Concentric: Literary and Cultural Studies 33.1
March 2007: 75-85
Nervous Tracery:
Modern Analogies between Gothic Architecture
and Scholasticism
Joseph C. Murphy
Fu Jen Catholic University
Abstract
During the Gothic revivals of the nineteenth and early twentieth centuries,
Gothic architecture shed the morbid associations attached to it in earlier
periods and was admired for the aesthetic and theological vision that shaped
its medieval development. The Gothic cathedral came to epitomize the
wholeness of the Middle Ages and an impulse toward synthesis in theology as
well as the arts. This essay surveys four Gothic revival texts that define a
relationship between medieval Gothic architecture and Scholastic theology:
John Ruskin’s essay “The Nature of Gothic” in The Stones of Venice (1851-
53); Henry Adams’ Mont Saint Michel and Chartres (1904); Wilhelm
Worringer’s Form in Gothic (Formprobleme der Gotik, 1911); and Erwin
Panofsky’s Gothic Architecture and Scholasticism (1951). In these widely
read works, influential beyond the field of art history, the seemingly arcane
analogy between the Gothic and the Scholastic becomes a proving ground for
the projects of prominent intellectuals within distinct historical and cultural
contexts. For each author, the meaning of the Gothic hangs in a particular
balance between its tracery—that is, its naturalistic ornamental detail—and its
larger structure: the balance between the concrete and the abstract, between
multiplicity and unity, also achieved in Scholastic theology. Because their
analogies between the Gothic and the Scholastic isolate distinct lines of force
within these complex systems, Ruskin, Adams, Worringer, and Panofsky each
identify different values there, revealing as much about the modern mind as
about the medieval. The syntheses that their medieval forbears accomplished
collectively in service of faith, these interpreters seek independently in service
of their own cultural identity, aesthetic values, or intellectual coherence.
Keywords
Gothic architecture, Scholasticism, John Ruskin, Henry Adams,
Wilhelm Worringer, Erwin Panofsky, Thomas Aquinas
Concentric 33.1
March 2007
76
The Gothic style presents an interesting case of how the Middle Ages have
persisted in Western history through the backward glances, sometimes leery,
sometimes wistful, of subsequent periods. First arising in the seventeenth century as
a derogatory term for the anti-classical, “barbarous” style adopted by European
cathedral builders beginning in the twelfth century, the word “Gothic” became
attached in the eighteenth century to a type of sensational narrative set in
infelicitous buildings. During the Gothic revivals of the nineteenth and early
twentieth centuries, Gothic architecture shed its morbid associations and was
admired both for its aesthetic form and for the integral relationship of that form to a
theological vision. Symbolizing, as Arthur Sym.
A Comparative Analysis Of Ruskin S And Wilde S Writings On ArtElizabeth Williams
This document provides an introduction and table of contents for a comparative analysis of the writings on art by John Ruskin and Oscar Wilde. It summarizes Ruskin's most important works, including Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice. It also briefly discusses Walter Pater and his influence on Wilde. The document aims to analyze Wilde's essays to understand his views on art and aesthetics, and to compare his work to Ruskin's. It concludes that Ruskin and Wilde were two pivotal figures who influenced the development of art in the 19th century.
1. John Ruskin underwent a spiritual crisis as a Victorian that challenged his evangelical upbringing.
2. Ruskin's crisis was essentially circular, as he struggled with theology but ultimately returned to confident Christianity through his writings.
3. Ruskin's spiritual journey is traced through his art criticism, particularly his writings on religious architecture, which expressed his evolving views on morality and society's relationship with God.
The document discusses several key aspects of Gothic art and architecture between the 12th and 15th centuries. It notes that the term "Gothic" was first used in a letter to describe artworks from this period and later became commonly used. Gothic art saw developments like pointed arches, rib vaults, and flying buttresses in cathedral design. Stained glass windows also became prevalent, using techniques like flashing to depict religious images and scenes. Overall, Gothic architecture was characterized by its mysticism and innovations that allowed buildings to be constructed on a larger scale.
This document provides an overview and analysis of Kenneth Frampton's book on modern architecture. It discusses some of the challenges in defining the origins and timeline of modern architecture. Frampton acknowledges that he did not maintain perfect consistency in his interpretations and analysis throughout the book. He structured it as a mosaic, with some chapters focusing more on formal analysis and others considering broader socioeconomic or ideological contexts. The development of modern architecture after the Enlightenment involved tensions between utopian ideals of the avant-garde and bourgeois culture's oscillation between totally planned utopias and denial of industrial realities.
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The document discusses the relationship between architecture and sculpture from the 1960s onward. A renewed interest emerged in locating fine arts like sculpture within architectural spaces to establish new concepts in both disciplines. Sculpture began occupying comparable volumes to buildings and took on architectural qualities. By the 1970s, sculpture's role had expanded to altering and transforming space through its interference in the field of architecture. Public art is discussed as art located in open, public spaces for all citizens to experience.
William EvansPost University Art History IA Trip t.docxambersalomon88660
William EvansPost University Art History I
A Trip to the Metropolitan Museum
The visit is blood-curdling and gives a fantastic experience
Metropolitan Museum of Art can easily fit among the famous legendary European museums
The museum is iconic Beaux-Arts façade
Visiting Metropolitan Museum of Art has left me recalling of that blood-curdling and fantastic experience. Being one of the world’s premier cultural institutions and houses, it significantly encompasses nearly everything from the ancient classics to the modern masters. With its iconic Beaux-Arts façade, Metropolitan Museum of Art can easily fit among the famous legendary European museums. Although it is distinctly American and New York experience, it is a melting pot of the spectacular art and the artifacts from across time and the world. Interestingly, the museum is fondly referred to as the Met and visitors can travel from as far as Paleolithic Egypt to the Neolithic Near East to experience their culture in the form of artifacts in the museum.
What I realized is that Met features a comprehensive collection of calligraphy, art and even ritual objects from Nepal, China, and Tibet. I was further fascinated by the artifact of Sarcophagus of Junius Bassus and ignited my curiosity, and I immediately yearned to know its origin and history of this magnificent artifact (Baetjer, 1999).
*
Sarcophagus of Junius Bassus
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus
used for the burial of Junius Bassus
the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus that was used for the burial of Junius Bassus, who is known to have died in 359. Importantly, it has then been described as the single most famous piece of early Christian relief sculpture. Originally, the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican. Moreover, is one of the oldest surviving high-status sarcophagi with clear and elaborate carvings of Christian themes with complicated iconographic plans that embrace both the old and new testaments.
*
Junius Bassus
Junius Bassus was a significant figure and a senator
headed the government capital as the Praefectus Urbi
Bassus converted to Christianity shortly at the verge of his death
Junius Bassus was a significant figure and a senator who was the head of the government capital as the Praefectus Urbi at the time of his death in 359 when he was 42 years. Just as the artifact of sarcophagus depicts, Bassus converted to Christianity shortly at the verge of his death (Stokstad, 2010).
*
Style and art of sarcophagus
the workmanship and cooperation were of the highest quality
the sculpture shows fewer features of the late antique style of sculpture
the sculpture ignores practically all the rules obeyed by official artifacts
reflects a blending of the late Hellenic style with the contemporary Roman and Ital.
Neoclassicism was considered the style of the Age of Enlightenment. It drew from Renaissance classicism which introduced elements of mathematics, empiricism, humanism, and realism into European art and culture. Neoclassicism took on a more orderly and structured style using geometry, grids, and discipline. It also explicitly returned to Greek and Roman architectural models using columns, proportions, and ornamentation. In the 20th century, classicism was used both by those rejecting modern changes and by those embracing modernity to overthrow the 19th century.
A Comparative Analysis Of Ruskin S And Wilde S Writings On ArtElizabeth Williams
This document provides an introduction and table of contents for a comparative analysis of the writings on art by John Ruskin and Oscar Wilde. It summarizes Ruskin's most important works, including Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice. It also briefly discusses Walter Pater and his influence on Wilde. The document aims to analyze Wilde's essays to understand his views on art and aesthetics, and to compare his work to Ruskin's. It concludes that Ruskin and Wilde were two pivotal figures who influenced the development of art in the 19th century.
1. John Ruskin underwent a spiritual crisis as a Victorian that challenged his evangelical upbringing.
2. Ruskin's crisis was essentially circular, as he struggled with theology but ultimately returned to confident Christianity through his writings.
3. Ruskin's spiritual journey is traced through his art criticism, particularly his writings on religious architecture, which expressed his evolving views on morality and society's relationship with God.
The document discusses several key aspects of Gothic art and architecture between the 12th and 15th centuries. It notes that the term "Gothic" was first used in a letter to describe artworks from this period and later became commonly used. Gothic art saw developments like pointed arches, rib vaults, and flying buttresses in cathedral design. Stained glass windows also became prevalent, using techniques like flashing to depict religious images and scenes. Overall, Gothic architecture was characterized by its mysticism and innovations that allowed buildings to be constructed on a larger scale.
This document provides an overview and analysis of Kenneth Frampton's book on modern architecture. It discusses some of the challenges in defining the origins and timeline of modern architecture. Frampton acknowledges that he did not maintain perfect consistency in his interpretations and analysis throughout the book. He structured it as a mosaic, with some chapters focusing more on formal analysis and others considering broader socioeconomic or ideological contexts. The development of modern architecture after the Enlightenment involved tensions between utopian ideals of the avant-garde and bourgeois culture's oscillation between totally planned utopias and denial of industrial realities.
The Inter Relations Between Sculpture and Architecture - El Espacio RaptadoNicholas Socrates
The document discusses the relationship between architecture and sculpture from the 1960s onward. A renewed interest emerged in locating fine arts like sculpture within architectural spaces to establish new concepts in both disciplines. Sculpture began occupying comparable volumes to buildings and took on architectural qualities. By the 1970s, sculpture's role had expanded to altering and transforming space through its interference in the field of architecture. Public art is discussed as art located in open, public spaces for all citizens to experience.
William EvansPost University Art History IA Trip t.docxambersalomon88660
William EvansPost University Art History I
A Trip to the Metropolitan Museum
The visit is blood-curdling and gives a fantastic experience
Metropolitan Museum of Art can easily fit among the famous legendary European museums
The museum is iconic Beaux-Arts façade
Visiting Metropolitan Museum of Art has left me recalling of that blood-curdling and fantastic experience. Being one of the world’s premier cultural institutions and houses, it significantly encompasses nearly everything from the ancient classics to the modern masters. With its iconic Beaux-Arts façade, Metropolitan Museum of Art can easily fit among the famous legendary European museums. Although it is distinctly American and New York experience, it is a melting pot of the spectacular art and the artifacts from across time and the world. Interestingly, the museum is fondly referred to as the Met and visitors can travel from as far as Paleolithic Egypt to the Neolithic Near East to experience their culture in the form of artifacts in the museum.
What I realized is that Met features a comprehensive collection of calligraphy, art and even ritual objects from Nepal, China, and Tibet. I was further fascinated by the artifact of Sarcophagus of Junius Bassus and ignited my curiosity, and I immediately yearned to know its origin and history of this magnificent artifact (Baetjer, 1999).
*
Sarcophagus of Junius Bassus
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus
used for the burial of Junius Bassus
the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican
Sarcophagus of Junius Bassus is a significant marble of Early Christian Sarcophagus that was used for the burial of Junius Bassus, who is known to have died in 359. Importantly, it has then been described as the single most famous piece of early Christian relief sculpture. Originally, the sarcophagus was placed in the Old St. Peter’s Basilica inside the Vatican. Moreover, is one of the oldest surviving high-status sarcophagi with clear and elaborate carvings of Christian themes with complicated iconographic plans that embrace both the old and new testaments.
*
Junius Bassus
Junius Bassus was a significant figure and a senator
headed the government capital as the Praefectus Urbi
Bassus converted to Christianity shortly at the verge of his death
Junius Bassus was a significant figure and a senator who was the head of the government capital as the Praefectus Urbi at the time of his death in 359 when he was 42 years. Just as the artifact of sarcophagus depicts, Bassus converted to Christianity shortly at the verge of his death (Stokstad, 2010).
*
Style and art of sarcophagus
the workmanship and cooperation were of the highest quality
the sculpture shows fewer features of the late antique style of sculpture
the sculpture ignores practically all the rules obeyed by official artifacts
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Neoclassicism was considered the style of the Age of Enlightenment. It drew from Renaissance classicism which introduced elements of mathematics, empiricism, humanism, and realism into European art and culture. Neoclassicism took on a more orderly and structured style using geometry, grids, and discipline. It also explicitly returned to Greek and Roman architectural models using columns, proportions, and ornamentation. In the 20th century, classicism was used both by those rejecting modern changes and by those embracing modernity to overthrow the 19th century.
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Here is a comparison of Michelangelo's David and Bernini's David sculptures:
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In contrast, Bernini's David (created 1623-1624) represents the Baroque style's preference for dramatic movement and emotion. Rather than idealized form, Bernini depicted the biblical moment before David's battle with Goliath. His David has an arched back and leaning stance, capturing the youth's anticipation. Bernini also used multiple pieces of marble rather than a single block
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Deliverables: MUST HAVE!!!
Statement of Interest and a Possible
Thesis Statement
2 Scholarly References Cited in
MLA format
Critical analysis of the sources presented
DUE TOMORROW BY 6PM. NO PLAGERISM.
...
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Essay Time Capsule
TIME CAPSULE
NAME
HUM 102: Intro to the Humanities II
DATE
Introduction
Throughout time the humanities have evolved and proof of this evolution is seen in each of the different concepts that humanities cover. There are several time capsules that are rumored to contain pieces of some of the most influential art, music, architecture, philosophy, and literature in the Renaissance and Baroque periods. To find these capsules would be to travel back in time and hold in one s hands the true measure of what the humanities has accomplished during its evolution.
Art The Renaissance was perceived as a rebirth of ancient traditions. It breathed new life into the artists of its time with the development of new techniques and new artistic...show more content...He was known for the order within his work. He incorporated mathematical order into his buildings and is well known for the work he accomplished for the Cathedral of Florence. The Architecture Time Capsule contains the document with the blessing from the cornerstone of this great church. The Baroque style of architecture focused less on mathematical order and more on boldness. Colonnades, domes, color effects, volume, and void are all concepts of the Baroque style of architecture. The Piazza of St. Peter s Basilica in Rome is a great example of Baroque architecture in its preference for the grandiose. It captures all of the concepts that dominated the Baroque style of architecture and brings them together to create something that is visually stunning. The time capsule contains a painting depicting the aerial view of the colonnade and piazza of St. Peter s. The piazza was so large and spectacular that it could accommodate
World Literature in the Age of Globalization Reflections on a.docxtroutmanboris
World Literature in the Age of Globalization: Reflections on an Anthology
Author(s): Waïl S. Hassan
Source: College English , Sep., 2000, Vol. 63, No. 1 (Sep., 2000), pp. 38-47
Published by: National Council of Teachers of English
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38
World Literature in the Age
of Globalization: Reflections
on an Anthology
Wa'il S. Hassan
ince the early nineteenth century, Weltliteratur (world literature) has been one
of the great Western humanistic ideas. Like many such ideas, it has both re-
produced and reinforced a specifically Western worldview. For a long time,
"world literature" was synonymous with European literature, but with the vig-
orous interrogation from a number of perspectives of the primacy of the Western
canon, the rise to global celebrity of scores of non-Western writers (including several
Nobel laureates and others equally canonized by the Western literary-critical estab-
lishment), and the increasing availability of English translations, the teacher of a world
literature course today faces an unprecedented abundance of texts from which to
choose. Yet this situation is fraught with difficulties of its own, for even as the "glob-
alization of literary studies" emerges as the topic of the hour, the selective inclusion
of non-Western texts in critical and pedagogical cadres often reveals new configura-
tions of power and domination. I shall be arguing in this essay that the pedagogical
application of the concept of "world literature" in the United States since WWII has
developed in step with the political, economic, and strategic remapping of global re-
lations, sometimes in subtle ways that tend to mask its affiliations with power.
The globalization of literary studies is articulated in several interrelated domains-
critical, curricular, pedagogical-all of which I cannot adequately address within the
scope of this essay. I would like, however, to limit my discussion to one aspect of ped-
agogy, namely the evolution of the single most authoritative and widely used text-
book in world literature courses in the United States, The Norton Anthology of World
M.
Concept of collection. Assume that An agency has focused its sys.docxpatricke8
C
oncept of collection
. Assume that An agency has focused its system development and critical infrastructure data collection efforts on separate engineering management systems for different types of assets and is working on the integration of these systems. In this case, the agency focused on the data collection for two types of assets: water treatment and natural gas delivery management facilities.
Please identify what type of critical infrastructure data collection is needed for pavement and storm water management facilities.
.
Concept of AestheticsOVERVIEWAesthetics is defined as an appre.docxpatricke8
Concept of Aesthetics
OVERVIEW
Aesthetics is defined as an appreciation for beauty and a feeling of wonder. Teachers can help
develop children’s aesthetic senses by involving them in the arts through introduction to works
of art, music, dance, and literature. Children’s aesthetic sensibilities are enhanced by allowing
them to explore their environment in a manner that encourages divergent thinking. In discussing
art with children, basic elements such as line, color, form, space, and design are all appropriate.
Teachers can create aesthetic opportunities in the classroom by providing children with
materials, supplies, room décor, objects, books, visiting artists, and varied activities to stimulate
their aesthetic sense.
There are three basic ways to provide young children with developmentally appropriate
aesthetic experiences in the early childhood program:
Provide many opportunities to create art.
Provide many opportunities to look at and talk about art.
Help children become aware of art in their everyday lives.
Developing children’s aesthetic sensitivity is important because it improves the quality of their
learning and encourages the creative process.
KEY TERMS
aesthetic development
—
Teaching young children to appreciate art through everyday
experiences, play, and conversations
aesthetic experiences
—
Experiences involving an appreciation of the beauty of nature, the
rhythm and imagery of music or poetry, or the qualities of works of art.
aesthetic learning
—
Joining what one thinks with what one feels
Aesthetics Movement
—
Movement in the world beginning in early 1800 and lasting the
decade, emphasizing the “science of the beautiful” or the “philosophy of taste.”
aesthetics
—
An appreciation for beauty and a feeling of wonder. It is a sensibility that uses the
imagination as well as the five senses.
aesthetic sense —
One’s own specific taste or preference.
art appreciation
— Seeing and appreciating good artwork; learning to look at and learning to
create visual arts
art elements
—
Basic factors of art that can be used to describe art. These elements include
color, line, form or shape, space, and design.
balance —
The principle of design that deals with visual weight in a work of art
color/hue —
The color name
pattern —
When a particular shape, color, or motif is repeated in a rhythmic way
intensity —
The varied color when a hue’s complementary color, the color opposite it on the
color wheel, is added to the original color
language of art —
Expansion of the language of the early childhood classroom.
The words of
the language are the elements of art.
line —
A continuous mark on a surface
multicultural aesthetics —
A worldview of art which honors heritage, community, and tradition
multimedia artwork —
Integration of art such as walk-in sculpture environments; mixes of live
dance and films; and art exhibitions with drama, where actors move into the audience to engage
in the drama
primary colors —
Red, blue, and yellow.
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Apostolic Authority Reading And Writing Legitimacy In Clement Of AlexandriaJeff Nelson
Clement of Alexandria wrote about his role and that of the Alexandrian catechetical school in relation to the wider church in the 2nd century. Through a close reading of key passages, the article explores how Clement negotiates different types of authority - that based on elite education and that of church office holders. Clement presents the school's role as a necessary conduit between the Logos and the church, but only if it remains connected to and under the liturgical authority of the church. His texts both reflect and help shape the dynamic relationship between the school and the wider church authority structures in Alexandria during this period.
Here is a comparison of Michelangelo's David and Bernini's David sculptures:
Michelangelo's David (created 1501-1504) exemplifies Renaissance ideals of idealized human form and proportions. Carved from a single block of marble, David is depicted as a perfectly symmetrical nude figure, emphasizing mathematical order and geometry.
In contrast, Bernini's David (created 1623-1624) represents the Baroque style's preference for dramatic movement and emotion. Rather than idealized form, Bernini depicted the biblical moment before David's battle with Goliath. His David has an arched back and leaning stance, capturing the youth's anticipation. Bernini also used multiple pieces of marble rather than a single block
Select a theme focusing on artistic artifacts from prehistory to 140.docxgemaherd
Select a theme focusing on artistic artifacts from prehistory to 1400 looking at ties between these cultures and the contemporary world. For example, you might explore classical Greek architecture and its parallels to more recent architecture. Or, you might examine Gothic cathedrals and address their parallels in today's world. The idea is to discuss the influences of these now ancient cultures on contemporary symbolism and culture.
In a paragraph, explain why you chose this theme that you might explore. Discern whether you will be able to find sufficient research material to organize an exhibition around this artist and possible topic. List at least 2 of your scholarly references with a brief sentence or two describing the content of each one. Your professor will provide feedback.
IMPORTANT:
This class covers Western Art from the Paleolithic period through the end of the Gothic era (23,000BCE-1400CE). Therefor projects need to be constrained to western art from those periods.
Deliverables: MUST HAVE!!!
Statement of Interest and a Possible
Thesis Statement
2 Scholarly References Cited in
MLA format
Critical analysis of the sources presented
DUE TOMORROW BY 6PM. NO PLAGERISM.
...
Gothic architecture was the dominant architectural style in Western Europe during the Middle Ages. Some key features included tall pointed arches, flying buttresses, and large stained glass windows that filled churches with light. This allowed architects to build taller structures that reached toward the heavens. Cathedrals employed innovations like flying buttresses to support towering walls and allow for more light through stained glass, earning them the nickname "Books of Stone."
The document discusses the origins of philosophy and poetry according to Aristotle and others. It says that Aristotle believed wonder is the source of both, as it prompts people to seek understanding and knowledge. While Aristotle saw philosophy and poetry as having the same starting point in wonder, he believed they diverged into explanation (philosophy) versus myth-making (poetry). The document also discusses Plato's view of poetry and contrasts Aristotle and Plato's differing influences on later centuries.
This document provides an overview of New Historicism and Queer Theory literary theories. It discusses how New Historicism views literary texts as situated within the totality of institutions, practices, and discourses that constitute the culture of a particular time and place. It also acknowledges that both the text and the critic's interpretation are influenced by their unique historical contexts. For Queer Theory, it notes how the term "queer" was originally derogatory but has been reclaimed to identify non-heterosexual lifestyles and areas of study, and discusses how views have evolved from seeing fixed gay/lesbian identities to being more complex and acknowledging a spectrum of diverse experiences.
The document discusses several key aspects of Rococo architecture. It began as a lighter, more ornate version of Baroque architecture, with more elaborate details. Rococo originated in decorative arts but showed in painting through delicate colors, curving forms, and mythological subjects. While sometimes seen as too frivolous for churches, Rococo could be incorporated into sacred spaces if toned down. Examples of notable Rococo staircases and sculptures are provided.
This document provides an overview of literary theory. It discusses how literary theory aims to reveal what literature can mean by describing the underlying principles and tools used to interpret literature. The document outlines several major theoretical approaches including formalism, New Criticism, Marxism, structuralism, poststructuralism, new historicism, feminist theory, queer theory, and cultural studies. It explains how these theories have shaped the interpretation of literature and expanded literary studies into a broader field of cultural theory.
This document provides an overview of literary theory. It discusses how literary theory aims to reveal what literature can mean by describing the underlying principles and tools used to interpret literature. The document outlines several major theoretical approaches including formalism/New Criticism, Marxism, structuralism/poststructuralism, new historicism, gender studies, and cultural studies. It explains that literary theory has become more interdisciplinary and now incorporates cultural theory by analyzing various human discourses as constructed systems of knowledge.
The document discusses the emergence and characteristics of Neoclassical architecture. It began in the 18th century as a reaction against Rococo style, drawing inspiration from classical Greek, Roman, and Renaissance designs. Key features included simplicity, symmetry, and the use of columns. Prominent Neoclassical architects like Etienne-Louis Boullée and Claude Nicolas Ledoux designed dramatic large-scale buildings evoking themes of grandeur, emotion, and the expression of a structure's purpose through its form. Examples highlighted include Boullée's unbuilt Cenotaph for Newton and Ledoux's built Royal Saltworks at Arc-et-Senans.
An essay on Greek architecture requires comprehensive research on the Archaic, Classical, and Hellenistic periods. It demands an understanding of iconic structures like the Parthenon within their historical and social contexts. The essay must also analyze the evolution of architectural styles from Doric to Corinthian orders and explore philosophical underpinnings of harmony and proportion. Additionally, the societal and cultural backdrop of ancient Greece needs examination along with the significance of public and private spaces. Finally, the essay must strike a balance between informative content and narrative while synthesizing sources to present a well-rounded argument on the profound impact of Greek architecture.
Influences Of Ancient Architecture Essay 2.docx4934bk
This document discusses two architectural structures that were influenced by Greco-Roman architecture: St. Peter's Square in Vatican City and the Low Memorial Library at Columbia University in New York City. St. Peter's Square, built in the Renaissance era, exhibits Greco-Roman influence through its symmetrical design, including columns and statues. The Low Memorial Library, built in the late 19th century, was modeled after the Roman Pantheon and features columns and a central dome. Both structures demonstrate aspects of Greek and Roman architectural styles.
This document summarizes the views of some Masonic scholars on the possible origins and early history of Speculative Freemasonry prior to its establishment in 1717. It discusses theories that link Freemasonry to groups like the medieval stonemason guilds, Hermetic schools, and Rosicrucians in the 17th century. However, it finds little direct evidence and argues that most theories rely too heavily on supposition rather than facts from historical records of the time.
Architecture (Latin architectura, from the Greek ἀρχιτέκτων architekton "architect", from ἀρχι- "chief" and τέκτων "creator") is both the process and the product of planning, designing, and constructing buildings or other structures.
We study art to understand creative human expression throughout history. Art provides insights into past cultures, including their gods, beliefs, and ways of life. It also reflects universal human themes that persist across different times and places. Art has value for its material, intrinsic artistic qualities, and ability to commemorate individuals and preserve cultural achievements. Societies often highly value the arts during periods seen as cultural heights.
The document summarizes Byzantine art from 500-1453 AD. It notes that Byzantine art combined elements of classical Roman art with Christian themes. Mosaics, icons, and illuminated manuscripts were especially prominent art forms. Architects also developed new techniques like the pendentive and squinch to support domes over square spaces. The period saw controversies over the use of religious icons before they were fully embraced. Art served to visually express church theology in an abstract, symbolic style rather than realistic depiction.
Literary theory provides tools and principles for understanding literature. It examines the relationship between authors and their works, and how elements like gender, class, and history influence interpretation. Literary theory also considers genre evolution and formal literary structures. Recent theory explores how culture shapes texts more than individual authors, and how texts shape culture in turn. Literary theory draws from fields like linguistics, philosophy, and psychology to become an interdisciplinary study of culture through texts. Different theories rise and fall in popularity within literary studies.
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Essay Time Capsule
TIME CAPSULE
NAME
HUM 102: Intro to the Humanities II
DATE
Introduction
Throughout time the humanities have evolved and proof of this evolution is seen in each of the different concepts that humanities cover. There are several time capsules that are rumored to contain pieces of some of the most influential art, music, architecture, philosophy, and literature in the Renaissance and Baroque periods. To find these capsules would be to travel back in time and hold in one s hands the true measure of what the humanities has accomplished during its evolution.
Art The Renaissance was perceived as a rebirth of ancient traditions. It breathed new life into the artists of its time with the development of new techniques and new artistic...show more content...He was known for the order within his work. He incorporated mathematical order into his buildings and is well known for the work he accomplished for the Cathedral of Florence. The Architecture Time Capsule contains the document with the blessing from the cornerstone of this great church. The Baroque style of architecture focused less on mathematical order and more on boldness. Colonnades, domes, color effects, volume, and void are all concepts of the Baroque style of architecture. The Piazza of St. Peter s Basilica in Rome is a great example of Baroque architecture in its preference for the grandiose. It captures all of the concepts that dominated the Baroque style of architecture and brings them together to create something that is visually stunning. The time capsule contains a painting depicting the aerial view of the colonnade and piazza of St. Peter s. The piazza was so large and spectacular that it could accommodate
World Literature in the Age of Globalization Reflections on a.docxtroutmanboris
World Literature in the Age of Globalization: Reflections on an Anthology
Author(s): Waïl S. Hassan
Source: College English , Sep., 2000, Vol. 63, No. 1 (Sep., 2000), pp. 38-47
Published by: National Council of Teachers of English
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38
World Literature in the Age
of Globalization: Reflections
on an Anthology
Wa'il S. Hassan
ince the early nineteenth century, Weltliteratur (world literature) has been one
of the great Western humanistic ideas. Like many such ideas, it has both re-
produced and reinforced a specifically Western worldview. For a long time,
"world literature" was synonymous with European literature, but with the vig-
orous interrogation from a number of perspectives of the primacy of the Western
canon, the rise to global celebrity of scores of non-Western writers (including several
Nobel laureates and others equally canonized by the Western literary-critical estab-
lishment), and the increasing availability of English translations, the teacher of a world
literature course today faces an unprecedented abundance of texts from which to
choose. Yet this situation is fraught with difficulties of its own, for even as the "glob-
alization of literary studies" emerges as the topic of the hour, the selective inclusion
of non-Western texts in critical and pedagogical cadres often reveals new configura-
tions of power and domination. I shall be arguing in this essay that the pedagogical
application of the concept of "world literature" in the United States since WWII has
developed in step with the political, economic, and strategic remapping of global re-
lations, sometimes in subtle ways that tend to mask its affiliations with power.
The globalization of literary studies is articulated in several interrelated domains-
critical, curricular, pedagogical-all of which I cannot adequately address within the
scope of this essay. I would like, however, to limit my discussion to one aspect of ped-
agogy, namely the evolution of the single most authoritative and widely used text-
book in world literature courses in the United States, The Norton Anthology of World
M.
Similar to Concentric Literary and Cultural Studies 33.1 March 2007 7.docx (20)
Concept of collection. Assume that An agency has focused its sys.docxpatricke8
C
oncept of collection
. Assume that An agency has focused its system development and critical infrastructure data collection efforts on separate engineering management systems for different types of assets and is working on the integration of these systems. In this case, the agency focused on the data collection for two types of assets: water treatment and natural gas delivery management facilities.
Please identify what type of critical infrastructure data collection is needed for pavement and storm water management facilities.
.
Concept of AestheticsOVERVIEWAesthetics is defined as an appre.docxpatricke8
Concept of Aesthetics
OVERVIEW
Aesthetics is defined as an appreciation for beauty and a feeling of wonder. Teachers can help
develop children’s aesthetic senses by involving them in the arts through introduction to works
of art, music, dance, and literature. Children’s aesthetic sensibilities are enhanced by allowing
them to explore their environment in a manner that encourages divergent thinking. In discussing
art with children, basic elements such as line, color, form, space, and design are all appropriate.
Teachers can create aesthetic opportunities in the classroom by providing children with
materials, supplies, room décor, objects, books, visiting artists, and varied activities to stimulate
their aesthetic sense.
There are three basic ways to provide young children with developmentally appropriate
aesthetic experiences in the early childhood program:
Provide many opportunities to create art.
Provide many opportunities to look at and talk about art.
Help children become aware of art in their everyday lives.
Developing children’s aesthetic sensitivity is important because it improves the quality of their
learning and encourages the creative process.
KEY TERMS
aesthetic development
—
Teaching young children to appreciate art through everyday
experiences, play, and conversations
aesthetic experiences
—
Experiences involving an appreciation of the beauty of nature, the
rhythm and imagery of music or poetry, or the qualities of works of art.
aesthetic learning
—
Joining what one thinks with what one feels
Aesthetics Movement
—
Movement in the world beginning in early 1800 and lasting the
decade, emphasizing the “science of the beautiful” or the “philosophy of taste.”
aesthetics
—
An appreciation for beauty and a feeling of wonder. It is a sensibility that uses the
imagination as well as the five senses.
aesthetic sense —
One’s own specific taste or preference.
art appreciation
— Seeing and appreciating good artwork; learning to look at and learning to
create visual arts
art elements
—
Basic factors of art that can be used to describe art. These elements include
color, line, form or shape, space, and design.
balance —
The principle of design that deals with visual weight in a work of art
color/hue —
The color name
pattern —
When a particular shape, color, or motif is repeated in a rhythmic way
intensity —
The varied color when a hue’s complementary color, the color opposite it on the
color wheel, is added to the original color
language of art —
Expansion of the language of the early childhood classroom.
The words of
the language are the elements of art.
line —
A continuous mark on a surface
multicultural aesthetics —
A worldview of art which honors heritage, community, and tradition
multimedia artwork —
Integration of art such as walk-in sculpture environments; mixes of live
dance and films; and art exhibitions with drama, where actors move into the audience to engage
in the drama
primary colors —
Red, blue, and yellow.
Concept mapping, mind mapping and argumentmapping what are .docxpatricke8
Concept mapping, mind mapping and argument
mapping: what are the differences and do they matter?
Martin Davies
Published online: 27 November 2010
� Springer Science+Business Media B.V. 2010
Abstract In recent years, academics and educators have begun to use software map-
ping tools for a number of education-related purposes. Typically, the tools are used to
help impart critical and analytical skills to students, to enable students to see rela-
tionships between concepts, and also as a method of assessment. The common feature
of all these tools is the use of diagrammatic relationships of various kinds in preference
to written or verbal descriptions. Pictures and structured diagrams are thought to be
more comprehensible than just words, and a clearer way to illustrate understanding of
complex topics. Variants of these tools are available under different names: ‘‘concept
mapping’’, ‘‘mind mapping’’ and ‘‘argument mapping’’. Sometimes these terms are used
synonymously. However, as this paper will demonstrate, there are clear differences in
each of these mapping tools. This paper offers an outline of the various types of tool
available and their advantages and disadvantages. It argues that the choice of mapping
tool largely depends on the purpose or aim for which the tool is used and that the tools
may well be converging to offer educators as yet unrealised and potentially comple-
mentary functions.
Keywords Concept mapping � Mind mapping � Computer-aided argument mapping �
Critical thinking � Argument � Inference-making � Knowledge mapping
Introduction
In the past 5–10 years, a variety of software packages have been developed that enable the
visual display of information, concepts and relations between ideas. These mapping tools
take a variety of names including: ‘‘concept mapping’’, ‘‘mind mapping’’ or ‘‘argument
mapping’’. The potential of these tools for educational purposes is only now starting to be
realised.
M. Davies (&)
University of Melbourne, Parkville, VIC, Australia
e-mail: [email protected]
123
High Educ (2011) 62:279–301
DOI 10.1007/s10734-010-9387-6
The idea of displaying complex information visually is, of course, quite old. Flow
charts, for example, were developed in 1972 (Nassi and Shneiderman 1973) pie charts and
other visual formats go back much earlier (Tufte 1983). More recently, visual displays
have been used to simplify complex philosophical issues (Horn 1998). Formal ways of
‘‘mapping’’ complex information—as opposed to the earth’s surface, countries, cities and
other destinations—began at least 30 years ago, and arguably even earlier.
More recently, the use of information and computer technology has enabled information
mapping to be achieved with far greater ease. A plethora of software tools has been
developed to meet various information mapping needs. What do these tools do? What are
their similarities and differences? What are their advantages and disadvantages? How
precisely do t.
CONCEPT MAPPINGMid Term Assignment (Concept Mapping).docxpatricke8
CONCEPT MAPPING
Mid Term Assignment (Concept Mapping)
Vishvaksen Reddy Kanatala
Dr.Rand Obeidat
Enterprise Risk Management
Our hospital
General checkup
Offers
Medical Attention
Emergencies
of
Regular diseases
Through our
Skilled staffs
Under who conduct
Laboratory experiments
Security
Price consideration
or
to settle
Bill
For an enterprise risk management of health centre, the concepts for the enterprise risk management are the hospital itself, what they offer from medical attention of regular diseases and emergencies as well as a checkup of regular diseases. They the enterprise risk management should focus on how the health centre assures the quality of their service by the use of skilled staffs who conduct laboratory experiment when necessary to ascertain the actual diseases. These services are done at price consideration, or the clients can attack assets which can be used to settle the bill, which should be equivalent to the price consideration.
These concepts relate to each other because enterprise risk management is all about proper control of finances thus for a health centre they, the concept in which they undergo transaction is through the treatment of clients which should be managed effectively and closely monitored to avoid losses. According to the kind of medication given to the client, there should be the amount that the client should pay for the financial stability of the health centre.
The relationship between the concepts in the concept map and the idea to be discussed in the paper is how a hospital goes through until it can reach a point where it can demand payments. The paper is on finances management; thus, the need to show how financial transactions in a hospital are reached t point of declaring the.
The concepts in the concepts maps are connected by the use of verbs as well as conjunctions accordingly to connect one each concept with the other.
Page 1 of 14
BA 308 Leadership & Communication
Hybrid Course Syllabus Spring, 2019
CRN Credits
36093 4
Instructors
Team* Instructor Email** Office Hours Location
A-D Eric Boggs [email protected] Tues. 2pm-4pm 208B Peterson
1-4 Nicole Wilson [email protected] Mon. 10am-12pm 422 Lillis
*Friday Week 1 you will be assigned to a team.
Table of Contents
To quickly find the information you need, press your Ctrl key and click the topic.
Questions & Office Hours ................................................................................................................ 2
What You Should Know About Hybrid Classes ............................................................................. 2
Required Books and Materials........................................................................................................ 3
Canvas Learning Management System ....................................................................................... 3
Course Description ..............
Concept A The first concept that I appreciated in the.docxpatricke8
The document discusses two key concepts - negligence and informed consent. Regarding negligence, it is defined as a failure to act that results in harm to an individual. This could include failing to order dialysis for a patient in need. As a nurse manager, it is important to ensure staff follow policies to avoid negligence and maintain duty of care. The second concept discussed is informed consent, which the Joint Commission defines as a communication process that results in a patient authorizing a specific medical intervention. Informed consent requires fully informing patients on diagnosis, treatment options, risks, benefits and obtaining their signed consent. As a nurse manager, it is critical to ensure all patients undergoing procedures have a valid informed consent form.
Concept Analysis (1,000 words). Deadline 1300, 11 March 2021. .docxpatricke8
Concept Analysis (1,000 words). Deadline: 13:00, 11 March 2021. Concepts lie at the heart of any academic field, and IR is no exception. They help us make sense about the worldand provide a ‘bridge’ between our ideas and the real world. This module will be introducing you to a number of key concepts in IR – as well as some of the debates which swirl around these concepts. This assessment asks youto choose one of these key concepts, and undertake your own research in order to establish the various ways in which the concept is defined and used in the field of IR. You will need to identify and locate appropriate academic sources, engage critically with that material, and construct a piece of writing which conforms to academic conventions.Your analysis needs to be 1,000 words in length, and address the competing meanings of, and debates around, your chosen concept. It needs to be rooted in the field of IR and engage with academic texts which address or use the concept.
The concept is globalisation.
Your concept analysis should address the following aspects:
➢ Who are the main IR theorists who explore this topic
➢ What do they say about this concept?
➢ What are the connections between your chosen concept and other key concepts in IR
In assessing the concept analysis, staff will consider the degree to which:▪ The student’s characterisation of the relevant concept is accurate
▪ The student has engaged with appropriate academic sources
▪ The student has considered a range of definitions, uses and perspectives relating to the concept▪ The analysis is logically and coherently structured
▪ The student has adhered to scholarly conventions in citing sources and producing a bibliography
.
Concentration in the mobile operating systemsmarketMauri.docxpatricke8
Concentration in the mobile operating systems
market
Maurizio Naldi
Universitỳ of Rome Tor Vergata
Department of Computer Science and Civil Engineering
Via del Politecnico 1, 00133 Roma, Italy
[email protected]
Abstract. Concentration phenomena concern the ICT market. Though
the regulatory action has been active mainly in the telecom network
operators industry, even more significant worldwide concentration phe-
nomena affect other industries. The market of mobile operating systems
is analysed through two concentration indices to get a quantitative pic-
ture of the current situation and its evolution over time: the Hirschman
Herfindahl Index (HHI) and the Four-Firm Concentration Ratio (CR4).
A strongly imbalanced oligopoly is shown to exist, where the four major
operating systems take over 99% of the market, but the dominant oper-
ating system Android alone is installed on over 80% of the new devices.
Keywords: Operating Systems; Concentration; Competition; HHI
1 Introduction
Market structure and the presence of dominant operators (manufacturers and/or
service providers) has been a significant field of activity in industrial policy since
long [18]. An operator holding a very large share of the market, or even acting
as a monopolist, may take advantage of its position and enforce unfair poli-
cies towards its customers, which in turn have little or no room to oppose. The
attention for the appearance of dominant positions is at the root of the birth
of a number of national anti-trust agencies, both at the national and superna-
tional level [6], which enforce rules against anticompetitive agreements, abuses
of dominant position as well as concentrations (e.g., mergers and acquisitions,
joint ventures) which may create or strengthen dominant positions detrimental
to competition.
The issue is particularly delicate in ICT industries, where operators may
often benefit of economies of scale, which would lead to a natural monopolistic
structure as the most efficient one [15]. Noam has carried out a broad analysis
of concentration phenomena in several ICT and ICT-related industries [13] [14]:
– Books
– Film
– ISP
ar
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1v
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ay
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2 M. Naldi
– Magazines
– Multi- channel
– Newspapers
– Online News
– Radio
– Search Engines
– TV
– Wireless
– Wireline
In that survey, the highest HHI value is observed for search engines and is
roughly 0.75, quite above the second highest value, which is 0.55 and pertains
to the wireline telco market.
However, the survey of [13] leaves out a market that has often been at the
center of anti-trust disputes in recent years, which is the operating systems one.
The most notable ones have been the U.S.A. vs Microsoft case for the Windows
desktop operating system [4], and the very recent Statement of Objections raised
by the EU vs Google for the mobile operating system Android [1].
In that Statement of Objections, the European Commission alleges that
Google has b.
Con Should the United States government have bailed out the a.docxpatricke8
Con: Should the United States government have bailed out the automobile
industry?
Introduction
A. In 2009, the .“Big Three” (GM, Chrysler, and ford) were facing fmancial struggles.
They were fuced with a decision: either try and work through their problem on their own
by securing loans, or to go to the government for help. Of the Big Three, only Ford
declined government assistance, having already secured a line ofcredit in 2006 by using
all of their assets as collateral. GM and Chrysler filed for a managed Chapter 11
bankruptcy that was funded primarily through the U.S. Treasury using taxpayer money.
This modified version ofChapter 11 bankruptcy that was implemented by the U.S.
government appeared to have allowed these automakers to survive for the time being, but
it came at the expense ofthe taxpayers and it did not address all ofthe problems that
caused the Big Three’s issues in the first place.
I. The Big Three’s poor managerial choices created their financial problems,
and the taxpayers’ money shouldn’t be bailing them out.
A. GM, Chrysler, and ford continued to focus on and mass produce large trucks and
SUVs because of their higher profit margins despite a growing concern over increasing
fuel prices between 2002-2007.
1. Research done by Thomas Klier of the Federal Reserve Bank of Chicago
indicates that during the span of 2002-2007, “about 40 percent of the decrease in
U.S. market share has been caused by the recent increase in the price of gaso line.”
2. More specifically, research done by Meghan Busse and F brian Zettlemeyer of
Northwestern University and Christopher Knittle of UC Berkeley showed that
through the period of 1999-2006, “a$1 increein goIinepricewiII decree
the market share of cars in the least fuel efficient quartile (< 17.7 MPG) by
11.5%.... that a $1 increase in gasoline price will increase the market share of cars
inthemofu effidentquatile(>24.3MR3) by 15.1%”
B. They allowed legacy costs to build by continuing to give out large pension plans when
foreign auto makers were switching to more realistically defined contribution plans
(4OlKs) back in the $Os.
1. The average per-hour base salary ofa U.S. auto worker and a foreign auto
worker were about the same ($28/hour in 2007) but each worker actually cost
$73.21/hour compared to $44.17/hour of Japanese competitors, with the
difference being the additional benefits promised.
C. U.S. autornakers should have switched to defined contribution plans (4OlKs) in order
to stay competitive and keep costs sustainable.
1. GM didn’t officially freeze their pension plans until February of2012.
a. This meant that they would no longer contribute to the pension plans of
workers who were promised them upon employment. Those employees
would now receive 4OlKs (defined contribution plans), a change that
should have been made decades ago to avoid current financial struggles.
II. There was no market failure and the U.S. auto makei should have filed
for traditional Chapter 11 bankrup.
COMS 101
Persuasive Speech Instructions
This course requires you to present a persuasive speech to a live, visually documented audience of 3 or more adults. Use a video recording device to create an audible recording of this presentation for submission. After recording the presentation, upload it to YouTube as an unlisted video and post the video’s link to the instructor via the designated Blackboard assignment submission link. See the Posting Speech Videos to Blackboard via YouTube tutorial (in the Assignment Instructions folder) for step-by-step instruction about this process.
Your speech grade will be determined by the degree to which you satisfy the requirements listed below.
1. Choose an appropriate topic.
This assignment requires you to research a global, national, regional, state or local problem that apparently exists because humans in general or a specific group of humans are neglecting their duty to promote the things God values in this world.
· The problem may be political, economic, educational, environmental, medical, religious, or cultural. It may be a false belief or set of beliefs (about God, nature, or other people) that needs correction, a wrongful attitude or type of attitude (toward God, nature, or other people) that needs adjustment, a neglectful or wrong way of acting (toward God, nature, or other people) that needs to change, or a state of needfulness or brokenness that exists as it does because of human indifference or inactivity.
· The problem must be a social one that deters many individuals—not just a few isolated lives—from experiencing life according to God’s Word as he intended when he created the world the people in it.
Among the social issues that could generate a qualified speech topic are the following:
abortion, infanticide, or euthanasia
discrimination (racism, sexism, ageism)
abuse (child, elder, self, spousal)
ecology (climate change, pollution, littering)
addictions/codependency/eating disorders
education (underachievement or illiteracy)
air, land, or water pollution
famine, drought or diseases
animal abuse or vivisection
labor issues (child labor or sweatshops)
bioethics (cloning, eugenics, stem cell research)
marriage (divorce, cohabitation)
birth or population control
poverty (world hunger or homelessness)
crime (street, juvenile, gang, or white collar)
sex (pre-marital, extramarital, homosexual)
criminal justice (prison crowding, recidivism)
slavery or human trafficking
The following sites may be helpful for discovering or exploring these and other qualified topics:
Center for Bioethics and Human Dignity
The Heritage Foundation
Family Research Council
The Rutherford Institute
The American Enterprise Institute
The Pew Forum on Religion in Public Life
The Discovery Institute
Speech Goals: Because this is a persuasive speech—a speech in which you try to persuade the audience to believe or value something or to act in a specific way—and because you are to use this particular speech to advocate a rede.
COMS 040 AssignmentStudent Congress Bill Choose an argument a.docxpatricke8
COMS 040 Assignment:
Student Congress Bill
Choose an argument and then research it, and write a Congress Bill (a proposed law). (3-5 Whereas clauses) Whereas INSERT FACT IN SUPPORT OF THE BILL/LEGISLATION
Whereas: INSERT FACT IN SUPPORT OF THE BILL/LEGISLATION
Whereas: INSERT FACT IN SUPPORT OF THE BILL/LEGISLATION.
Whereas: INSERT FACT IN SUPPORT OF THE BILL/LEGISLATION.
THEREFORE, BE IT RESOLVED BY THIS STUDENT CONGRESS: insert proposed legislation.
.
computerweekly.com 10-16 September 2019 21Industry experts.docxpatricke8
computerweekly.com 10-16 September 2019 21
Industry experts believe blockchain is a technology that has the potential to affect the business of most IT profession-als in the next five years. Analyst Gartner has forecast that by 2023, blockchain will support the global movement and
tracking of $2tn of goods and services.
It is regarded by many industry watchers as a disrupting force
in the financial world. A PwC global financial technology (fintech)
survey found that 56% of respondents recognise the importance
of blockchain. At the same time, however, 57% admit to being
unsure about or unlikely to respond to this trend.
Start witH tHe HaSH
Blockchain is effectively a shared ledger between a group of
people – for example, a group of companies that work together
to produce a service or product. What makes blockchain differ-
ent is the fact that the history of the changes – past transactions,
for example – are immutable.
Essentially, the historical entries become read-only and
unchangeable. This is due to the fact that each blockchain
entry relies on the hash – a computed value including part of a
previous block as part of its hashing calculation for the current
block. This means that if a previous block is somehow modi-
fied or corrupted, its hash value will change and therefore the
values after that point become broken, making the tampering
evident for all to see.
One example where blockchain technology can be used is
where several companies come together to provide or consume
Blockchain:
hype vs reality
Regarded by many as a
disruptive force in finance
and beyond, blockchain
technology presents a number
of complex challenges that
must be overcome before
it can truly deliver on its
promises. Stuart Burns reports
BUYER’S GUIDE TO BLOCKCHAIN TECHNOLOGY | PART 1 OF 3
Home
IU
R
IIM
O
TO
V
/A
D
O
B
E
http://www.computerweekly.com
https://www.computerweekly.com/resources/Blockchain
https://www.computerweekly.com/ehandbook/Cutting-through-the-blockchain-hype
https://www.computerweekly.com/ehandbook/Cutting-through-the-blockchain-hype
https://www.techtarget.com/contributor/Stuart-Burns
computerweekly.com 10-16 September 2019 22
Home
News
HMRC under fire
over ‘scaremongering’
IR35 letters targeting
GSK contractors
Ransomware has
evolved into a serious
enterprise threat
How Defra has
been preparing its
IT systems for any
Brexit eventuality
Editor’s comment
Buyer’s guide
to blockchain
Chasing down
hackers through
security analytics
How councils are using
technology to support
adult social care
Downtime
services, usually under long-term contracts. It can be complex
and cumbersome to manage contracts involving several individu-
als, when multiple documents are involved and everyone needs
to agree on the same contract versions and details. Over time,
changes will occur that also need to be managed and agreed on.
Managing contracts in blockchain, however, means that rather
than p.
Computers in Human Behavior 39 (2014) 387–392Contents lists .docxpatricke8
Five days at an outdoor education camp without any screen time improved preteen students' ability to interpret nonverbal emotional cues from photos and videos. A group of 51 preteens spent five days at a nature camp without TVs, computers or phones and showed significantly greater gains in recognizing emotions than a control group of 54 students who had normal access to media. Spending time away from screens and immersed in face-to-face social interactions enhanced the camp group's skills at understanding nonverbal emotional cues.
Computers in Human Behavior xxx (2012) xxx–xxxContents lists.docxpatricke8
Computers in Human Behavior xxx (2012) xxx–xxx
Contents lists available at SciVerse ScienceDirect
Computers in Human Behavior
j o u r n a l h o m e p a g e : w w w . e l s e v i e r . c o m / l o c a t e / c o m p h u m b e h
Critical thinking in E-learning environments
Raafat George Saadé a,⇑, Danielle Morin a,1, Jennifer D.E. Thomas b,2
a Concordia University, John Molson School of Business, Montreal, Quebec, Canada
b Pace University, Ivan Seidenberg School of CSIS, New York, NY, USA
a r t i c l e i n f o
Article history:
Available online xxxx
Keywords:
E-learning
Critical thinking
Assessment
Information technology
0747-5632/$ - see front matter � 2012 Elsevier Ltd. A
http://dx.doi.org/10.1016/j.chb.2012.03.025
⇑ Corresponding author. Tel.: +1 514 848 2424; fax
E-mail address: [email protected] (R.G. Sa
1 Tel.: +1 514 848 2424; fax: +1 514 848 2824.
2 Tel.: +1 212 346 1569; fax: +1 212 346 1863.
Please cite this article in press as: Saadé, R. G., e
10.1016/j.chb.2012.03.025
a b s t r a c t
One of the primary aims of higher education in today’s information technology enabled classroom is to
make students more active in the learning process. The intended outcome of this increased IT-facilitated
student engagement is to foster important skills such as critical thinking used in both academia and
workplace environments. Critical thinking (CT) skills entails the ability(ies) of mental processes of discern-
ment, analysis and evaluation to achieve a logical understanding. Critical thinking in the classroom as well
as in the workplace is a central theme; however, with the dramatic increase of IT usage the mechanisms by
which critical thinking is fostered and used has changed. This article presents the work and results of
critical thinking in a virtual learning environment. We therefore present a web-based course and we
assess in which parts of the course, and to what extent, critical thinking was perceived to occur. The course
contained two categories of learning modules namely resources and interactive components. Critical
thinking was measured subjectively using the ART scale. Results indicate the significance of ‘‘interactivity’’
in what students perceived to be critical-thinking-oriented versus online material as a resource. Results
and opportunities that virtual environments present to foster critical thinking are discussed.
� 2012 Elsevier Ltd. All rights reserved.
1. Introduction
One of the primary aims of higher education in today’s informa-
tion technology (IT) enabled classroom, is to make students more
active in the learning process (Ibrahim & Samsa, 2009). The in-
tended outcome of this increased IT-facilitated student engage-
ment is to foster important skills such as critical thinking. Given
the importance of information technology for critical thinking in
learning, it is vital that we understand better the associated key
factors related to: background of students, beliefs, perceptions
and attitudes and associated anteceden.
Computers can be used symbolically to intimidate, deceive or defraud.docxpatricke8
Computers can be used symbolically to intimidate, deceive or defraud victims. The basic law that protects our privacy is the Fourth Amendment to the United States Constitution, which mandates that people have a right to be secure in homes and against unreasonable search and seizure. What law(s) have been enacted to protect individuals at the state or federal government? Does these protection laws vary from state to state?
.
Computers are often used to make work easier. However, sometimes c.docxpatricke8
Computers are often used to make work easier. However, sometimes computers can make work more difficult especially with poorly implementation. SOX is an important example of a poorly implemented database that has encountered. A database should have its specific intentions as much as data organization and management always exist as general functions. The SOX database implemented in 2011 was put in place to combat fraud by coming up with efficient accounting audit and management of financial records. I think the developers failed to include technical aspects of fraud control into the system. They instead targeted the visible crimes leaving very many holes for exploiting the SOX system (Anand et al., 2014).
The database seems vague from IT perspective. The database constitutes only two sections of codes relating to IT. These two sections merely meet the standards for testing IT sufficient auditing compliance by organizations. The database seems to be far off the role of fostering sufficient auditing process for these organizations. Since inception, most audit companies struggle to figure out the IT protective aspects of the database. It seems that the developers mainly focused on the guidelines in using financial systems in preventing frauds but rather forgot the IT aspect if reducing the vulnerability of the system. For so many years, the database has failed to meet the technical roles of a database in system management and accounting regulation which are the critical reason why it was created. The SOX guidelines seem to forget about pertinent technical aspects of the system function (Cinarkaya et al., 2017).
The solutions to the mistake that was done are conducting technical analysis and installing appropriate fixing. Ideally, the database should target electronic management and safety of data rather than physical data management. This mistake of poorly implemented gave a false impression of database management in many companies that adopted the type of database in early days. From physical outlook, one could see that things are alright yet some technical rot was brewing within the system. It is clear that the developers of the SOX database missed some point while deriving and implementing the database and this should be fixed to enhance the computer-based operations (Anand et al., 2014).
References
Anand, T. S., Wikle, G. K., Lindsay, M. P., Schubert, R. N., Lettington, D. T., & Ludwig, J. P. (2014). U.S. Patent No. 5,832,496. Washington, DC: U.S. Patent and Trademark Office.
Cinarkaya, B., Tamm, S., Sureshchandra, J., Warshavsky, A., Bulumulla, I. U., Fry, B., ... & Brooks, D. (2017). U.S. Patent No. 9,825,965. Washington, DC: U.S. Patent and Trademark Office.
.
Computers are part of our everyday lives. You are likely reading thi.docxpatricke8
Computers are part of our everyday lives. You are likely reading this assignment on a computer screen right now; you may have a smart phone sitting on your desk, and maybe you just came back from a business trip during which you made airline and hotel reservations online. Over the last several years, you may have noticed that computers are able to store more information and process that information more quickly. New research into the electron spin of atoms hints at a new computer revolution in the near future.
Assignment
For this project, you will be exploring the developments in material science that have allowed computers to become so fast. To do so, please address the following in 3–4 pages, not including title and reference pages:
What are the 3 essential properties of every material?
New materials often lead to new technologies that change society. Describe how silicon-based semiconductors revolutionized computing.
What are microchips? How are they related to integrated circuits?
One of the pressing questions about the increasing ability of computers to quickly process large amounts of information is whether a computer can be built that is considered "alive" or "conscious." What is artificial intelligence? What are 2 essential differences between human brains and the central processing unit of a computer?
Click on the following link to review additional information in a video relevant to this assignment:
Will Computers Out-think Us?
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Computerized Operating Systems (OS) are almost everywhere. We encoun.docxpatricke8
Computerized Operating Systems (OS) are almost everywhere. We encounter them when we use our laptop or desktop computer. We use them when we use our phones or tablet. Find peer-reviewed articles that discuss the advantages and disadvantages of at least two different Robotic Operating Systems (ROS).
250 words, APA format with references
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Computerized Operating Systems (OS) are almost everywhere. We en.docxpatricke8
Computerized Operating Systems (OS) are almost everywhere. We encounter them when we use out laptop or desktop computer. We use them when we use our phone or tablet. Find articles that describes the different types of operating systems (Linux, Unix, Android, ROS, z/OS, z/VM, z/VSE, etc).
Do not select MS WINDOWS
. Write a scholarly review of comparing any two or more OS.
It should be at
least 10-15 pages
with at
least 5 APA
citations & matching references.
Formatting
: Introduction; Image / Table; Conclusion; 12 TNR font; double space; clearly divided small paragraphs; bold & underline headings;
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Computer technology ▪ Information systems ▪ Data analytics supply c.docxpatricke8
Computer technology ▪ Information systems ▪ Data analytics /supply chain management ▪ Sensors/cameras and overall tracking monitoring equipment • Research Paper—the research paper is not a rehash of the company’s initiatives (Walmart vs Amazon) but rather a deep-dive analysis of the research you have found. This should include: ▪ a focused narrative of the area you researched (either company) ▪ Key takeaways and next steps ▪ your thoughts on the matter—either positive or negative at it pertains to your research
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Concentric Literary and Cultural Studies 33.1 March 2007 7.docx
1. Concentric: Literary and Cultural Studies 33.1
March 2007: 75-85
Nervous Tracery:
Modern Analogies between Gothic Architecture
and Scholasticism
Joseph C. Murphy
Fu Jen Catholic University
Abstract
During the Gothic revivals of the nineteenth and early twentieth
centuries,
Gothic architecture shed the morbid associations attached to it
in earlier
periods and was admired for the aesthetic and theological vision
that shaped
its medieval development. The Gothic cathedral came to
epitomize the
wholeness of the Middle Ages and an impulse toward synthesis
in theology as
well as the arts. This essay surveys four Gothic revival texts
that define a
relationship between medieval Gothic architecture and
Scholastic theology:
John Ruskin’s essay “The Nature of Gothic” in The Stones of
2. Venice (1851-
53); Henry Adams’ Mont Saint Michel and Chartres (1904);
Wilhelm
Worringer’s Form in Gothic (Formprobleme der Gotik, 1911);
and Erwin
Panofsky’s Gothic Architecture and Scholasticism (1951). In
these widely
read works, influential beyond the field of art history, the
seemingly arcane
analogy between the Gothic and the Scholastic becomes a
proving ground for
the projects of prominent intellectuals within distinct historical
and cultural
contexts. For each author, the meaning of the Gothic hangs in a
particular
balance between its tracery—that is, its naturalistic ornamental
detail—and its
larger structure: the balance between the concrete and the
abstract, between
multiplicity and unity, also achieved in Scholastic theology.
Because their
analogies between the Gothic and the Scholastic isolate distinct
lines of force
within these complex systems, Ruskin, Adams, Worringer, and
Panofsky each
identify different values there, revealing as much about the
modern mind as
about the medieval. The syntheses that their medieval forbears
accomplished
collectively in service of faith, these interpreters seek
independently in service
of their own cultural identity, aesthetic values, or intellectual
coherence.
Keywords
3. Gothic architecture, Scholasticism, John Ruskin, Henry Adams,
Wilhelm Worringer, Erwin Panofsky, Thomas Aquinas
Concentric 33.1
March 2007
76
The Gothic style presents an interesting case of how the Middle
Ages have
persisted in Western history through the backward glances,
sometimes leery,
sometimes wistful, of subsequent periods. First arising in the
seventeenth century as
a derogatory term for the anti-classical, “barbarous” style
adopted by European
cathedral builders beginning in the twelfth century, the word
“Gothic” became
attached in the eighteenth century to a type of sensational
narrative set in
infelicitous buildings. During the Gothic revivals of the
nineteenth and early
twentieth centuries, Gothic architecture shed its morbid
associations and was
admired both for its aesthetic form and for the integral
relationship of that form to a
theological vision. Symbolizing, as Arthur Symons wrote in
1899, “the very soul of
the Middle Ages,” the Gothic cathedral came to epitomize the
medieval impulse
toward synthesis in theology as well as the arts. Indeed, St.
Thomas Aquinas’
4. colossal reconstruction of Christian theology on Aristotelian
principles in the
Summa Theologica—architectural in its form and ambition—
mirrored the synthesis
between faith and reason, transcendence and empiricism, at
work in the Gothic style.
Although the concept of synthesis was a commonplace of
medieval thought—
evident in Dante’s Commedia as in summas and cathedrals—it
became the mission
of latter-day interpreters to detect oblique unities among these
distinct medieval
enterprises.
This essay will trace a path through four texts from the mid-
nineteenth
through the mid-twentieth centuries that define a relationship
between medieval
Gothic architecture and Scholastic theology: John Ruskin’s
essay “The Nature of
Gothic” in The Stones of Venice (1851-53); Henry Adams’
Mont Saint Michel and
Chartres (1904); Wilhelm Worringer’s Form in Gothic
(Formprobleme der Gotik,
1911); and Erwin Panofsky’s Gothic Architecture and
Scholasticism (1951).1 In
these widely read works, influential beyond the field of art
history, the seemingly
arcane analogy between the Gothic and the Scholastic becomes
a proving ground
for the projects of prominent intellectuals within distinct
historical and cultural
contexts. For each author, the meaning of the Gothic hangs in a
particular balance
between its tracery—that is, its naturalistic ornamental detail—
and its architectural
5. structure: the balance between the concrete and the abstract,
between multiplicity
and unity, that is also achieved in Scholastic theology. Because
their analogies
between the Gothic and the Scholastic isolate distinct lines of
force within these
complex systems, these writers each identify different values
there, revealing as
1 An earlier version of this essay was presented at the Seventh
Annual Fu Jen Medieval
Conference: The Human Person and Nature in Medieval
Literature, Fu Jen Catholic University,
April 22, 2006.
Murphy
Nervous Tracery
77
much about the modern mind as about the medieval. The
syntheses that their
medieval forbears accomplished collectively in service of faith,
these interpreters
seek independently in service of their own cultural identity,
aesthetic values, or
intellectual coherence.
John Ruskin’s essay “The Nature of Gothic” is the most
eloquent expression
of the English Gothic revival, even as Barry and Pugin’s Houses
of Parliament
(1840-60) are its most iconic. In order to clarify the transition
6. between Venetian
Byzantine and Gothic forms, Ruskin posits an idealized Gothic
style that is
recognizably Northern, unfettered by the Arab influences that
colored its flowering
in Venice beginning in the thirteenth century. He identifies six
“characteristic or
moral elements” in Gothic architecture, in order of importance:
Savageness,
Changefulness, Naturalism, Grotesqueness, Rigidity, and
Redundance, corre-
sponding with six characteristics of Gothic builders: Savageness
or Rudeness, Love
of Change, Love of Nature, Disturbed Imagination, Obstinacy,
and Generosity
(141).2 For Ruskin the Gothic is not only an architectural style
but a Northern cast
of mind shared by his Anglo-Saxon audience, to whose “Gothic
spirit” he appeals
(139). This spirit takes the external form of “Foliated
Architecture, which uses the
pointed arch for the roof proper, and the gable for the roof-
mask” (204; italics
original). Ruskin associates the gable with the savageness of
Northern weather—it
being the best roof for casting off snow and rain—while the
pointed arch is a
function of Changefulness because, unlike the rounded arch, it
is open to endless
formal variation. Foliation, the architectural “adaptation of the
forms of leafage”
(200), is the feature that expresses the greatest breadth of
Gothic spirit: Naturalism,
of course, as well as the Savageness and Changefulness
(variety) of the wilderness.
Foliation also embodies Rigidity, which Ruskin defines as “the
7. peculiar energy
which gives tension to movement, and stiffness to resistance”
(186). In “Gothic
vaults and traceries,” he writes, “there is a stiffness analogous
to that of the bones of
a limb, or fibres of a tree; an elastic tension and communication
of force from part
to part, and also a studious expression of this throughout every
visible line of the
building” (186). “Gothic ornament,” he observes, “stands out in
prickly
independence, . . . here starting up into a monster, there
germinating into a blossom;
anon knitting itself into a branch, alternately thorny, bossy, and
bristly, or writhed
into every form of nervous entanglement” (186). Redundance is,
finally, also a
characteristic of foliation, which accumulates until “the
cathedral front [is] at last
lost in the tapestry of its traceries, like a rock among the
thickets and herbage of
spring” (190).
2 Kirchhoff’s trenchant gloss of these elements (53-57) has
assisted my summary here.
Concentric 33.1
March 2007
78
Ruskin locates the religious meaning of Gothic architecture not
8. in its vertical
aspiration but in its foliated detail. In contrast to ancient Greek
architecture, where
standardized ornamentation evinces the subservience of worker
to master designer,
Gothic architecture expresses the imaginations of individual,
rough-and-ready
artisans. “[I]t is, perhaps, the principal admirableness of the
Gothic schools of
architecture,” he writes, “that they thus receive the results of
the labour of inferior
minds; and out of fragments full of imperfection, and betraying
that imperfection in
every touch, indulgently raise up a stately and unaccusable
whole” (146). Here
Ruskin identifies the Christian principle that every soul is at
once imperfect and
uniquely valuable, “tending, in the end, to God’s greater glory”
(146). Although
Ruskin does not mention him explicitly, this analysis certainly
rests on Aquinas’
belief that the variety and imperfection of creation glorifies
God. Aquinas writes in
the Summa Contra Gentiles:
[S]ince every created substance must fall short of the perfection
of
divine goodness, in order that the likeness of divine goodness
might
be more perfectly communicated to things, it was necessary for
there
to be a diversity of things, so that what could not be perfectly
represented by one thing might be, in more perfect fashion,
represented by a variety of things in different ways. (66)
9. For Ruskin, the Gothic cathedral dramatizes this fundamental
Scholastic operation,
from which he moves to a condemnation of copying and exact
finish in English
manufacturing, to the aesthetic claim that “the demand for
perfection is always a
sign of a misunderstanding of the ends of art” (156; italics
original). Thus Ruskin
appeals to the Northern identity of his English readers
ultimately to upbraid them
for abandoning their ancestral aesthetic and social values.3
Henry Adams, in his Mont Saint Michel and Chartres, expressed
the
sentiments of the American Gothic revival as passionately as
Ruskin did the
English. The grandson and great-grandson of Presidents John
Quincy Adams and
John Adams, and an authority on both American and medieval
history, Henry
Adams was uniquely situated to explain medieval culture to
American readers.
Writing after 1900 as an informed observer of breakthroughs in
physics and
engineering, Adams shifts attention away from Gothic fretwork
and toward its
3 As Helsinger demonstrates, Ruskin exposes the English love
of Gothic to be, on one level, a
touristic escape from a dehumanizing industrial society (160-
61).
10. Murphy
Nervous Tracery
79
mechanistic superstructure. For him, the cathedral is more the
product of master
architects than naïve craftsmen. His book culminates in an
extended analogy, point
for point, between the vertical lines of the Gothic cathedral and
Aquinas’ account of
the free will’s ascent toward God. In Aquinas’ Church
Intellectual, the vaulting is
the tour de force:
He swept away the horizontal lines altogether, leaving them
barely as
a part of the decoration. The whole weight of his arches fell as
in the
latest Gothic, where the eye sees nothing to break the sheer
spring of
the nervures [ribs of the groined vault], from the rosette on the
keystone a hundred feet above, down to the church-floor. In
Thomas’s creation nothing intervened between God and his
world;
secondary causes become ornaments; only two forces, God and
Man,
stood in the church. (Adams, Mont Saint Michel 334)
The stability of this structure depended on Aquinas’ success,
through
“architectural obstinacy,” in establishing man as “an energy
11. independent of God”
(343, 345), first by asserting that “souls were not created before
bodies” (337); and
second, by teasing out a concept of free will within a universe
generated in a single
“instantaneous act, for all time” (336). Man’s free will, Aquinas
argues, is a reflex
action of God’s original free act of creation. And grace, defined
by Aquinas as “a
motion which the Prime Motor, as a supernatural cause,
produces in the soul,
perfecting free will” (qtd. in Adams, Mont Saint Michel 352),
becomes in Adams’
more mechanistic gloss, “a reserved energy, which comes to aid
and reinforce the
normal energy of the [human] battery” (352). Turning to the
Gothic cathedral, he
analogizes the reserved energy of grace to the apparently
effortless rising of the
fleches of Chartres and Laon:
The square foundation-tower, the expression of God’s power in
act,—his Creation,—rose to the level of the church façade as a
part of
the normal unity of God’s energy; and then, suddenly, without
show
of effort, without break, without logical violence, became a
many-
sided, voluntary, vanishing human soul. . . . (356)
Adams compares the Summa Theologica to Beauvais, the tallest
Gothic cathedral,
as “excessively modern, scientific, and technical, marking the
extreme points
12. Concentric 33.1
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80
reached by Europe on the lines of scholastic science.” The
“despotic central idea”
of both is “that of organic unity . . . in the thought and the
building” (356-57).
Mont Saint Michel and Chartres, Adams’ paean to “Thirteenth-
Century
Unity,” must be understood in the context of his subsequent
autobiography, The
Education of Henry Adams (1907), which he called “a Study of
Twentieth-Century
Multiplicity” (Education 435). For Adams, the doctrine of unity
is what
distinguishes the medieval period from the modern, when
science and art
abandoned unity for “complexity, multiplicity, variety, and even
contradiction”
(Mont Saint Michel 357). However, he finds continuity between
the modern and
medieval periods in their confrontations with overwhelming
power. Describing a
visit to the 1900 Paris Exposition in the Education, Adams
famously pairs the
electric dynamo, on the one hand, and the Virgin and the Cross,
on the other, as
symbols of infinity exerting comparable “attractions on
thought” (383). The
13. emotional tone of his Gothic cathedral is therefore colored by a
modern anxiety
about its fragility as well as an attraction to its familiar power.
Adams expresses this
ambivalence best when he describes the ribs of the groined
vault, the nervures:
Of all the elaborate symbolism which has been suggested for the
gothic Cathedral, the most vital and most perfect may be that
the
slender nervure, the springing motion of the broken arch, the
leap
downwards of the flying buttress,—the visible effort to throw
off a
visible strain,—never let us forget that Faith alone supports it,
and
that, if Faith fails, Heaven is lost. (359)
Nervures and flying buttresses are the nervous byproducts of
divine grace,
conducting anxiety into the earth as the spire rises effortlessly
toward the sky. The
Gothic cathedral, Adams concludes, is “the cry of human
suffering” (359).
In Form in Gothic, the German art historian Wilhelm Worringer
compares the
Gothic and the Scholastic by striking a middle course between
Ruskin’s focus on
ornament and Adams’ on structure. For Worringer, “[t]he
Gothic cathedral is the
most powerful and comprehensive presentation of mediaeval
feeling” because it
unites the “organically sensuous” and the “abstractly
14. mechanical” (163). This unity
is achieved subtly through the communication between the
distinct energies of the
cathedral’s interior and exterior. Inside, sensuous ornamental
details achieve a
super-sensuous, abstract energy through their combined upward
motion. Outside,
these vertical forces attain freer and more legible expression:
unconstrained by the
competing horizontal push toward the altar on the interior (a
throwback to the
Murphy
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81
basilica form), and assisted by flying buttresses, the upward
thrust shoots
untrammeled into the towers. For Worringer, “the Gothic will to
form” is
characterized by “exalted hysteria” for “strongly expressive
activity” which,
moving upward, “dematerializ[es] the body of the building” and
transcends its stone
substance (79, 156-57; italics original). Gothic architecture
induces “intoxication of
the senses” through “pathos of space,” in contrast to the
“sensuous clarification” of
classical buildings (159; italics original). Worringer identifies
the Gothic will with
“Northern,” Germanic man, in contrast to “Classical” man,
whose “felicitous state
of spiritual equilibrium” produces balanced, rational forms (33).
15. His terms,
contrasting Northern and Classical, are thus remarkably similar
to Ruskin’s, but he
reaches almost opposite conclusions. While Ruskin traces
particular Gothic
ornament back to rude Northern craftsfolk, each unique,
Worringer perceives there
the undifferentiated abstract motion characterizing Northern
tribes in general.
Ruskin highlights the naturalism, peculiarity, and independence
of ornaments, but
Worringer surveys them abstractly.
Worringer writes, with obvious overstatement, that the interior
of the Gothic
cathedral is “all mysticism” and “the exterior construction is all
scholasticism”
(163). As his argument develops, it becomes clear that his
analogy to Scholasticism
entails activity on both the inside and the outside of the
cathedral. For Worringer it
is “a certain involved, contorted movement of thought as such”
(170), not the
specific content of Aquinas’ theology, that links Gothic
architecture to
Scholasticism:
It was not the result of thought, but the abstract process of the
movement of thought, which bred in the Scholastic that
intellectual
ecstasy which stupefied and liberated him,—in the same way as
the
abstract process of movement in the line, which he made visible
in
ornament, or . . . the abstract movement in the energies of stone,
16. which he made visible in architecture. (171)
Worringer takes the least of Ruskin’s Gothic moral elements—
Redundance or
Generosity—and gives it top billing. In effect, he locates in the
form of Scholastic
argument something akin to the concept of grace it articulates: a
supplementary and
gratuitous energy.
For Worringer, Gothic form synthesizes the dialectic between
naturalistic and
non-naturalistic styles in Western art history discussed in his
1908 bestseller,
Abstraction and Empathy. There he defines artistic abstraction
as a withdrawal of
Concentric 33.1
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82
subjective feeling from the perceived object, reflecting a
straining beyond the
physical world, in contrast to empathy, which entails a transfer
of feeling from
subject to object, resulting in more naturalistic forms.
Abstraction and Empathy was
championed by the German expressionist artists Ernst Ludwig
Kirchner and Emil
Nolde, as justifying their angular, energetic style, and was
applied by the English
17. critic T. E. Hulme to his prescient discussions of modernist
abstraction in art and
literature. Even as the Great War raged, damaging cathedrals at
Soisson, Rouen,
and Reims, Worringer oversaw a fourth edition of Form in
Gothic while on leave
from the front, where the Northern impulse for redundant
movement was finding
new expression in trench warfare. Ironically, his sharp
distinction between Northern
and Classical styles was co-opted by the Nazis, who denounced
expressionism as
degenerate and propagated representational art and classical
architecture as tonics
for the German nation.
Erwin Panofsky was art historian and rector at the University of
Hamburg (the
first Jewish rector of a German university), until the Nazis
ousted him in 1933 and
he began a distinguished academic career in the United States.
In 1948 he delivered
the Wimmer Lecture at Saint Vincent Archabbey in Latrobe,
Pennsylvania,
published in 1951 as Gothic Architecture and Scholasticism and
later issued in
paperback and numerous translations. Panofsky proposes
manifestatio—
“CLARIFICATION FOR CLARIFICATION’S SAKE”—as the
formal principle uniting
Gothic architecture and Scholastic theology (Gothic 34-35).
Cutting through
Worringer’s vague racial model to a more sophisticated
understanding of
Scholasticism, and, like Adams, a greater focus on master
architects as intellectuals
18. (exposed to Scholastic ideas, he argues), Panofsky sobers
Worringer’s intoxication
of the senses. Indeed, he finds in Gothic architecture the very
clarification that for
Worringer is the antithesis of the Gothic and the essence of
Classicism. Panofsky
argues that three core principles of Scholastic argument also
apply to Gothic
architecture. Firstly, “totality (sufficient enumeration).” Like
Scholastic theology,
the High Gothic cathedral “sought to embody the whole of
Christian knowledge,
theological, moral, natural, historical, with everything in its
place and that which no
longer found its place, suppressed” (Gothic 31, 44-45).
Secondly, “arrangement
according to a system of homologous parts and parts of parts
(sufficient
articulation).” Just as the well-ordered Scholastic treatise is
arranged in a hierarchy
of consistent logical levels, so the Gothic cathedral divides into
nave, transept, and
chevet, with a hierarchy of subdivisions, resembling one
another in their pointed
arches and triangular ground plans—a uniformity that sets the
Gothic apart from the
Romanesque (Gothic 31, 45-49). As Aquinas maintains, “the
senses delight in
Murphy
Nervous Tracery
83
19. things duly proportioned as in something akin to them; for the
sense, too, is a kind
of reason as is every cognitive power” (qtd. in Panofsky, Gothic
38). And finally,
“distinctness and deductive cogency (sufficient interrelation).”
The homologous
order mirrored in different parts of the cathedral, as in the
treatise, is balanced by
the clear articulation between parts: between shafts and walls,
between vertical
elements and their arches. Simultaneously, the Gothic style
requires a mutual
inference among parts, so that we can “infer, not only the
interior from the exterior
or the shape of the side aisles from that of the central nave but
also, say, the
organization of the whole system from the cross section of one
pier” (Gothic 31, 50-
51).
For Panofsky, the Gothic cathedral, like the Scholastic summa,
is an edifice of
“solutions” to organizational problems faced by master
intellectuals. Where
Worringer sees a superabundance of random movement, inspired
by unconscious
racial character, Panofsky sees “gratuitous clarification”
consciously achieved
(Gothic 60). Panofsky’s conception of the Gothic implicitly
rejects Ruskin’s notion
of an “unaccusable whole” arising willy-nilly from “the labour
of inferior minds.”
Gothic Architecture and Scholasticism typifies Panofsky’s
signature theory of
iconology, whereby the visual image codifies “those underlying
principles which
20. reveal the basic attitude of a nation, a period, a class, a
religious or philosophical
persuasion—qualified by one personality and condensed into
one work” (Panofsky,
Meaning 30). This theory, focusing on the work of educated
personalities, underlies
Panofsky’s study of linear perspective as the central “symbolic
form” of the
Renaissance, the key to politics, philosophy, and poetry, as it
does his influential
essay on motion pictures, which he compares, in their massive
coordination of
artists under a central vision, to medieval cathedrals.4
For all their differences, Ruskin, Adams, Worringer, and
Panofsky each tell a
story of decline. The medieval synthesis came apart. The
Renaissance, in Ruskin’s
view, suppressed individual workers’ creativity and, according
to the others,
unleashed separate strains of mysticism and empiricism that
Scholastic theology
and Gothic architecture had, for a time, held together. These
writers traced
analogies between the Gothic and the Scholastic as a refuge,
perhaps, from modern
societies that offered no coherent belief to anchor artistic
experimentation. At the
same time, however, formal order—where form and function
merge, and ornament,
even if seemingly gratuitous, streams into a meaningful whole—
is the underlying
dream of modernism, as it was, for these writers, the aspiration
of Gothic
4 Perspective as Symbolic Form (1927, trans. 1991); “Style and
21. Medium in the Motion
Pictures” (1934, rev. 1947).
Concentric 33.1
March 2007
84
architecture. These studies are highly original works of
imagination, mutually
illuminating yet isolated from one another (the absence of
Ruskin from Adams’
book, and of Worringer from Panofsky’s, are matters of choice).
Although
criticized as scholarship, each survives as a work of creativity.
Panofsky’s study is
the most scholarly of the four, but the least emotionally
satisfying, and the least
nervous: the fretting of remote Gothic artisans, the mysterious
ascent of towers, the
gratuitous motion of tracery, all fire the imagination more than
does gratuitous
clarification. However, Ruskin, Adams, Worringer, and
Panofsky all discerned in
Gothic architecture and Scholasticism a particular synthesis of
organic detail and
abstract form, resonant with their intellectual, aesthetic, and
social visions, and
perhaps with their emotional needs. Medieval Gothic is an
outcast, earlier
modernism in which later modern observers, working amid
shifting forms of
society and culture, have repeatedly imagined themselves. “It is
22. that strange
disquietude of the Gothic spirit that is its greatness,” Ruskin
writes; “that
restlessness of the dreaming mind, that wanders hither and
thither among the niches,
and flickers feverishly around the pinnacles, and frets and fades
in labyrinthine
knots and shadows along the wall and roof, and yet is not
satisfied, nor shall be
satisfied. . . . [T]he work of the Gothic heart is fretwork still . .
.” (165; italics
original).
Works Cited
Adams, Henry. The Education of Henry Adams. 1918. Ed.
Ernest Samuels. Boston:
Houghton Mifflin, 1973.
---. Mont Saint Michel and Chartres. 1912. New York: Penguin,
1986.
Aquinas, Saint Thomas. Summa Contra Gentiles. Trans. Vernon
J. Bourke. Vol. 3.
Part 2. Notre Dame, IN: U of Notre Dame P, 1975. 4 vols.
Helsinger, Elizabeth K. Ruskin and the Art of the Beholder.
Cambridge, MA:
Harvard UP, 1982.
Kirchhoff, Frederick. John Ruskin. Boston: Twayne, 1984.
Panofsky, Erwin. Gothic Architecture and Scholasticism. 1951.
New York:
Meridian, 1976.
---. Meaning in the Visual Arts. Garden City, NY: Doubleday
Anchor, 1955.
23. ---. Perspective as Symbolic Form. 1927. Trans. Christopher S.
Wood. New York:
Zone Books, 1991.
Murphy
Nervous Tracery
85
---. “Style and Medium in the Motion Pictures.” 1947. Film
Theory and Criticism:
Introductory Readings. Ed. Leo Braudy and Marshall Cohen. 5th
ed. New York:
Oxford UP, 1999. 279-92.
Ruskin, John. The Stones of Venice. Vol. 2. 1851-53. London:
J. M. Dent, 1925. 3
vols.
Symons, Arthur. “Huysmans as a Symbolist.” The Symbolist
Movement in
Literature. London: Heinemann, 1899. 15 February 2007
<http://www.
huysmans.org/symbolist1.htm>.
Worringer, Wilhelm. 1908. Abstraction and Empathy: A
Contribution to the
Psychology of Style. Trans. Michael Bullock. New York:
International UP,
1953.
---. Form in Gothic. 1911. Trans. Sir Herbert Read. New York:
Schocken, 1957.
24. About the Author
Joseph C. Murphy is Assistant Professor of English at Fu Jen
Catholic University, where he
teaches graduate and undergraduate courses in American
literature and edits Fu Jen Studies:
Literature & Linguistics. He received his Ph.D. in English from
the University of
Pennsylvania. His dissertation, “Exposing the Modern: World’s
Fairs and American Literary
Culture, 1853-1907,” examines the influence of exposition
culture on works by Walt
Whitman, William Dean Howells, and Henry Adams. His
research and teaching have
focused on relationships between literature and visual culture as
well as literature and
religion. He has published articles in Cather Studies, Literature
and Belief, Modern
Language Studies, Chung-Wai Literary Monthly, and the
electronic Whitman journal Mickle
Street Review <http://micklestreet.rutgers.edu/>. In 2002-03 he
was Visiting Professor of
English at St. Vincent College in Latrobe, Pennsylvania.
[Received 30 August 2006; accepted 19 January 2007; revised
18 February 2007]
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