service hosts the company’s
software, hardware and servers among other infrastructure of
computing of the
company, there is need for the maintenance of these servicers
that are offered by their respective cloud computing services t
during this time,
the need for redundancy comes to play since the clod computing
service providers have to carry out maintenance while their
clients should
operate as usual with their day to day businesses. This is where
the redundancy comes in since when they switch off the systems
from one
server, it jumps on to the next and the business will not even
notice the glitch. Load balancing Imagine a situation where
there are two paths
and you have to throw two balls at equal distribution. You will
probably throw each of them through its own path, right? That

is the same
concept in load balancing. Load balancing is the distribution of
load through a network to other distributed systems. This is a
strategy that is
intended to reduce overload of certain systems in the networks
over others. In the case that a network has both healthy and
unheal6thy
nodes, it would be wise to overload the unhealthy ones over the
healthy ones. This is where load balancers in the IaaS come in.
In this case,
the IaaS providers who are the cloud computing providers of
various companies will have the load balancers to ensure that
data traffic
throughout the system is in a balanced flow. This way, there
will be advantages ranging from fault tolerance to naming
obstruction and cost
and performance benefits (Church, et al, 2017). Elastic load
balancers offered by cloud computing services will monitor for
any unhealthy
computer nodes through the network and shift the data to
healthy nodes in the system until maintenance of the healthy
nodes have been
performed and they are fully operational. This is advantageous
as it helps to maintain high availability of data and
automatically adjusts the
incoming traffic routing them to the right nodes. Redundancy in
Action Redundancy is the act of copying information from one

system to the
other such that there are many copies of the same data in many
systems and equipment’s that one is using. This is important
because it
provides a backup for information storage such that in case
there is a malfunctioning of the systems the data can still be
retrieved. It avoids
the risks of storing data in only one of the systems.it ensures
that the data will not be completely lost at any point. It also
ensures flexibility
because since it has been stored in many devices the work4ersd
can assess it easily and hence flexibility in the job market. This
can be of
importance to the company because it can reduce the time
required for protocols in order for the employees to access data.
It ensures storage
36%
Plagiarised
64%
Unique
of data also at a lower cost because all the systems are being
used and hence the task is cost effective. There is smooth
running of events
because malfunctioning of one system won’t mean that others
cannot access the data that is required in the process. As many

companies are
planning to move to cloud, it is advisable that they take
redundancy very seriously as a form of securing their data.
Cloud migration can have
many effects on the data of the company.
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2020/01/15 - Application Load Balancer
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???????????????????????????????????Elastic Load Balancing
??????????? ... ????????????????????????service
??????????Linux ??????????? ... ???????????
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Date 2020-03-15
Words 930
Characters 5510
Infrastructure as a service (IaaS) can be described as a form of
cloud computing that is able to comfortably provide the
different computing
resources over the internet. IaaS is identified as one of the three
main categories of the computing services that most of the
organizations
depend on for the purpose of ensuring the provision of quality
products and services to their consumers (Kavis, 2014). On the
other hand,
load balancing can be described as the process that involves the
distribution of network traffic across a number of different
servers. This is
done for the purpose of making sure that there is no particular

server that is heavily loaded or even bears too many demands.
There is the
even spread of work. Loading makes sure that there is an
improvement of the responsiveness of different applications
(Mustafa & Ibrahim,
2015). It also makes sure there are a number of applications and
websites available for the users. In the recent past, the recovery
plans used
to be very expensive and unaffordable especially for the
growing organizations. Only the developed and largest
enterprises could afford and
ensure the implementation of airtight recovery plan. However,
with the invention and implementation of the cloud technology
everything has
been made easier. The recovery of disaster is now accessible for
any organization whether a small-scale one or a large-scale is
(Iosup et al.,
2014). The presence of cloud IaaaS, discourages the hiring of IT
staff and experts for the purpose of ensuring maintenance and
security. The
presence of cloud IaaS is of great significance especially when
the system for instance goes down, it kicks over and elevates to
the cloud for
the purpose of maintaining the continuity of business. The
presence of cloud makes sure that all the loss of data is dealt
with and thus the
best backup is available. According to the different needs that

you have as an organization, cloud makes the storage of data
elastic. One of
the best and most significant things is that cloud IaaS is not
very hard to set up. There is no excuse as to the reason why the
organization
cannot in any way have a recovery plan for its data. This is
especially for the purpose of making sure that there is the
continuity of business.
IaaS is the best recovery plan that as an organization you can
have to make sure that everything runs as planned in the
organization (Madni
et al., 2017). Significance of Load Balancing It is important to
come to a realization that load balancing is one of the most
significant
components especially in the cloud environment. It makes it
easy to avail and maintain the full availability of the cloud-
based applications for
all the customers who may want to make use of them. It is also
important for the end users and partners. The availability of
load balancing
helps in the availing of different services and also in one way or
the other helps in the prevention of the downtimes. When the
amount of data
in an organization is within the different levels that are
acceptable, there will be sufficient and reliable computing
resources such as the CPU,
or the RAM. The presence of these important resources will

help in the processing of different requests at the stipulated
time. It is important to
note that the fast responses given at a specified time are very
important in ensuring the satisfaction of consumers and the
productivity of the
organization (Devi & Uthariaraj, 2016). The load balancers
within the organization are of great significance and beneficial
in the cloud
environment especially where there is very large and heavy
workloads that can sometimes be overwhelming for a single
server. The times of
giving the required responses to the consumers are very critical
to the different processes taking place within the organization
and also the
level of productivity of different goods. In the scalability of
data, the whole process of load balancing is important. In a
normal setting, the cloud
infrastructure needs to be able to easily scale for the purpose of
accommodating any surge traffic or uptick. When the cloud goes
high, it is
able to spin up a number of applications which can in return
improve the storage of organizational data or run a number of
applications.
Without the presence of a load balancer, the servers will not be
in a position to receive and deal with the incoming traffic of
data (Kanakala et
al., 2015). It is also possible that some of the virtual servers

might be left hanging because of the traffic. The whole process
of load balancing
is able to regulate and detect the servers that are unavailable.
After detecting the unavailable servers, the traffic can then be
redirected to the
servers that are operational. For this to be possible, the
organization needs to subscribe to the best load balancing and
put in place the
33%
Plagiarised
67%
Unique
required measures. In conclusion, it is important for the
organization to come to a realization that data balancing and
IaaS are of great
significance in making sure that crucial data is put under
control. Data is one of the important resources that the
organization can have and
make sure that it is well protected and guarded. Cloud is one of
the most improved applications that can make the organization
be a success.
The servers act as important storage places for different plans
that the organization need to accomplish in form of data. IaaS at
the moment is
accessible for any organization whether it is a starting one or an

already established and well developed organization.
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Chatbots,2 for example, can help to interact with customers on
the company's respective websites and web-shops. ... However,
it's
expensive to keep server capacity available all year only to
support one or two colossal peak sales events, ... 1 week within
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