Imagine it is 1954 and you have just read a critics scathing revi.docx
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Imagine it is 1954 and you have just read a critic's scathing review of an Abstract Expressionist art exhibition. Write a 1,050- to 1,400-word letter to the editor responding to the attack. At the beginning of your letter, discuss how the work of American artwork created in the 1930s embodied Democratic values. Then, discuss Abstract Expressionism as an extension of those values and a demonstration of the freedom of expression available to artists in American society. Include discussion of the following in your letter: Two examples of art from the 1930s with explanation of how these artworks embody democratic values; were the works tools of social reform? USE THESE ( AMERICAN GOTHIC, EDWARD HOPPER, 1930 & ROUSTABOUTS , JOE JONES, 1934) If so, what were the goals of the artists? Were the works depicting uniquely American scenes? If so, for what purpose? One example of a work of Abstract Expressionism ( NUMBER 11, BLUE POLES , JACKSON POLLOCK, 1952) How the Abstract Expressionist artist expressed themselves using this abstract style; what were they "saying?" or what was the message of their artwork? What influenced their work? Format your letter according to appropriate course level APA guidelines. *****MUST USE THE ART AND ARTIST REFERENCED IN THE INSTRUCTIONS**** PLEASE BE FAMILIAR WITH THE ENGLISH LANGUAGE AS THIS NEEDS TO BE WRITTEN AS A LETTER TO THE EDITOR... .
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Option BImagine it is 1954 and you have just read a critics sca.docx
Option B
Imagine
it is 1954 and you have just read a critic's scathing review of an Abstract Expressionist art exhibition.
Write
a 1,050 word letter to the editor responding to the attack. At the beginning of your letter, discuss how the work of American artwork created in the 1930s embodied Democratic values. Then, discuss Abstract Expressionism as an extension of those values and a demonstration of the freedom of expression available to artists in American society.
Include
discussion of the following in your letter:
Two examples of art from the 1930s with explanation of how these artworks embody democratic values; were the works tools of social reform? If so, what were the goals of the artists? Were the works depicting uniquely American scenes? If so, for what purpose?
One example of a work of Abstract Expressionism
How the Abstract Expressionist artist expressed themselves using this abstract style; what were they "saying?" or what was the message of their artwork? What influenced their work?
Format
your letter according to appropriate course level APA guidelines.
.
Write a 1,050- to 1,400-word paper on American art before and afte.docx
Write
a 1,050- to 1,400-word paper on American art before and after World War II.
Include
an examination of the artwork of three artists total. Select two artists who worked during the Great Depression and one Abstract Expressionist artist.
Include
discussion of the following in your paper:
At least one example of art from each artist with a description of the subject and style of the work.
An examination of the purpose of artwork created during the Great Depression. Were your examples used as tools for social reform? What other types of messaging was present in works from the 1930s?
A description of how Abstract Expressionism emerged in post-World War II America and how it differed from the art work of the 1930s.
A description of the style of your Abstract Expressionist artist and why he or she was interested in this style of abstraction; was there a "meaning" to their work?
Format
your paper according to appropriate course level APA guidelines.
Submit
your assignment to the Assignment Files tab.
.
Write a 1,050- to 1,400-word paper on American art before and af.docx
Write
a 1,050- to 1,400-word paper on American art before and after World War II.
Include
an examination of the artwork of three artists total. Select two artists who worked during the Great Depression and one Abstract Expressionist artist.
Include
discussion of the following in your paper:
At least one example of art from each artist with a description of the subject and style of the work.
An examination of the purpose of artwork created during the Great Depression. Were your examples used as tools for social reform? What other types of messaging was present in works from the 1930s?
A description of how Abstract Expressionism emerged in post-World War II America and how it differed from the art work of the 1930s.
A description of the style of your Abstract Expressionist artist and why he or she was interested in this style of abstraction; was there a "meaning" to their work?
Format
your paper according to appropriate course level APA guidelines.
Submit
your assignment to the Assignment Files tab.
...
Write a 1,050- to 1,400-word paper on American art before and afte.docx
Write
a 1,050- to 1,400-word paper on American art before and after World War II.
Include
an examination of the artwork of three artists total. Select two artists who worked during the Great Depression and one Abstract Expressionist artist.
Include
discussion of the following in your paper:
At least one example of art from each artist with a description of the subject and style of the work.
An examination of the purpose of artwork created during the Great Depression. Were your examples used as tools for social reform? What other types of messaging was present in works from the 1930s?
A description of how Abstract Expressionism emerged in post-World War II America and how it differed from the art work of the 1930s.
A description of the style of your Abstract Expressionist artist and why he or she was interested in this style of abstraction; was there a "meaning" to their work?
Format
your paper according to appropriate course level APA guidelines.
Submit
your assignment to the Assignment Files tab.
.
Week 3 Individual Assignment Option BImagine it is 1954 and you .docx
Week 3 Individual Assignment Option B
Imagine it is 1954 and you have just read a critic's scathing review of an Abstract Expressionist art exhibition.
Write a 1,050- to 1,400-word letter to the editor responding to the attack. At the beginning of your letter, discuss how the work of American artwork created in the 1930s embodied Democratic values. Then, discuss Abstract Expressionism as an extension of those values and a demonstration of the freedom of expression available to artists in American society.
Include discussion of the following in your letter:
· Two examples of art from the 1930s with explanation of how these artworks embody democratic values; were the works tools of social reform? If so, what were the goals of the artists? Were the works depicting uniquely American scenes? If so, for what purpose?
· One example of a work of Abstract Expressionism
· How the Abstract Expressionist artist expressed themselves using this abstract style; what were they "saying?" or what was the message of their artwork? What influenced their work?
Format your letter according to appropriate course level APA guidelines.
Must include links to website that are used in references. Must be able to open by me the student.
.
Uop arts-125-week-3-american-art-before-and-after-world-war-ii-new
arts 125 week 3 american art before and after world war ii new,uop arts 125,arts 125,uop arts 125 week 3 tutorial,arts 125 week 3 assignment,uop arts 125 week 3 help
SPAN 1203Only Assignment (10)DEALINE Nov 232015 @1159.docx
SPAN 1203 Only Assignment (10%)
DEALINE: Nov 23/2015 @11:59PM.
Objective:
To give students the opportunity to widen their knowledge about the Spanish Speaking World in terms of the geographical, demographical, socio-cultural, and economical aspects and to be aware of all the richness that we can find in its natural and human resources.
To help students to realize that in this continent (America) that we share, there are millions of people, although with a different language, traditions, customs, etc. we have a variety of aspects in common and so much to learn from.
It is important to keep in mind that our relationship with Spain, and the Latin American Countries, does not stop at an economic level, but it includes also a great deal of cultural aspects. We can see the clear influence in the field of music, art, literature, sports, etc.
The contribution from the Spanish world to North American life is countless.
Format:
Print in Times New Roman #12, 1.5 space with a margin of 1" at each border.
Content:
Part I. (MUST BE WRITTEN IN SPANISH)
A– List the names of ALL Spanish Speaking Countries in the world.
B—From the previous list select the Mexico and the Central American countries, and…
C– Name each country’s Capital City
D– Add two of the most Important Cities in each country
E– Mention the Nationality (i.e. colombiano, cubano, salvadoreño, etc.)
F– Population (per country)
G– Area in Km².
H– Naming two of the major Exports (products) from each country to N.A. and the World. (i.e. coffee, bananas, oranges, flowers, meat, petroleum, electricity, etc.)
Part II.(MUST BE COMPLETED IN SPANISH)
– Choose TWO of the countries listed above and name three (3) famous people for each country and their contributions to their countries and to the world, in the field of: politics, history, sciences, medicine, arts, literature, sports, music. Then write two lines describing why they are considered as “un orgullo hispano” (a Hispanic pride)
Part III.
– Choose ONE country, then write a brief essay (en INGLES) consisting of 250-300 words about several topics including: Independence day, economy, education system, currency, per capita income(PCI), family relations and traditions, current form of government and political party in power. Any social discontent at this moment. You may also add a short description of the wonders and beauty of the nature of this part of the world, perhaps you would like to add a few words to invite people of the world to visit this particular country that you have done your research on.
Imagine that you visit this country and met a person on the plain, at the airport, at a restaurant, in the hotel, on the beach, a natural park, etc. and write about your experience consisting on a brief dialogue (150 words aprox.).
This project MUST BE completed in groups of THREE students, not individual works will be accepted, with the exception of very special circumstances.
Evaluation: Format: 20%
.
Chapters 13-18You must write at least 200 but no more than.docx
Chapters 13-18
You must write at least 200 but no more than 300 words for each essay.
Each essay is worth 15 points.
I have included a copy of the assignment and the pdf file for the textbook.
1. What is Orientalism? What aspects of colonialism inspired Orientalism? How has it affected art, both in terms of how the subject matter was portrayed by the artist and in the ways the work has been viewed? When discussing how the works are viewed take into consideration how artist wanted their works viewed, how the art was actually viewed when it was created, and finally how we, as modern viewers see it?
2. How important was Napoleon Bonaparte’s use of art as propaganda and censorship in the rise and consolidation of his power? Choose two pieces of art commissioned by Napoleon (does not have to be from chapter 18) that support your argument of his use of art propaganda. List the title, artist, date, and medium of each piece. Refer to each piece at least three times when composing your statements.
3. Define the Protestant Reformation and the Counter Reformation. How did these two movements affect art? Choose one piece during the Reformation and one piece created during the Counter Reformation and compare and contrast the two pieces. Be sure to point out changes in style between the two periods. List the title, artist, date, and medium of each piece if known.
4. Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. Choose one piece of art created in the Realism period that supports your argument. List the title, artist, date, and medium. How does this piece reveal the concerns that you mentioned in the first part of the question? Give at least three examples.
5. Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth to mid-nineteenth century Europe. You must discuss the political atmosphere in both periods and how it affected art. Choose one piece of art from the Neoclassical period and one from the Romantic period that support your claim. List the title, artist, date, and medium of each piece. Refer to each of these pieces in at least three instances for this purpose.
6. Neither of these works was meant to be exhibited in a museum case for an art-loving public seeking a cultural experience. Both took on their primary meaning in the process of the performance of a cultural ritual. Discuss the ways in which an understanding of the ritual context of each is necessary if we are to grasp their cultural meanings for those who made them and saw them in use. And finally, how did they end up in museums?
7. The horrific violence of war and political oppression has been eloquently expressed by many artists throughout the history of art. Discuss the political circumstances that led to the creation of these two examples and assess how they relate to the styles of the artists and their time. Who was the audience for these works? Be sure to.
Recommended
Option BImagine it is 1954 and you have just read a critics sca.docx
Option B
Imagine
it is 1954 and you have just read a critic's scathing review of an Abstract Expressionist art exhibition.
Write
a 1,050 word letter to the editor responding to the attack. At the beginning of your letter, discuss how the work of American artwork created in the 1930s embodied Democratic values. Then, discuss Abstract Expressionism as an extension of those values and a demonstration of the freedom of expression available to artists in American society.
Include
discussion of the following in your letter:
Two examples of art from the 1930s with explanation of how these artworks embody democratic values; were the works tools of social reform? If so, what were the goals of the artists? Were the works depicting uniquely American scenes? If so, for what purpose?
One example of a work of Abstract Expressionism
How the Abstract Expressionist artist expressed themselves using this abstract style; what were they "saying?" or what was the message of their artwork? What influenced their work?
Format
your letter according to appropriate course level APA guidelines.
.
Write a 1,050- to 1,400-word paper on American art before and afte.docx
Write
a 1,050- to 1,400-word paper on American art before and after World War II.
Include
an examination of the artwork of three artists total. Select two artists who worked during the Great Depression and one Abstract Expressionist artist.
Include
discussion of the following in your paper:
At least one example of art from each artist with a description of the subject and style of the work.
An examination of the purpose of artwork created during the Great Depression. Were your examples used as tools for social reform? What other types of messaging was present in works from the 1930s?
A description of how Abstract Expressionism emerged in post-World War II America and how it differed from the art work of the 1930s.
A description of the style of your Abstract Expressionist artist and why he or she was interested in this style of abstraction; was there a "meaning" to their work?
Format
your paper according to appropriate course level APA guidelines.
Submit
your assignment to the Assignment Files tab.
.
Write a 1,050- to 1,400-word paper on American art before and af.docx
Write
a 1,050- to 1,400-word paper on American art before and after World War II.
Include
an examination of the artwork of three artists total. Select two artists who worked during the Great Depression and one Abstract Expressionist artist.
Include
discussion of the following in your paper:
At least one example of art from each artist with a description of the subject and style of the work.
An examination of the purpose of artwork created during the Great Depression. Were your examples used as tools for social reform? What other types of messaging was present in works from the 1930s?
A description of how Abstract Expressionism emerged in post-World War II America and how it differed from the art work of the 1930s.
A description of the style of your Abstract Expressionist artist and why he or she was interested in this style of abstraction; was there a "meaning" to their work?
Format
your paper according to appropriate course level APA guidelines.
Submit
your assignment to the Assignment Files tab.
...
Write a 1,050- to 1,400-word paper on American art before and afte.docx
Write
a 1,050- to 1,400-word paper on American art before and after World War II.
Include
an examination of the artwork of three artists total. Select two artists who worked during the Great Depression and one Abstract Expressionist artist.
Include
discussion of the following in your paper:
At least one example of art from each artist with a description of the subject and style of the work.
An examination of the purpose of artwork created during the Great Depression. Were your examples used as tools for social reform? What other types of messaging was present in works from the 1930s?
A description of how Abstract Expressionism emerged in post-World War II America and how it differed from the art work of the 1930s.
A description of the style of your Abstract Expressionist artist and why he or she was interested in this style of abstraction; was there a "meaning" to their work?
Format
your paper according to appropriate course level APA guidelines.
Submit
your assignment to the Assignment Files tab.
.
Week 3 Individual Assignment Option BImagine it is 1954 and you .docx
Week 3 Individual Assignment Option B
Imagine it is 1954 and you have just read a critic's scathing review of an Abstract Expressionist art exhibition.
Write a 1,050- to 1,400-word letter to the editor responding to the attack. At the beginning of your letter, discuss how the work of American artwork created in the 1930s embodied Democratic values. Then, discuss Abstract Expressionism as an extension of those values and a demonstration of the freedom of expression available to artists in American society.
Include discussion of the following in your letter:
· Two examples of art from the 1930s with explanation of how these artworks embody democratic values; were the works tools of social reform? If so, what were the goals of the artists? Were the works depicting uniquely American scenes? If so, for what purpose?
· One example of a work of Abstract Expressionism
· How the Abstract Expressionist artist expressed themselves using this abstract style; what were they "saying?" or what was the message of their artwork? What influenced their work?
Format your letter according to appropriate course level APA guidelines.
Must include links to website that are used in references. Must be able to open by me the student.
.
Uop arts-125-week-3-american-art-before-and-after-world-war-ii-new
arts 125 week 3 american art before and after world war ii new,uop arts 125,arts 125,uop arts 125 week 3 tutorial,arts 125 week 3 assignment,uop arts 125 week 3 help
SPAN 1203Only Assignment (10)DEALINE Nov 232015 @1159.docx
SPAN 1203 Only Assignment (10%)
DEALINE: Nov 23/2015 @11:59PM.
Objective:
To give students the opportunity to widen their knowledge about the Spanish Speaking World in terms of the geographical, demographical, socio-cultural, and economical aspects and to be aware of all the richness that we can find in its natural and human resources.
To help students to realize that in this continent (America) that we share, there are millions of people, although with a different language, traditions, customs, etc. we have a variety of aspects in common and so much to learn from.
It is important to keep in mind that our relationship with Spain, and the Latin American Countries, does not stop at an economic level, but it includes also a great deal of cultural aspects. We can see the clear influence in the field of music, art, literature, sports, etc.
The contribution from the Spanish world to North American life is countless.
Format:
Print in Times New Roman #12, 1.5 space with a margin of 1" at each border.
Content:
Part I. (MUST BE WRITTEN IN SPANISH)
A– List the names of ALL Spanish Speaking Countries in the world.
B—From the previous list select the Mexico and the Central American countries, and…
C– Name each country’s Capital City
D– Add two of the most Important Cities in each country
E– Mention the Nationality (i.e. colombiano, cubano, salvadoreño, etc.)
F– Population (per country)
G– Area in Km².
H– Naming two of the major Exports (products) from each country to N.A. and the World. (i.e. coffee, bananas, oranges, flowers, meat, petroleum, electricity, etc.)
Part II.(MUST BE COMPLETED IN SPANISH)
– Choose TWO of the countries listed above and name three (3) famous people for each country and their contributions to their countries and to the world, in the field of: politics, history, sciences, medicine, arts, literature, sports, music. Then write two lines describing why they are considered as “un orgullo hispano” (a Hispanic pride)
Part III.
– Choose ONE country, then write a brief essay (en INGLES) consisting of 250-300 words about several topics including: Independence day, economy, education system, currency, per capita income(PCI), family relations and traditions, current form of government and political party in power. Any social discontent at this moment. You may also add a short description of the wonders and beauty of the nature of this part of the world, perhaps you would like to add a few words to invite people of the world to visit this particular country that you have done your research on.
Imagine that you visit this country and met a person on the plain, at the airport, at a restaurant, in the hotel, on the beach, a natural park, etc. and write about your experience consisting on a brief dialogue (150 words aprox.).
This project MUST BE completed in groups of THREE students, not individual works will be accepted, with the exception of very special circumstances.
Evaluation: Format: 20%
.
Chapters 13-18You must write at least 200 but no more than.docx
Chapters 13-18
You must write at least 200 but no more than 300 words for each essay.
Each essay is worth 15 points.
I have included a copy of the assignment and the pdf file for the textbook.
1. What is Orientalism? What aspects of colonialism inspired Orientalism? How has it affected art, both in terms of how the subject matter was portrayed by the artist and in the ways the work has been viewed? When discussing how the works are viewed take into consideration how artist wanted their works viewed, how the art was actually viewed when it was created, and finally how we, as modern viewers see it?
2. How important was Napoleon Bonaparte’s use of art as propaganda and censorship in the rise and consolidation of his power? Choose two pieces of art commissioned by Napoleon (does not have to be from chapter 18) that support your argument of his use of art propaganda. List the title, artist, date, and medium of each piece. Refer to each piece at least three times when composing your statements.
3. Define the Protestant Reformation and the Counter Reformation. How did these two movements affect art? Choose one piece during the Reformation and one piece created during the Counter Reformation and compare and contrast the two pieces. Be sure to point out changes in style between the two periods. List the title, artist, date, and medium of each piece if known.
4. Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century. Choose one piece of art created in the Realism period that supports your argument. List the title, artist, date, and medium. How does this piece reveal the concerns that you mentioned in the first part of the question? Give at least three examples.
5. Compare Neoclassicism and Romanticism as two cultural expressions of mid-eighteenth to mid-nineteenth century Europe. You must discuss the political atmosphere in both periods and how it affected art. Choose one piece of art from the Neoclassical period and one from the Romantic period that support your claim. List the title, artist, date, and medium of each piece. Refer to each of these pieces in at least three instances for this purpose.
6. Neither of these works was meant to be exhibited in a museum case for an art-loving public seeking a cultural experience. Both took on their primary meaning in the process of the performance of a cultural ritual. Discuss the ways in which an understanding of the ritual context of each is necessary if we are to grasp their cultural meanings for those who made them and saw them in use. And finally, how did they end up in museums?
7. The horrific violence of war and political oppression has been eloquently expressed by many artists throughout the history of art. Discuss the political circumstances that led to the creation of these two examples and assess how they relate to the styles of the artists and their time. Who was the audience for these works? Be sure to.
Baroque Style Please respond to one (1) of the following, u
Baroque Style"
Please respond to
one (1)
of the following,
using sources under the Explore heading
as the basis of your response:
Listen to one (1) composition that demonstrates the qualities of the Baroque musical style. It may be from the Websites below or from this week’s Music Folder. Identify your choice, and describe it by relating key terms from the textbook to your selection. Explain what you like or admire about the work. Compare it to a modern soundtrack or song that evokes a similar mood.
Select two (2) Baroque style paintings from the Websites below that no other student has selected. Identify each as to artist, date, and title or description. From the summaries of the Baroque style’s features in our class text, identify specific key aspects of each painting that fit the Baroque style. Explain why you selected each and what you like or dislike about it. Compare this style to a modern film, type of film, or to a modern situation.
"The Arts and Royalty; Philosophers Debate Politics"
Please respond to
one (1)
of the following,
using sources under the Explore heading
as the basis of your response:
In this week’s readings, a dispute in the French royal court is described about whether Poussin or Rubens was the better painter. Take a painting by each, either from our book or a Website below, and compare them and explain which you prefer. There is another conflict between the playwright Moliere and a well-born Parisian; Louis XIV stepped in. Explain how Louis XIV used the various arts and his motives for doing so. Identify one (1) example of a modern political leader approaching the arts this way.
The philosophers Thomas Hobbes and John Locke disagreed on the understanding of political authority, with Locke taking what is commonly called the “liberal” view. Choose a side (be brave perhaps; take a side you actually disagree with). Using the writings of each given in our class text or at the Websites below, make your case for the side you chose and against the other side. Identify one (1) modern situation in the world where these issues are significant.
"Classical Music; Early Abolitionist Art and Literature"
Please respond to
one (1)
of the following,
using sources under the Explore heading
as the basis of your response:
Listen to one (1) composition (for a symphony) by Haydn or Mozart, either at the Websites below or in this week's Music Folder. Identify the work that you have chosen, and describe the way in which the composition expresses the specific qualities of the Classical music style. Use the key terms from the textbook that are related to that particular music style, and explain what you like or admire about the work. Compare it to a specific modern musical work for which you might use the term "classic" or "classical".
Explain whether you think an autobiographical or fictional account by a slave (such as Phillis Wheatley and Olaudah Equiano) is more persuasive than a biographical or fictional account ...
Write about one of the photographers from the list below.William.docx
Write about one of the photographers from the list below.
William Eggleston
Diane Arbus
Robert Frank
Cindy Sherman
Duane Michaels
Rineke Dijkstra
Wolfgang Tillmans
Jeff Wall
Nikki S. Lee
Andreas Gursky
Write about your chosen artist answering each of the following bullet-points. Write at least one paragraph for each bullet point. You should copy and paste the bullet points below into a word document and answer them in complete sentence, paragraph form. Please include photographs to accompany your write up and links to the sources you consulted for the write up.
Artist’s biographical information and background:
date and place of birth, family background, where he/she grew up, what schools he/she attended, what he/she studied, etc.
First exhibitions and accomplishments as an artist:
How did he/she come to be well-known?
Inspirations and influences:
What influenced the artist? This is where you can provide historical context for the artist’s work.
Examples of work:
Most artists have made a large variety of work. Choose 3 of your favorite photographs and tell us why you like them. Explain what series this photograph is part of if it is part of a larger series of work. Copy and paste the photographs you have chosen and include them with the write-up. (Please list the artist, title, and date of the pieces that you include.)
(ie: Cindy Sherman is best known for her series "Untitled Film Stills" in which she dresses up restages fictitious scenes from films.)
Working style of the artist:
Where did the artist go to make these images? (Do they travel? Set up photos in the studio? Take self portraits?) What kind of equipment does he/she use? (A simple camera, flashes?)
(ie: William Eggleston is known for photographing the Mississippi Delta region, where he is from. He prefers to walk and roam the streets, looking for ordinary everday objects and subjects. Very rarely does he stage a photograph.)
Overarching concept and style of the artist’s work:
Tell use more about the themes in the artist’s work. What is he/she known for? What is he/she trying to express or comment upon in the work? Look at reviews of the artist’s work or a review of an exhibition he has been in. Please find reviews from reputable sources (the
New York Times
, the
Washington Post
, FindArticles, etc.).
(ie: Robert Frank is best known for his series, "The Americans" in which he criss-crossed the United States between 1955 and 1956 trying to capture the true essence of those times, in society, politics, and culture. He is trying to show the human condition and what it meant and looked like to exist during that time in the mid 50s.)
What is the artist doing now:
exhibitions, artwork, lectures, grants, etc. If the photographer is no longer alive, what was a recent exhibition of their work and what did it show?
(Ie: Diane Arbus is no longer alive, however her work continues to be shown throughout the world, a recent solo exhibition of her work was shown at FO.
1. Read the text on 136-137, and then give a formal analysis of Wi.docx
1.
Read the text on 136-137, and then give a formal analysis of Williem de Kooning’s
Woman I
, 1950-1952, including a personal interpretation.
2.
What were some of the adjectives that Robert Motherwell used to describe Abstract Expressionist painting?
3.
This style of painting, created by the Chromatic Expressionists, represents one of the two distinct styles of Abstraction Expressionism called
4.
Name an artist that is considered an ‘other’ in typical Abstract Expressionist history?
5.
Imagine you are a docent or visitor’s guide at an art museum. You are responsible for conducting an international tour of foreign visitors and students through a museum exhibit exploring American Abstract Expressionism. Write a minimum two paragraph summary of what you would say to them about the overall movement and artworks of American Expressionism.
6.
According to our reading, select the true statements below that illustrates how Abstract Expressionism was not a unified ‘school’ of art?
7.
Give a brief description of Clement Greenberg’s critical idea where he emphasized "pure" form?
8.
In your own words, write an essay analyzing the meaning behind the painting Subway, 1950, by George Tooker?
9.
According to our reading, select the true statements below that contribute to the idea that American Abstract Expressionism was not a ‘unified school’ of art? (select all that apply)
A.
B.
C.
D.
E.
10.
Which artist said “The modern painter cannot express this age, the airplane, the atom bomb, the radio, in old forms of the Renaissance or of any other past culture. Each age finds its own technique”.
.
Week 3 American Abstract Expressionism Question 1 1. Imagi.docx
Week 3 "American Abstract Expressionism"
Question 1
1. Imagine you are a docent or visitor’s guide at an art museum. You are responsible for conducting an international tour of foreign visitors and students through a museum exhibit exploring American Abstract Expressionism. Write a minimum two paragraph summary of what you would say to them about the overall movement and artworks of American Expressionism.
Question 2
1. Name an artist that is considered an ‘other’ in typical Abstract Expressionist history?
Question 3
1. According to our reading, select the true statements below that illustrates how Abstract Expressionism was not a unified ‘school’ of art?
A.
The artists didn’t know each other
B.
The artists varied between realism and abstraction
C.
The artists valued personal autonomy and had different styles
D.
The artists rarely exhibited together
Question 4
1. Give a brief description of Clement Greenberg’s critical idea where he emphasized "pure" form?
Question 5
1. According to our reading, select the true statements below that contribute to the idea that American Abstract Expressionism was not a ‘unified school’ of art? (select all that apply)
A.
The artists didn’t know each other
B.
The artists varied between realism and abstraction
C.
The artists valued personal autonomy
D.
The artists rarely exhibited together
E.
The artists had different styles
Question 6
1. This style of painting, created by the Chromatic Expressionists, represents one of the two distinct styles of Abstraction Expressionism called .
Question 7
1. Read the text on 136-137, and then give a formal analysis of Williem de Kooning’s Woman I, 1950-1952, including a personal interpretation.
Question 8
1. What were some of the adjectives that Robert Motherwell used to describe Abstract Expressionist painting?
Question 9
1. In your own words, write an essay analyzing the meaning behind the painting Subway, 1950, by George Tooker?
Question 10
1. Which artist said “The modern painter cannot express this age, the airplane, the atom bomb, the radio, in old forms of the Renaissance or of any other past culture. Each age finds its own technique”.
A.
Jackson Pollock
B.
Clement Greenberg
C.
Thomas Hart Benton
D.
Norman Lewis
Week 3 "American Abstract Expressionism"
QUESTION 1
1.
Imagine you are a docent or visitor’s guide at an art museum. You are
responsible for conducting an international tour of foreign visitors and
students through a museum exhibit exploring American Abstract
Expressionism. Write a minimum two paragraph summar
y of what you would
say to them about the overall movement and artworks of American
Expressionism.
QUESTION 2
1.
Name an artist that is considered an ‘other’ in typical Abstract Expressionist
history?
QUESTION 3
1.
According to our reading, select the true statements below that illustrates
how Abstract Expressionism was not a unified ‘school’ of art?
A.
The artists didn’t know each othe.
Class American Studies.PART 1Sketch the context for, d.docx
Class: American Studies.
PART 1:
Sketch the context for, define, and tell the significance/after-effect of each, in terms of late-19th & early-20th-century American history & culture:
Please write 4-6 sentences for each of the terms.
1890s-1910s peak of the "second wave" of U.S. immigration
Socialist Party (1901+)/"wage slavery"
"Melting Pot" (1890s-1960s in its original meaning)
National Labor Relations Act (1935) & Fair Labor Standards Act (1938)
PART 2:
SHORT ESSAY: answer any 2 of these three essays:
Please write 200 to 250 words per essay.
1. Years after the publication of his Socialist novel The Jungle, Upton Sinclair ironically noted the chiefly Progressive impact of his book, stating that he "had taken aim at America's heart and hit instead its stomach." Compare & contrast the two, major, early-20th-century reform-minded ideologies of Progressivism and Socialism.
Why was Socialism considered a "radical" ideology and why didn't it flourish in early 20th century America?
In what ways was the Progressive Era (1906-20) truly "progressive" or not; and the "New Deal" (1933-38) really "new" or not, especially in regards to the health, safety and daily lives of U.S. workers and consumers?
IT HAS TO BE ORIGINAL WORK. NO PLAGIARISM PLEASE, I'M GOING TO CHECK.
...
abstract expressionism
Term "Abstract Expressionism" was first used in Germany in connection with Rusian artist Wassily Kandinsky in 1919 (referencing the German Expressionists with their anti-figurative aesthetic), but later became more commonly associated with Post-WWII American Art.
Artwork ReviewAnswer all three of the following questions p.docx
Artwork Review
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
The following are glossary terms for the week to be used with your work this week. You do not need to utilize them all; however, you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. Often using the land itself as their material, Environmental artists construct monuments of great scale and minimal form. Permanent or impermanent, these works transform some section of the environment, calling attention both to the land itself and to the hand of the artist. Sometimes referred.
Answer all three of the following questions per work of ar.docx
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
“Painting”
Who is the artist?
Which event does this respond to and what statement does it make?
What may have inspired the image of the male figure?
“Flowers on Body”
What issues did this artist address in her work?
What series does this particular image belong to?
What themes does this image address?
“Backs”
What materials did the artist use in her works?
How is this representative of her work?
What do the forms suggest in this work?
you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. .
questions 1 This week, we look at several examples of early.docx
questions 1: This week, we look at several examples of early modernist* art such as post-impressionism*, cubism*, fauvism*, futurism*, and expressionism*. Let's discuss the relationships between these aesthetic categories and the sociopolitical* climate of the period, always (as we did for Rubens) describing and analyzing specific examples of these categories, as well as (as we did last week for romanticism to impressionism) questioning whether such categories express the wishes of the artists involved and/or if such terms have stuck with critics and scholars.
How did the sociopolitical climate of the time period, including especially the First World War, influence artists? As always, your posts need to meet multiple rubrics to get quality-points (one rubric means one point, up to four). Comparison with present-day examples are always welcome as added ornament, but the meat and potatoes of your point-getting posts will need to focus on the years between 1904 and 1939 (just before WWII).
Which artistic and philosophical sub-cultures (circles of friends, enemies, and patrons) were among the most influential in this period, and which works caused the most adoration and debate, then and now?
question 2:As it's Black History Month (when is white history month? Every other one?) and you may have seen that African-American singing was my Ph.D. topic and scholarly primary-area within music history, I'd like to invite everyone to consider the particular presence of continued "race" inequities in early-20th-century arts and politics over the globe (as we discussed slaves in Greece and the portrayal of lower classes in the realist strain within romanticism). In the U.S. what used to be referred to as "the black problem" has been particularly thorny.
Through most of the 19th century, by far the most-popular multimedia performance-form (music, dance, jokes, costumes) in the U.S. (with some popularity in England and elsewhere) was blackface minstrelsy, where both white and some black performers (mostly male) "blacked up" using burnt-cork and oil over their faces, while exaggerating and reddening their lips, wearing white gloves, etc., a disgusting but fascinating deep strain at the root of American popular culture.
But this thread is about roughly 1890-1939; what are some ways that African-Americans began to develop their own subcultures both in the South (where the vast majority of African-Americans lived in earlier, slave years) but also growing in the North (particularly business and industrial centers). What are some artistic, political, and philosophical sub-cultures (circles of friends, enemies, and patrons) under cultivation in these years, and what are some leading products of these circles? (For instance, were the patrons of most black art also black, and how did differences of class and ethnicity tend to affect the terms of this patronage?)
As always, be specific and avoid clichés, triteness, and hyperbole/exaggeration. Consider also the emergen ...
During the period of 1865 to 1912, American society was being pu
During the period of 1865 to 1912, American society was being pushed and pulled by a variety of social forces and trends. These forces and trends are reflected in the literature of the period in many ways. For example:
They influenced the writings of the major authors, who often commented on them directly.
Major literary movements such as Realism and Naturalism emerged, partially in response to the Romantic movement, and partially as part of a larger, international movement in the arts emphasizing the importance of portraying the world realistically.
These movements actively theorized about how best to represent these social changes in literature and what things a writer should include in works to make them realistic.
Write
a 700- to 1,050-word paper in which you do the following:
Analyze one or more of the social forces shaping literature in this period.
Describe the major literary movements of the period.
Explain how Realism and Naturalism influenced the literature of the period and how these movements responded to your selected social forces.
Illustrate
your points using examples from at least three of the period's major writers and their major works.As you complete these tasks, you might consider the following aspects of literary works: (Not all of these will apply to all works: please apply this list only where it is useful.)
Style: How do the styles used by your chosen authors relate to either the period movement toward realism? How do their styles relate to your chosen social movement?
Departure from Realism: Some authors blend realism in one area with an intentional lack of realism in others. How do these departures from strict realism relate?
Note:
You are not required to use outside sources. However, you are allowed to do so. If you use outside sources, you must cite them in appropriate course-level APA format.
Format
your paper consistent with appropriate course-level APA guidelines.
...
Complete the Timeline of Early 20th Century American Literature by.docx
Complete the Timeline of Early 20th Century American Literature by adding ONE literary title (short story, novel, or poem) and ONE influential event for that literary title for each of the decades listed. You will also need to explain how the two pieces are connected. You should be able to complete this as you read through the lesson, filling in events on your timeline, however you may also use outside sources if you would like. You should have a total of eight events on your timeline before submitting it to your instructor.
Timeline of Early 20th Century American Literature
Example: 1905—O'Henry's short story "The Gift of the Magi" contains many Biblical allusions, or references to the Bible. In the 20th century, a writers' style and tone were often influenced by the King James Bible.
1900
The 1900s was all about how humans think, and how they process different emotions and things they find out. Such as dramatic events.
Literacy works from Ezra Pound and other authors put these ideas together that created what we now know as Modernism
Upton Sinclair's "The Jungle" is published in 1906, it potrays the harsh conditions and exploited lives of immigrants in the United States in Chicago
1910
1936 - Robert Frost's "A Further Range" is published
Pessimistic and depressing literary works reflected the troubles in the world at that time
c
1930
"The Waste Land" by T.S. Eliot is published. Filled with fragments, competing voices, learned allusions, and deeply buried personal details, the poem was read as a dark diagnosis of a disillusioned generation and of the modern world.
Literature of the 1920s reflected the outburst in African American culture (Harlem Renaissance)
1900
In the 1900’s people wondered about how humans process emotions and how we all think. There were many literacy works of art that put these ideas ideas together and created modernism.
Upton Sinclair “The jungle” describe harsh conditions of immigrants in Chicago.
1910
1920
1930
.
1.) Choose one piece of art from chapter 13 and discuss at lea.docx
1.)
Choose one piece of art from chapter 13 and discuss at least three characteristics that place it in the period (high renaissance, reformation, counter reformation, mannerism) and place in which it was created. Give at least two examples of how was it different from the previous period?
2.)
During a period when political and religious factions attacked each other with lethal fanaticism, works of art often played an important role in capturing the imagination and swaying the emotions of viewers. Choose one piece of art from chapter 14 that you think does this. Be sure to use at least three specific characteristics to support your argument.
3.)
Choose a native North American work that was made to be used in social life or ritual. Explain the difference between its form and meaning while in use and while observed in the context of a museum installation.
4.)
Choose a work in chapter 16/power point that was made for a political leader and discuss how its form and meaning relate to the political aspirations of its patron.
5.)
Compare one Neoclassic piece of art/architecture and one Romantic piece of art/architecture. Discuss the two pieces as cultural expressions of mid-eighteenth to mid-nineteenth century Europe. Focus on at least two characteristics of each piece.
6.)
Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.
7.)
What were the new developments in Modern art and architecture in Europe between World Wars I and II?
.
Robert Rauschenberg presentation
Have added my notes to the bullet points on powerpoint presentation.
CLINICAL SCHOLARSHIPTuberculosis Treatment for Mexican Ame.docx
CLINICAL SCHOLARSHIP
Tuberculosis Treatment for Mexican Americans Living on the
U.S.–Mexico Border
Julie Ann Zuñiga, PhD, RN1, Silvia E. Muñoz, PhD, FNP2, Mary Zuñiga Johnson, ME3, & Alexandra Garcia, PhD,
RN, FAAN4
1 Alpha Epsilon, Post-Doctoral Fellow, Nell Hodgson Woodruff School of Nursing, Emory University, Atlanta, GA
2 Clinical Instructor of Nursing, School of Nursing, The University of Texas at Austin, Austin, TX
3 Doctoral Student, The University of Texas at Austin, Austin, TX
4 Associate Professor, School of Nursing, The University of Texas at Austin, Austin, TX
Key words
Tuberculosis, phenomenology, Mexican
Americans, public health
Correspondence
Dr. Julie Ann Zuñiga, Nell Hodgson Woodruff
School of Nursing, Emory University, 1520
Clifton Rd NE, Atlanta, GA 30322.
E-mail: [email protected]
Accepted: January 12, 2014
doi: 10.1111/jnu.12071
Abstract
Purpose: This study produced a rich description of the lived experiences of
tuberculosis (TB) treatment among Mexican Americans living in the Lower
Rio Grande Valley (LRGV) of Texas.
Design: This qualitative study used phenomenological methodology, guided
by Merleau-Ponty’s philosophical framework, particularly his theories on
mind–body influence, fabric of relationships, importance of culture, and equi-
librium. A purposive sample was recruited through TB clinics in four south
Texas border counties: Hidalgo, Cameron, Starr, and Willacy, which make up
the LRGV. Interviews from 18 participants—5 women and 13 men—were con-
ducted in the participant’s preferred language. Interviews were analyzed for
common themes as described by Cohen Kahn and Steeves.
Findings: The majority of interviews were conducted in Spanish. Five themes
were discovered: (a) day-to-day life during Directly Observed Therapy treat-
ment, (b) signs and symptoms, (c) familismo, (d) living on the border, and (e)
stigma.
Conclusions: TB treatment can create a high level of patient burden. The
participants in TB treatment in the LRGV on the Texas-Mexico border reported
a high level of stigma. Due to this stigma, patients struggled to find a balance
between exposure to stigma and the support from family that buoyed them
through treatment.
Clinical Relevance: The findings support the importance of addressing
stigma and the resulting sense of isolation in patients being treated for TB, per-
haps through bolstering support from family and healthcare providers, which
is relevant for public health professionals working in regions with high rates of
TB.
Over 20 years ago, the World Health Organization (WHO)
recommended that patients with active tuberculosis (TB)
be monitored on a daily basis through the Directly Ob-
served Therapy Short Course (DOTS) program to improve
outcomes, decrease incidence, and decrease resistance to
treatment (WHO, 2011). In DOTS, a trained healthcare
representative watches a TB patient swallow each dose
of TB medication, ensuring that the patient takes every
dose of the prescribed antibiot.
cmdfile.txtsleep 5ls -latrsleep 3pwdsleep 1wc .docx
cmdfile.txt
sleep 5
ls -latr
sleep 3
pwd
sleep 1
wc /etc/passwd
CommandNode.c
#include <unistd.h>
#include <stdio.h>
#include <stdlib.h>
#include <string.h>
#include "CommandNode.h"
/**
*CommandNode.c
*The function bodies for a linked list of commands
**/
/**
Example of linked list initialization in code:
//First command node (head of list)
headCommand = (CommandNode*)malloc(sizeof(CommandNode));
CreateCommandNode(headCommand, command, index, NULL);
index = 1;
.....
//Later command nodes
while ((linesize = getline(&line, &len, fp)) >= 0) {
...
index++;
nextCommand1 = (CommandNode*)malloc(sizeof(CommandNode));
CreateCommandNode(nextCommand1, command, index, NULL);
InsertCommandAfter(headCommand, nextCommand1);
}
**/
//create a new command node. usually nextCmd can be NULL and function InsertCommandAfter can be called to insert after head node.
void CreateCommandNode(CommandNode* thisNode, char cmd[20][20], int ind, CommandNode* nextCmd) {
//this is useful if you store a string (char *): strcpy(thisNode->command, cmd);
for (int i = 0; i < 20; i++)
for (int j = 0; j < 20; j++)
thisNode->command[i][j] = cmd[i][j];
thisNode->index = ind;
thisNode->nextCommandPtr = nextCmd;
return;
}
//insert node newNode after thisNode
void InsertCommandAfter(CommandNode* thisNode, CommandNode* newNode) {
CommandNode* tmpNext = NULL;
tmpNext = thisNode->nextCommandPtr;
thisNode->nextCommandPtr = newNode;
newNode->nextCommandPtr = tmpNext;
return;
}
//get next command node in linked list
CommandNode* GetNextCommand(CommandNode* thisNode) {
return thisNode->nextCommandPtr;
}
//find a command based on the pid
CommandNode* FindCommand(CommandNode* cmd, int pid) {
CommandNode* tmpNext = cmd;
while (tmpNext != NULL) {
if (tmpNext->PID == pid) { return tmpNext; }
tmpNext = tmpNext->nextCommandPtr;
}
return NULL;
}
CommandNode.h
/**
*CommandNode.h
*The struct for a Command Node and function prototypes for a linked list of commands
**/
typedef struct command_struct {
char command[20][20];
int index;
int PID;
int starttime;
struct command_struct* nextCommandPtr;
} CommandNode;
void CreateCommandNode(CommandNode* thisNode, char cmd[20][20], int ind, CommandNode* nextCmd);
void InsertCommandAfter(CommandNode* thisNode, CommandNode* newNode);
CommandNode* GetNextCommand(CommandNode* thisNode);
CommandNode* FindCommand(CommandNode* cmd, int pid);
HWdetails&helperFile/HW_details1.jpg
HWdetails&helperFile/HW_details1_1.jpg
HWdetails&helperFile/read_parse_file.c
#define _GNU_SOURCE
#include <stdio.h>
#include <stdlib.h>
#include <string.h>
int main(void)
{
FILE * fp;
char * line = NULL;
size_t len = 0;
ssize_t read;
char newString[20][20];
int i,j,ctr;
fp = fopen("commands.txt", "r");
if (fp == NULL)
exit.
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Baroque Style Please respond to one (1) of the following, u
Baroque Style"
Please respond to
one (1)
of the following,
using sources under the Explore heading
as the basis of your response:
Listen to one (1) composition that demonstrates the qualities of the Baroque musical style. It may be from the Websites below or from this week’s Music Folder. Identify your choice, and describe it by relating key terms from the textbook to your selection. Explain what you like or admire about the work. Compare it to a modern soundtrack or song that evokes a similar mood.
Select two (2) Baroque style paintings from the Websites below that no other student has selected. Identify each as to artist, date, and title or description. From the summaries of the Baroque style’s features in our class text, identify specific key aspects of each painting that fit the Baroque style. Explain why you selected each and what you like or dislike about it. Compare this style to a modern film, type of film, or to a modern situation.
"The Arts and Royalty; Philosophers Debate Politics"
Please respond to
one (1)
of the following,
using sources under the Explore heading
as the basis of your response:
In this week’s readings, a dispute in the French royal court is described about whether Poussin or Rubens was the better painter. Take a painting by each, either from our book or a Website below, and compare them and explain which you prefer. There is another conflict between the playwright Moliere and a well-born Parisian; Louis XIV stepped in. Explain how Louis XIV used the various arts and his motives for doing so. Identify one (1) example of a modern political leader approaching the arts this way.
The philosophers Thomas Hobbes and John Locke disagreed on the understanding of political authority, with Locke taking what is commonly called the “liberal” view. Choose a side (be brave perhaps; take a side you actually disagree with). Using the writings of each given in our class text or at the Websites below, make your case for the side you chose and against the other side. Identify one (1) modern situation in the world where these issues are significant.
"Classical Music; Early Abolitionist Art and Literature"
Please respond to
one (1)
of the following,
using sources under the Explore heading
as the basis of your response:
Listen to one (1) composition (for a symphony) by Haydn or Mozart, either at the Websites below or in this week's Music Folder. Identify the work that you have chosen, and describe the way in which the composition expresses the specific qualities of the Classical music style. Use the key terms from the textbook that are related to that particular music style, and explain what you like or admire about the work. Compare it to a specific modern musical work for which you might use the term "classic" or "classical".
Explain whether you think an autobiographical or fictional account by a slave (such as Phillis Wheatley and Olaudah Equiano) is more persuasive than a biographical or fictional account ...
Write about one of the photographers from the list below.William.docx
Write about one of the photographers from the list below.
William Eggleston
Diane Arbus
Robert Frank
Cindy Sherman
Duane Michaels
Rineke Dijkstra
Wolfgang Tillmans
Jeff Wall
Nikki S. Lee
Andreas Gursky
Write about your chosen artist answering each of the following bullet-points. Write at least one paragraph for each bullet point. You should copy and paste the bullet points below into a word document and answer them in complete sentence, paragraph form. Please include photographs to accompany your write up and links to the sources you consulted for the write up.
Artist’s biographical information and background:
date and place of birth, family background, where he/she grew up, what schools he/she attended, what he/she studied, etc.
First exhibitions and accomplishments as an artist:
How did he/she come to be well-known?
Inspirations and influences:
What influenced the artist? This is where you can provide historical context for the artist’s work.
Examples of work:
Most artists have made a large variety of work. Choose 3 of your favorite photographs and tell us why you like them. Explain what series this photograph is part of if it is part of a larger series of work. Copy and paste the photographs you have chosen and include them with the write-up. (Please list the artist, title, and date of the pieces that you include.)
(ie: Cindy Sherman is best known for her series "Untitled Film Stills" in which she dresses up restages fictitious scenes from films.)
Working style of the artist:
Where did the artist go to make these images? (Do they travel? Set up photos in the studio? Take self portraits?) What kind of equipment does he/she use? (A simple camera, flashes?)
(ie: William Eggleston is known for photographing the Mississippi Delta region, where he is from. He prefers to walk and roam the streets, looking for ordinary everday objects and subjects. Very rarely does he stage a photograph.)
Overarching concept and style of the artist’s work:
Tell use more about the themes in the artist’s work. What is he/she known for? What is he/she trying to express or comment upon in the work? Look at reviews of the artist’s work or a review of an exhibition he has been in. Please find reviews from reputable sources (the
New York Times
, the
Washington Post
, FindArticles, etc.).
(ie: Robert Frank is best known for his series, "The Americans" in which he criss-crossed the United States between 1955 and 1956 trying to capture the true essence of those times, in society, politics, and culture. He is trying to show the human condition and what it meant and looked like to exist during that time in the mid 50s.)
What is the artist doing now:
exhibitions, artwork, lectures, grants, etc. If the photographer is no longer alive, what was a recent exhibition of their work and what did it show?
(Ie: Diane Arbus is no longer alive, however her work continues to be shown throughout the world, a recent solo exhibition of her work was shown at FO.
1. Read the text on 136-137, and then give a formal analysis of Wi.docx
1.
Read the text on 136-137, and then give a formal analysis of Williem de Kooning’s
Woman I
, 1950-1952, including a personal interpretation.
2.
What were some of the adjectives that Robert Motherwell used to describe Abstract Expressionist painting?
3.
This style of painting, created by the Chromatic Expressionists, represents one of the two distinct styles of Abstraction Expressionism called
4.
Name an artist that is considered an ‘other’ in typical Abstract Expressionist history?
5.
Imagine you are a docent or visitor’s guide at an art museum. You are responsible for conducting an international tour of foreign visitors and students through a museum exhibit exploring American Abstract Expressionism. Write a minimum two paragraph summary of what you would say to them about the overall movement and artworks of American Expressionism.
6.
According to our reading, select the true statements below that illustrates how Abstract Expressionism was not a unified ‘school’ of art?
7.
Give a brief description of Clement Greenberg’s critical idea where he emphasized "pure" form?
8.
In your own words, write an essay analyzing the meaning behind the painting Subway, 1950, by George Tooker?
9.
According to our reading, select the true statements below that contribute to the idea that American Abstract Expressionism was not a ‘unified school’ of art? (select all that apply)
A.
B.
C.
D.
E.
10.
Which artist said “The modern painter cannot express this age, the airplane, the atom bomb, the radio, in old forms of the Renaissance or of any other past culture. Each age finds its own technique”.
.
Week 3 American Abstract Expressionism Question 1 1. Imagi.docx
Week 3 "American Abstract Expressionism"
Question 1
1. Imagine you are a docent or visitor’s guide at an art museum. You are responsible for conducting an international tour of foreign visitors and students through a museum exhibit exploring American Abstract Expressionism. Write a minimum two paragraph summary of what you would say to them about the overall movement and artworks of American Expressionism.
Question 2
1. Name an artist that is considered an ‘other’ in typical Abstract Expressionist history?
Question 3
1. According to our reading, select the true statements below that illustrates how Abstract Expressionism was not a unified ‘school’ of art?
A.
The artists didn’t know each other
B.
The artists varied between realism and abstraction
C.
The artists valued personal autonomy and had different styles
D.
The artists rarely exhibited together
Question 4
1. Give a brief description of Clement Greenberg’s critical idea where he emphasized "pure" form?
Question 5
1. According to our reading, select the true statements below that contribute to the idea that American Abstract Expressionism was not a ‘unified school’ of art? (select all that apply)
A.
The artists didn’t know each other
B.
The artists varied between realism and abstraction
C.
The artists valued personal autonomy
D.
The artists rarely exhibited together
E.
The artists had different styles
Question 6
1. This style of painting, created by the Chromatic Expressionists, represents one of the two distinct styles of Abstraction Expressionism called .
Question 7
1. Read the text on 136-137, and then give a formal analysis of Williem de Kooning’s Woman I, 1950-1952, including a personal interpretation.
Question 8
1. What were some of the adjectives that Robert Motherwell used to describe Abstract Expressionist painting?
Question 9
1. In your own words, write an essay analyzing the meaning behind the painting Subway, 1950, by George Tooker?
Question 10
1. Which artist said “The modern painter cannot express this age, the airplane, the atom bomb, the radio, in old forms of the Renaissance or of any other past culture. Each age finds its own technique”.
A.
Jackson Pollock
B.
Clement Greenberg
C.
Thomas Hart Benton
D.
Norman Lewis
Week 3 "American Abstract Expressionism"
QUESTION 1
1.
Imagine you are a docent or visitor’s guide at an art museum. You are
responsible for conducting an international tour of foreign visitors and
students through a museum exhibit exploring American Abstract
Expressionism. Write a minimum two paragraph summar
y of what you would
say to them about the overall movement and artworks of American
Expressionism.
QUESTION 2
1.
Name an artist that is considered an ‘other’ in typical Abstract Expressionist
history?
QUESTION 3
1.
According to our reading, select the true statements below that illustrates
how Abstract Expressionism was not a unified ‘school’ of art?
A.
The artists didn’t know each othe.
Class American Studies.PART 1Sketch the context for, d.docx
Class: American Studies.
PART 1:
Sketch the context for, define, and tell the significance/after-effect of each, in terms of late-19th & early-20th-century American history & culture:
Please write 4-6 sentences for each of the terms.
1890s-1910s peak of the "second wave" of U.S. immigration
Socialist Party (1901+)/"wage slavery"
"Melting Pot" (1890s-1960s in its original meaning)
National Labor Relations Act (1935) & Fair Labor Standards Act (1938)
PART 2:
SHORT ESSAY: answer any 2 of these three essays:
Please write 200 to 250 words per essay.
1. Years after the publication of his Socialist novel The Jungle, Upton Sinclair ironically noted the chiefly Progressive impact of his book, stating that he "had taken aim at America's heart and hit instead its stomach." Compare & contrast the two, major, early-20th-century reform-minded ideologies of Progressivism and Socialism.
Why was Socialism considered a "radical" ideology and why didn't it flourish in early 20th century America?
In what ways was the Progressive Era (1906-20) truly "progressive" or not; and the "New Deal" (1933-38) really "new" or not, especially in regards to the health, safety and daily lives of U.S. workers and consumers?
IT HAS TO BE ORIGINAL WORK. NO PLAGIARISM PLEASE, I'M GOING TO CHECK.
...
abstract expressionism
Term "Abstract Expressionism" was first used in Germany in connection with Rusian artist Wassily Kandinsky in 1919 (referencing the German Expressionists with their anti-figurative aesthetic), but later became more commonly associated with Post-WWII American Art.
Artwork ReviewAnswer all three of the following questions p.docx
Artwork Review
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
The following are glossary terms for the week to be used with your work this week. You do not need to utilize them all; however, you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. Often using the land itself as their material, Environmental artists construct monuments of great scale and minimal form. Permanent or impermanent, these works transform some section of the environment, calling attention both to the land itself and to the hand of the artist. Sometimes referred.
Answer all three of the following questions per work of ar.docx
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
“Painting”
Who is the artist?
Which event does this respond to and what statement does it make?
What may have inspired the image of the male figure?
“Flowers on Body”
What issues did this artist address in her work?
What series does this particular image belong to?
What themes does this image address?
“Backs”
What materials did the artist use in her works?
How is this representative of her work?
What do the forms suggest in this work?
you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. .
questions 1 This week, we look at several examples of early.docx
questions 1: This week, we look at several examples of early modernist* art such as post-impressionism*, cubism*, fauvism*, futurism*, and expressionism*. Let's discuss the relationships between these aesthetic categories and the sociopolitical* climate of the period, always (as we did for Rubens) describing and analyzing specific examples of these categories, as well as (as we did last week for romanticism to impressionism) questioning whether such categories express the wishes of the artists involved and/or if such terms have stuck with critics and scholars.
How did the sociopolitical climate of the time period, including especially the First World War, influence artists? As always, your posts need to meet multiple rubrics to get quality-points (one rubric means one point, up to four). Comparison with present-day examples are always welcome as added ornament, but the meat and potatoes of your point-getting posts will need to focus on the years between 1904 and 1939 (just before WWII).
Which artistic and philosophical sub-cultures (circles of friends, enemies, and patrons) were among the most influential in this period, and which works caused the most adoration and debate, then and now?
question 2:As it's Black History Month (when is white history month? Every other one?) and you may have seen that African-American singing was my Ph.D. topic and scholarly primary-area within music history, I'd like to invite everyone to consider the particular presence of continued "race" inequities in early-20th-century arts and politics over the globe (as we discussed slaves in Greece and the portrayal of lower classes in the realist strain within romanticism). In the U.S. what used to be referred to as "the black problem" has been particularly thorny.
Through most of the 19th century, by far the most-popular multimedia performance-form (music, dance, jokes, costumes) in the U.S. (with some popularity in England and elsewhere) was blackface minstrelsy, where both white and some black performers (mostly male) "blacked up" using burnt-cork and oil over their faces, while exaggerating and reddening their lips, wearing white gloves, etc., a disgusting but fascinating deep strain at the root of American popular culture.
But this thread is about roughly 1890-1939; what are some ways that African-Americans began to develop their own subcultures both in the South (where the vast majority of African-Americans lived in earlier, slave years) but also growing in the North (particularly business and industrial centers). What are some artistic, political, and philosophical sub-cultures (circles of friends, enemies, and patrons) under cultivation in these years, and what are some leading products of these circles? (For instance, were the patrons of most black art also black, and how did differences of class and ethnicity tend to affect the terms of this patronage?)
As always, be specific and avoid clichés, triteness, and hyperbole/exaggeration. Consider also the emergen ...
During the period of 1865 to 1912, American society was being pu
During the period of 1865 to 1912, American society was being pushed and pulled by a variety of social forces and trends. These forces and trends are reflected in the literature of the period in many ways. For example:
They influenced the writings of the major authors, who often commented on them directly.
Major literary movements such as Realism and Naturalism emerged, partially in response to the Romantic movement, and partially as part of a larger, international movement in the arts emphasizing the importance of portraying the world realistically.
These movements actively theorized about how best to represent these social changes in literature and what things a writer should include in works to make them realistic.
Write
a 700- to 1,050-word paper in which you do the following:
Analyze one or more of the social forces shaping literature in this period.
Describe the major literary movements of the period.
Explain how Realism and Naturalism influenced the literature of the period and how these movements responded to your selected social forces.
Illustrate
your points using examples from at least three of the period's major writers and their major works.As you complete these tasks, you might consider the following aspects of literary works: (Not all of these will apply to all works: please apply this list only where it is useful.)
Style: How do the styles used by your chosen authors relate to either the period movement toward realism? How do their styles relate to your chosen social movement?
Departure from Realism: Some authors blend realism in one area with an intentional lack of realism in others. How do these departures from strict realism relate?
Note:
You are not required to use outside sources. However, you are allowed to do so. If you use outside sources, you must cite them in appropriate course-level APA format.
Format
your paper consistent with appropriate course-level APA guidelines.
...
Complete the Timeline of Early 20th Century American Literature by.docx
Complete the Timeline of Early 20th Century American Literature by adding ONE literary title (short story, novel, or poem) and ONE influential event for that literary title for each of the decades listed. You will also need to explain how the two pieces are connected. You should be able to complete this as you read through the lesson, filling in events on your timeline, however you may also use outside sources if you would like. You should have a total of eight events on your timeline before submitting it to your instructor.
Timeline of Early 20th Century American Literature
Example: 1905—O'Henry's short story "The Gift of the Magi" contains many Biblical allusions, or references to the Bible. In the 20th century, a writers' style and tone were often influenced by the King James Bible.
1900
The 1900s was all about how humans think, and how they process different emotions and things they find out. Such as dramatic events.
Literacy works from Ezra Pound and other authors put these ideas together that created what we now know as Modernism
Upton Sinclair's "The Jungle" is published in 1906, it potrays the harsh conditions and exploited lives of immigrants in the United States in Chicago
1910
1936 - Robert Frost's "A Further Range" is published
Pessimistic and depressing literary works reflected the troubles in the world at that time
c
1930
"The Waste Land" by T.S. Eliot is published. Filled with fragments, competing voices, learned allusions, and deeply buried personal details, the poem was read as a dark diagnosis of a disillusioned generation and of the modern world.
Literature of the 1920s reflected the outburst in African American culture (Harlem Renaissance)
1900
In the 1900’s people wondered about how humans process emotions and how we all think. There were many literacy works of art that put these ideas ideas together and created modernism.
Upton Sinclair “The jungle” describe harsh conditions of immigrants in Chicago.
1910
1920
1930
.
1.) Choose one piece of art from chapter 13 and discuss at lea.docx
1.)
Choose one piece of art from chapter 13 and discuss at least three characteristics that place it in the period (high renaissance, reformation, counter reformation, mannerism) and place in which it was created. Give at least two examples of how was it different from the previous period?
2.)
During a period when political and religious factions attacked each other with lethal fanaticism, works of art often played an important role in capturing the imagination and swaying the emotions of viewers. Choose one piece of art from chapter 14 that you think does this. Be sure to use at least three specific characteristics to support your argument.
3.)
Choose a native North American work that was made to be used in social life or ritual. Explain the difference between its form and meaning while in use and while observed in the context of a museum installation.
4.)
Choose a work in chapter 16/power point that was made for a political leader and discuss how its form and meaning relate to the political aspirations of its patron.
5.)
Compare one Neoclassic piece of art/architecture and one Romantic piece of art/architecture. Discuss the two pieces as cultural expressions of mid-eighteenth to mid-nineteenth century Europe. Focus on at least two characteristics of each piece.
6.)
Discuss the ways in which the movement toward Realism in art reflected the social and political concerns of the nineteenth century.
7.)
What were the new developments in Modern art and architecture in Europe between World Wars I and II?
.
Robert Rauschenberg presentation
Have added my notes to the bullet points on powerpoint presentation.
Similar to Imagine it is 1954 and you have just read a critics scathing revi.docx (20)
Baroque Style Please respond to one (1) of the following, u
Baroque Style Please respond to one (1) of the following, u
Write about one of the photographers from the list below.William.docx
Write about one of the photographers from the list below.William.docx
1. Read the text on 136-137, and then give a formal analysis of Wi.docx
1. Read the text on 136-137, and then give a formal analysis of Wi.docx
Week 3 American Abstract Expressionism Question 1 1. Imagi.docx
Week 3 American Abstract Expressionism Question 1 1. Imagi.docx
Class American Studies.PART 1Sketch the context for, d.docx
Class American Studies.PART 1Sketch the context for, d.docx
Artwork ReviewAnswer all three of the following questions p.docx
Artwork ReviewAnswer all three of the following questions p.docx
Answer all three of the following questions per work of ar.docx
Answer all three of the following questions per work of ar.docx
questions 1 This week, we look at several examples of early.docx
questions 1 This week, we look at several examples of early.docx
During the period of 1865 to 1912, American society was being pu
During the period of 1865 to 1912, American society was being pu
Complete the Timeline of Early 20th Century American Literature by.docx
Complete the Timeline of Early 20th Century American Literature by.docx
1.) Choose one piece of art from chapter 13 and discuss at lea.docx
1.) Choose one piece of art from chapter 13 and discuss at lea.docx
More from gordienaysmythe
CLINICAL SCHOLARSHIPTuberculosis Treatment for Mexican Ame.docx
CLINICAL SCHOLARSHIP
Tuberculosis Treatment for Mexican Americans Living on the
U.S.–Mexico Border
Julie Ann Zuñiga, PhD, RN1, Silvia E. Muñoz, PhD, FNP2, Mary Zuñiga Johnson, ME3, & Alexandra Garcia, PhD,
RN, FAAN4
1 Alpha Epsilon, Post-Doctoral Fellow, Nell Hodgson Woodruff School of Nursing, Emory University, Atlanta, GA
2 Clinical Instructor of Nursing, School of Nursing, The University of Texas at Austin, Austin, TX
3 Doctoral Student, The University of Texas at Austin, Austin, TX
4 Associate Professor, School of Nursing, The University of Texas at Austin, Austin, TX
Key words
Tuberculosis, phenomenology, Mexican
Americans, public health
Correspondence
Dr. Julie Ann Zuñiga, Nell Hodgson Woodruff
School of Nursing, Emory University, 1520
Clifton Rd NE, Atlanta, GA 30322.
E-mail: [email protected]
Accepted: January 12, 2014
doi: 10.1111/jnu.12071
Abstract
Purpose: This study produced a rich description of the lived experiences of
tuberculosis (TB) treatment among Mexican Americans living in the Lower
Rio Grande Valley (LRGV) of Texas.
Design: This qualitative study used phenomenological methodology, guided
by Merleau-Ponty’s philosophical framework, particularly his theories on
mind–body influence, fabric of relationships, importance of culture, and equi-
librium. A purposive sample was recruited through TB clinics in four south
Texas border counties: Hidalgo, Cameron, Starr, and Willacy, which make up
the LRGV. Interviews from 18 participants—5 women and 13 men—were con-
ducted in the participant’s preferred language. Interviews were analyzed for
common themes as described by Cohen Kahn and Steeves.
Findings: The majority of interviews were conducted in Spanish. Five themes
were discovered: (a) day-to-day life during Directly Observed Therapy treat-
ment, (b) signs and symptoms, (c) familismo, (d) living on the border, and (e)
stigma.
Conclusions: TB treatment can create a high level of patient burden. The
participants in TB treatment in the LRGV on the Texas-Mexico border reported
a high level of stigma. Due to this stigma, patients struggled to find a balance
between exposure to stigma and the support from family that buoyed them
through treatment.
Clinical Relevance: The findings support the importance of addressing
stigma and the resulting sense of isolation in patients being treated for TB, per-
haps through bolstering support from family and healthcare providers, which
is relevant for public health professionals working in regions with high rates of
TB.
Over 20 years ago, the World Health Organization (WHO)
recommended that patients with active tuberculosis (TB)
be monitored on a daily basis through the Directly Ob-
served Therapy Short Course (DOTS) program to improve
outcomes, decrease incidence, and decrease resistance to
treatment (WHO, 2011). In DOTS, a trained healthcare
representative watches a TB patient swallow each dose
of TB medication, ensuring that the patient takes every
dose of the prescribed antibiot.
cmdfile.txtsleep 5ls -latrsleep 3pwdsleep 1wc .docx
cmdfile.txt
sleep 5
ls -latr
sleep 3
pwd
sleep 1
wc /etc/passwd
CommandNode.c
#include <unistd.h>
#include <stdio.h>
#include <stdlib.h>
#include <string.h>
#include "CommandNode.h"
/**
*CommandNode.c
*The function bodies for a linked list of commands
**/
/**
Example of linked list initialization in code:
//First command node (head of list)
headCommand = (CommandNode*)malloc(sizeof(CommandNode));
CreateCommandNode(headCommand, command, index, NULL);
index = 1;
.....
//Later command nodes
while ((linesize = getline(&line, &len, fp)) >= 0) {
...
index++;
nextCommand1 = (CommandNode*)malloc(sizeof(CommandNode));
CreateCommandNode(nextCommand1, command, index, NULL);
InsertCommandAfter(headCommand, nextCommand1);
}
**/
//create a new command node. usually nextCmd can be NULL and function InsertCommandAfter can be called to insert after head node.
void CreateCommandNode(CommandNode* thisNode, char cmd[20][20], int ind, CommandNode* nextCmd) {
//this is useful if you store a string (char *): strcpy(thisNode->command, cmd);
for (int i = 0; i < 20; i++)
for (int j = 0; j < 20; j++)
thisNode->command[i][j] = cmd[i][j];
thisNode->index = ind;
thisNode->nextCommandPtr = nextCmd;
return;
}
//insert node newNode after thisNode
void InsertCommandAfter(CommandNode* thisNode, CommandNode* newNode) {
CommandNode* tmpNext = NULL;
tmpNext = thisNode->nextCommandPtr;
thisNode->nextCommandPtr = newNode;
newNode->nextCommandPtr = tmpNext;
return;
}
//get next command node in linked list
CommandNode* GetNextCommand(CommandNode* thisNode) {
return thisNode->nextCommandPtr;
}
//find a command based on the pid
CommandNode* FindCommand(CommandNode* cmd, int pid) {
CommandNode* tmpNext = cmd;
while (tmpNext != NULL) {
if (tmpNext->PID == pid) { return tmpNext; }
tmpNext = tmpNext->nextCommandPtr;
}
return NULL;
}
CommandNode.h
/**
*CommandNode.h
*The struct for a Command Node and function prototypes for a linked list of commands
**/
typedef struct command_struct {
char command[20][20];
int index;
int PID;
int starttime;
struct command_struct* nextCommandPtr;
} CommandNode;
void CreateCommandNode(CommandNode* thisNode, char cmd[20][20], int ind, CommandNode* nextCmd);
void InsertCommandAfter(CommandNode* thisNode, CommandNode* newNode);
CommandNode* GetNextCommand(CommandNode* thisNode);
CommandNode* FindCommand(CommandNode* cmd, int pid);
HWdetails&helperFile/HW_details1.jpg
HWdetails&helperFile/HW_details1_1.jpg
HWdetails&helperFile/read_parse_file.c
#define _GNU_SOURCE
#include <stdio.h>
#include <stdlib.h>
#include <string.h>
int main(void)
{
FILE * fp;
char * line = NULL;
size_t len = 0;
ssize_t read;
char newString[20][20];
int i,j,ctr;
fp = fopen("commands.txt", "r");
if (fp == NULL)
exit.
CLOUD COMPUTINGAssessment item 3 - AWS implementation – 10Ove.docx
CLOUD COMPUTING
Assessment item 3 - AWS implementation – 10%
Overview
This assessment item requires you to produce a short report for some of the Technical and
Development staff of DSI.
Task
DSI is starting to migrate some of its applications and services to a public cloud. Many of the technical staff have had no experience in the Cloud and are concerned about this process. You have recommended to DSI management that they should consider the use of microservices as part of their application architecture. DSI now want you to redesign one of their monolithic applications as a microservice application DSI has an old and image and video processing application. This is used by a number of DSI customers to upload images and videos for inclusion in spatial layers for their own use. DSI create the specialised layer for each customer and supply it to them when complete. The application has a number of modules as shown in Figure 1, below. Some of these modules may not need any development work done on them for long periods of time as their functions and outputs are relatively stable. Other modules though can be modified quite frequently as changes occur in the Industry. Other modules experience great peaks in workload which often slows services to DSI customers.
1. You are to assess each of the modules shown in Figure 1 above, and determine:
a. Which modules are likely to be relatively stable, a together with the reasons for this
categorisation,
b. Which modules are likely to require frequent modification, together with the reasons
for this categorisation,
c. Which modules are likely to experience workload peaks, together with the reasons for
this categorisation.
2. DSI wants to transition to a microservice approach with the Image and Video Processing Application. But they want to move in a phased approach so that they can handle the workload peaks first.
a. Which modules should be refactored first?
b. Discuss how a move to a microservice approach for these modules would resolve
issues around workload peaks?
3. Discuss how a move to a microservice approach will improve DSI’s ability to maintain high availability for this application.
4. Draw a diagram that shows the architecture of the Image and Video Processing Application after the transition to a microservice approach.
RATIONALE
SUBJECT LEARNING OUTCOMES
This assessment task will assess the following learning outcome/s:
• be able to compare and evaluate the ability of different cloud computing architectures to meet a set of given business requirements.
• be able to evaluate a set of business requirements to determine suitability for a cloud computing delivery model.
• be able to identify and design an ICT Risk Management strategy for a cloud computing delivery plan to meet business requirements.
• be able to critically analyse business requirements to plan a migration to a cloud model.
KS1029
Case Number 1588.0
This case was written b.
Clinical Case Studies8(6) 417 –423© The Author(s) 2009.docx
Clinical Case Studies
8(6) 417 –423
© The Author(s) 2009
Reprints and permission: http://www.
sagepub.com/journalsPermissions.nav
DOI: 10.1177/1534650109351930
http://ccs.sagepub.com
Psychotherapy of
Schizophrenia: A Brief History
and the Potential to Promote
Recovery
Paul H. Lysaker1 and Steven M. Silverstein2
Abstract
With growing awareness of the likelihood of recovery from schizophrenia, interest has
arisen about the potential role of psychotherapy within emerging treatment regimens. Could
psychotherapy uniquely promote recovery by addressing symptoms, the achievement of
psychosocial milestones, and/or helping to enhance the extent to which persons diagnosed with
schizophrenia experience themselves as meaningful agents in the world? As an introduction to
a set of case studies of how psychotherapy can promote recovery this article briefly reviews
the history of the psychotherapy of schizophrenia. In particular the appearance and course
of psychoanalytically oriented treatments, as well as cognitively and interpersonally based
treatments are detailed. Evidence supporting these approaches and remaining questions for
research are discussed.
Keywords
schizophrenia, recovery, psychotherapy, psychosis
Recent reviews have suggested that contrary to long-standing pessimistic views, most people with
schizophrenia do not experience lifelong dysfunction. Instead, most with this condition move
meaningfully toward or achieve recovery over the course of their lives (Bellack, 2006; Lysaker &
Buck, 2008; Silverstein, Spaulding, & Menditto, 2006). They may not only experience improve-
ments with regard to symptoms or function, but also positive changes in how persons think about
and experience themselves as individual human beings in the world (Resnick, Rosenheck, &
Lehman, 2004; Roe, 2001; Silverstein & Bellack, 2008). As a result of growing awareness of this
possibility, interest has arisen in whether some forms of psychotherapy could play an important
role in treatment. Given literature suggesting psychotherapy may help a wide range of people
without psychosis to develop both a richer sense of self and a more adaptive self-concept
(Hermans & Dimaggio, 2005), it is now asked whether it could do the same for many with schizo-
phrenia and thereby uniquely promote recovery (Lysaker & Lysaker, 2008).
To explore this question and a wide range of related concerns, this issue of Clinical Case Stud-
ies is devoted to case studies of the processes by which individual psychotherapy can promote
recovery. Therapies which range from office to community based and from existential to
1Indiana University School of Medicine
2University of Medicine and Dentistry of New Jersey, Piscataway
Corresponding Author:
Paul H. Lysaker, 1481 West 10 street, Indiana University School of Medicine, Indianapolis, IN 46202
Email: [email protected]
418 Clinical Case Studies 8(6)
metacognitive to cognitive behavioral are presented with the unifying q.
Clinical Case Studies8(5) 383 –402© The Author(s) 2009.docx
Clinical Case Studies
8(5) 383 –402
© The Author(s) 2009
Reprints and permission: http://www.
sagepub.com/journalsPermissions.nav
DOI: 10.1177/1534650109345004
http://ccs.sagepub.com
Culturally Sensitive Treatment
of Anger in African American
Women: A Single Case Study
A. Antonio González-Prendes and Shirley A. Thomas
Abstract
Culturally sensitive clinical practice challenges practitioners to recognize the cultural significance
and importance of clients’ behaviors and belief systems. This article reports a case study of the
treatment of anger in an African American woman. Presented within a framework of cognitive-
behavioral theory, the case illuminates three important issues that influence experience and
expression of anger in African American women: the influence of gender role socialization
on the mode of anger expression; the experience of powerlessness, rooted in historical and
contemporary discriminatory and oppressive realities; and culture-related messages that
create unrealistic expectations of strength. The article addresses conceptualization, assessment,
treatment processes, and clinical strategies, as well as limitations of a single case study, implications
for practice and recommendations for future research.
Keywords
African American women, anger treatment, cultural sensitivity, cognitive-behavioral
1 Theoretical and Research Basis
Culturally sensitive treatment approaches must be able to conceptualize, recognize, and evaluate
the client’s belief system and behaviors within the context of the client’s gender, race and culture,
among other factors. This is particularly important when working with individuals from minori-
ties and other traditionally disempowered groups, whose beliefs and behaviors run the risk of
being pathologized when taken out of the context of their cultures and measured against the
standards of the dominant group. This article presents and discusses, within the framework of a
case study, central elements of a culturally sensitive approach to the treatment of anger problems
in an African American woman. The conceptual model for the treatment approach suggests that,
if anger in African American women is to be understood accurately, it must be viewed through
the twin prisms of gender and race (Thomas & González-Prendes, 2009). Previous studies have
underscored the idea that, in order to develop an accurate understanding of the emotional experi-
ence of women of color, one must be able to integrate issues related to gender, culture, and race
Wayne State University
Corresponding Author:
A. Antonio González-Prendes, Wayne State University, School of Social Work, 4756 Cass Avenue, Room #301, Detroit,
MI 48202
Email: [email protected]
384 Clinical Case Studies 8(5)
(King, 1988, 2005). More specifically, related to women’s anger, deMarraias and Tisdale (2002)
emphasized that emotions are sensitive to the contexts in which such emotions are experienced.
Therefore, we propose t.
Climate ChangeWhat every designer should know.This i.docx
Climate Change
What every designer should know.
This is a short presentation covering climate change fundamentals for design students and professionals. Climate change is an important topic for designers to be aware of and responsive to, because designers help create the world we live in. The choices designers make, in what they make, how its made, what its made of, how its used, and what happens to it after it’s disposed of, can impact large numbers of people and the environment. This is what you need to know.
1
Our planet’s climate is controlled by its atmosphere. You can see our atmosphere isn’t very big. It’s a thin protective coating stretched over the earth’s surface. But that thin protective coating is surprisingly important. Without it, our planet would have no life whatsoever. Its surface would be as barren and freezing as the moon you see in the background. A healthy atmosphere is a precondition of life.
2
Our planet has had a relatively stable and predictable climate for much of the last 10,000 years. It is no accident that agriculture began within this time period, a period characterized by relative peace and stable civilizations.
3
The climate has been so stable, we tend to completely ignore it and take it for granted, not even being aware how much we rely upon it. But we rely on a stable, predictable, and moderate climate for such basic and vital activities as growing food, placing and designing settlements, and many, many other things.
4
Here’s the entire volume of the earth’s atmosphere in comparison to the volume of the earth itself: again, not very big. Because the earth’s atmosphere is not very big, it is sensitive to relatively small changes. The composition and relative amounts of chemicals inside that little ball play a big role in how the atmosphere functions.
5
Here’s the composition and relative amounts of the chemicals inside that little ball. You can see carbon dioxide is a relatively miniscule part of the earth’s atmosphere. Yet the relative amount of this molecule and a few others has an outsized role in controlling our planet’s climate, because of how these molecules react to sunlight.
6
A large portion of the sun’s radiation is absorbed at the surface of the Earth. This heat then re-radiates back into the atmosphere, and then back out into space. The atmosphere holds on to some of that heat for a time, before it leaks back out into space.
7
Some atmospheric molecules hold onto this heat longer than others, which is why they are known as “greenhouse gases”. Like a greenhouse in the sun, atmospheric gases like carbon dioxide hold on to the heat re-radiating from the earth for a relatively long time. This is why the earth’s climate is sensitive to small changes in the relative amounts of these particular molecules. There are other greenhouse gases besides carbon dioxide, such as methane, nitrous oxide, and water vapor. Some of these trap heat even more powerfully than c.
CLIENT INTERVIEW SHEETDate ______________.docx
CLIENT INTERVIEW SHEET
Date: ___________________
Lawyer: ___________________ Referred by: _____________
Hourly Rates: ___________________
Retainer: ___________________
Legal Assistant: ___________________ Client Information
Client’s Full Name: ____________________________________________
Present Address: ____________________________________________
____________________________________________
Mailing Address: ____________________________________________
(If different from above) ___________________________________________
E-mail Address: ___________________________________________
Home Phone: _______________ Work Phone: ______________
Fax: _____________ Cell (or other contact):___________
Date of Birth: ____________________ Present Age: __________
Place of Birth: ___________________________________________
Surname at Birth: _________________________________________________
Surname Before this Marriage: _________________________________
Marital Status at the Time of Marriage: Single__ Widowed__ Divorced__
Occupation: _____________________________________________
Employer’s Name and Address: _________________________________
_____________________________________________________________________
How Long at that Employer? _______________________________________
Gross Annual Income: $___________
Frequency of Payment: Bi-Weekly ____ Bi-Monthly: ___ Monthly: ___
Total Income on Last Tax Return: $______________
Net Taxable Income on Last Tax Return: $___________
Occupation at Marriage: _______________________________________
Do You Have a Valid Will: _______________________________________
If So, Who Are the Beneficiaries: _________________________________
Who Is the Executor/Executrix: _________________________________
Do You Want to Change Your Will: _____________________________
If your matter is against an ex-spouse and you have a new spouse, do mention your current spouse’s name and date of birth:
Name: __________________________________________________________________
Date of Birth: ____________________________________________________________
Information about Your Spouse (Opposing Party)
Spouse’s Full Name: ____________________________________________
Spouse’s Present Address: ______________________________________
____________________________________________________________________
Spouse’s Home Phone: _____________ Work Phone: ______________
Spouse’s Date of Birth: _____________________Present Age: ______
Place of Birth: _________________________________________________
Surname at Birth: ________________________________________________
Surname Before This Marriage: ________________________________
Marital Status at Time of Marriage: Single: ___Widowed: ___Divorced: ___
Occupation: __________________________________________________
Employer’s Name and Address: ________________________________
____________________________________________________________________
How Long at That Emp.
Click the link above to submit your assignment.Students, please .docx
Click the link above to submit your assignment.
Students, please view the "Submit a Clickable Rubric Assignment" in the Student Center.
Instructors, training on how to grade is within the Instructor Center.
Assignment 1: Applications of Epidemiology – A Case Study
Due Week 3 and worth 280 points
The situation at Good Health Hospital has become a bit overwhelming ever since the outbreak of E. coli in Ward 10 on the second floor. It appears that there are six (6) cases of the disease. To better understand the situation, communication with the CDC has revealed that this particular bacterium can be found in many everyday items. The CDC recommends that investigation begins in the hospital kitchens, since E. coli can be transmitted via contaminated vegetables, as well as delicatessen meats such as salami and other cold cuts. The following table shows the number of cases identified so far:
Case
Age
Gender
1 23 M 2 21 F 3 15 M 4 42 F
After meeting yesterday with chief administrator Joe Wellborn, it has been decided that the litigation issues with one (1) of the patients may need further information to determine if the patient was already symptomatic with the bacteria prior to admission.
Research has indicated that hospitals operating in the Tampa Bay area have been known to have cases of E. coli contamination. This substantiates the need for further investigations by the County Health Department.
Due to the severity of the cases, and the potential for further spread, it is recommended that the hospital seek alternate vending services since the present suppliers cannot verify sanitation protocols for their products.
In conclusion, the study done at Good Health Hospital has indicated that the E. coli outbreak was in fact caused by spoil food from the cafeteria.
As a social science researcher working for a regional hospital, you are placed in charge of contacting the DOH from your home state, as well as the CDC for statistical data on nosocomial diseases that frequently cause illness at your health care facility. Using information from both agencies, evaluate the data on common nosocomial diseases and compile a treatment contingency plan for dealing with the hospital infections.
Write a five to six (5-6) page evaluation report in which you:
Analyze Good Health Hospital’s records and itemize recent nosocomial infections that occurred within the past year. In your report, categorize the different parameters (i.e., person, time, place, ethnicity, and gender) used in the compilation of data into the information summative.
Propose at least six (6) questions for the health care administrator at Good Health Hospital, regarding potential litigation issues with infections from the nosocomial diseases. Rationalize, in your report, the logic behind your six (6) questions.
Identify a targeted audience within Good Health Hospital, and prepare an implementation plan based on your hypothetical meeting with the hospital health care admi.
click the link and watch the following video death by socialism an.docx
click the link and watch the following video "death by socialism" and answer the following questions
https://www.youtube.com/watch?v=3Gjnk9KqwvQ&feature=youtu.be
1. Why do some people feel socialism would work in America? Why doesn't it seem to work in other countries? Is America different? Why or why not?
2. Summarize what's currently going on in Venezuela. Then, share your opinion on it and what might be done about it.
3. Were Bernie Sanders and his supporters advocating socialism? Defend your answer. What did Sanders mean by "democratic socialism"?
4. Why did socialism effect the economy the way it did in Venezuela? Why are there food shortages, etc.? Research the effects of socialism and share your thoughts.
5. Why does Chavez blame capitalism for the problems? Is this accurate? Explain why or why not.
DUE BY 9:00 4/8
.
Click the link above to complete this journal. The topics of the jo.docx
Click the link above to complete this journal. The topics of the journals will change with each module but will either ask for a reflection on students’ writing process and progress, ask students to begin work on a major course assignment or respond to a course reading. The journals will be graded based on writing clarity, organization, detail, and relevance.
INSTRUCTIONS ATTACHED
.
Classify man from the Domain to the species and discuss each categor.docx
Classify man from the Domain to the species and discuss each category.
Identify
the
organism in comparison to human and categorized by the classification scheme (taxonomy) as being the organism inclusive of every category in the scheme except the species.
Please document your pathway by providing the classification of both organisms. (120 pts)
.
Classroom Discussion is a valuable learning tool in that it.docx
Classroom Discussion is a valuable learning tool in that it:
It helps students explore a diversity of perspectives.
It increases students’ awareness of and tolerance for ambiguity or complexity.
It helps students recognize and investigate their assumptions.
It encourages attentive, respectful listening.
It develops new appreciation for continuing differences.
It increases intellectual agility.
It helps students become connected to a topic.
It shows respect for student voices and experiences.
It helps students learn the processes and habits of democratic discourse.
It affirms students as co-creators of knowledge.
It develops the capacity for the clear communication of ideas and meaning.
It develops habits of collaborative learning.
It increases breadth and makes students more empathic.
It helps students develop skills of synthesis and integration.
It leads to transformation.
Stephen D. Brookfield and Stephen Preskill, Discussion as a Way of Teaching (2d edition, 2005, John
Wiley and Sons), 21-22.
Assignment
Step #1: Respond to the following Discussion Prompt
"Explain the difference between and EMPLOYEE and an INDEPENDENT CONTRATOR and the tests that help us in that determination."
.
CLASSICSOFWESTERN PHILOSOPHY2CLASSICSO.docx
CLASSICS
OF
WESTERN PHILOSOPHY
2
CLASSICS
OF
WESTERN PHILOSOPHY
EIGHTH EDITION
Edited by
STEVEN M. CAHN
HACKETT PUBLISHING COMPANY, INC.
INDIANAPOLIS/CAMBRIDGE
3
To Marilyn
4
First edition copyright © 1977 by Hackett Publishing Company, Inc.
Second edition copyright © 1985 by Hackett Publishing Company, Inc.
Third edition copyright © 1990 by Hackett Publishing Company, Inc.
Fourth edition copyright © 1995 by Hackett Publishing Company, Inc.
Fifth edition copyright © 1999 by Hackett Publishing Company, Inc.
Sixth edition copyright © 2002 by Hackett Publishing Company, Inc.
Seventh edition copyright © 2006 by Hackett Publishing Company, Inc.
Eighth edition copyright © 2012 by Hackett Publishing Company, Inc.
All rights reserved
Printed in the United States of America
17 16 15 14 13 12 1 2 3 4 5 6
For further information, please address:
Hackett Publishing Company, Inc.
P.O. Box 44937
Indianapolis, IN 46244-0937
www.hackettpublishing.com
Cover design by Brian Rak
Text design by Meera Dash
Printed at Victor Graphics, Inc.
Library of Congress Cataloging-in-Publication Data
Classics of Western philosophy / edited by Steven M. Cahn. — Eighth Edition.
pages cm
Includes bibliographical references.
ISBN 978-1-60384-743-8 (pbk.) — ISBN 978-1-60384-744-5 (cloth)
1. Philosophy. I. Cahn, Steven M.
B29.C536 2012
190 — dc23 2012007912
PRC ISBN: 978-1-62466-015-3
5
http://www.hackettpublishing.com
Contents
Preface
Plato
Laches
Euthyphro
Apology
Crito
Phaedo
Meno
Symposium
Republic (selections)
Aristotle
Categories (Chapters 1–5)
On Interpretation (selections)
Posterior Analytics (selections)
Physics (selections)
On the Soul (selections)
Metaphysics (selections)
Nicomachean Ethics (selections)
Epicurus
Letter to Menoeceus
The Principal Doctrines
Epictetus
Encheiridion
Sextus Empiricus
Outlines of Pyrrhonism (selections)
Augustine
On Free Choice of the Will (selections)
Confessions (Book XI)
Plotinus
Enneads (selections)
Boethius
Consolation of Philosophy (selections)
Anselm
Proslogion
Gaunilo’s Reply on Behalf of the Fool
Anselm’s Reply to Gaunilo
Moses Maimonides
The Guide of the Perplexed (selections)
6
Thomas Aquinas
Summa Theologiae (selections)
Levi Gersonides
The Wars of the Lord (selections)
William of Ockham
Summa Logicae (selections)
René Descartes
Discourse on Method
Meditations on First Philosophy
Thomas Hobbes
Leviathan (selections)
Baruch Spinoza
Ethics (Parts I, II)
Gottfried Leibniz
Discourse on Metaphysics
Monadology
John Locke
An Essay Concerning Human Understanding (selections)
George Berkeley
A Treatise Concerning the Principles of Human Knowledge
Three Dialogues between Hylas and Philonous
David Hume
An Enquiry Concerning Human Understanding
A Treatise of Human Nature (selections)
Dialogues Concerning Natural Religion
Immanuel Kant
Prolegomena to Any Future Metaphysics
Critique of Pure Reason (selections)
Grounding for the Metaphys.
Classification Alternative Techniques Assignment1) Define a.docx
Classification: Alternative Techniques Assignment
1) Define and provide an example of Rule Coverage and Accuracy.
2) What are the Characteristics of Rule-Based Classifier?
3) What do the steps to building a rule set consist in a Direct Method: RIPPER?
4) Describe what is used to separate data in Support Vector Machines.
5) List and describe the two classifiers of Ensemble Methods.
.
Classic Combo PlateDirectionsBefore there were all th.docx
Classic Combo Plate
Directions:
Before there were all the cart options, I remember going to the cafes near campus that offered combo menus. For a reasonable price, the menu usually had two lists of items and you would choose one from column A and one from column B for a very satisfying lunch.
For our musical version of the combo plate, you are asked to select one composer from column A (just the big three) and one composer from column B (a very long Wikipedia page with composers listed by birth year)
Both composers must share the same, or nearly the same, birth year
. The latitude for this is no more than + or - 10 years. We want to place both of them solidly within the Classic era and also within roughly the same generation.
Find one movement of a piece of music by each. that is a total of two tracks for this assignment. Include a link to that specific movement of each piece so that readers of your post can quickly click it to listen. You may use Naxos (a bit easier to pinpoint the exact movement in a longer piece) or YouTube but you are responsible for providing the accurate url. Please be careful in YouTube that your music link takes your reader to exactly the movement you write about.
For each of these two tracks provides clearly the full title of each piece and the exact movement title or number if these are from multi-movement works.
Provide background information on both of the movements of music you have selected and some bio information on the lesser known composer from "column B". Include musical observations
based on your own listening
as you compare the two tracks. You may find it easier to make a targeted comparison if you select works of a similar genre (for instance, the first movement of a piano sonata by each composer, or the slow movement of a symphony by each, or the minuet movement of a string quartet, or a soprano aria from an opera by each......)
Interesting "fun facts" might include: did the two ever meet? Where did they live, did they study with the same teacher? Were they both performers as well as composers? Did each have a patron?
Music Selection parameters
Column A Classic era composers are limited to the big three we have covered already this term:
Franz Joseph Haydn b. 1732
Wolfgang Amadeus Mozart b. 1756
Ludwig van Beethoven b. 1770
Choose just one movement of one piece by one of these "big three" composers.
Column B classic era composers are listed at the page linked below. Scroll to find the birth years you need for a match.
https://en.wikipedia.org/wiki/List_of_Classical-era_composers#Middle_Classical_era_composers_(born_1730%E2%80%931750)
Choose just one movement of one piece by one of the other classic era composers that you find at this page.
Reply post:
After completing your main post,
make an interactive reply post to another student's main post.
An interactive reply post shows you've listened to the music they wrote about (supply track timings for your musical obse.
Class- As stated on in Chapter 6, Walsh & Sattes (2010) write that” .docx
Class- As stated on in Chapter 6, Walsh & Sattes (2010) write that” Thinking through quality questioning incorporates habits of mind and thinking dispositions. Cultivating Habits of Mind are also important. It includes the pursuit of accuracy, intellectual curiosity, empathetic listening, flexibility in thinking (page 146).
This week’s focus is on creating a thinking culture. Discuss the following:
How can you use quality questioning to create a classroom culture where students and teacher work together to advance thinking and knowing?
How do you define
habits of the mind
? What habits of mind underpin thinking and questioning?
.
Classic Gardens and Landscapes counts responses to specialty pro.docx
Classic Gardens and Landscapes counts responses to specialty promotions to determine effectiveness. You use
SUMIFS
and an
IFS
formula to complete the summary. You also calculate insurance statistics and display full names in one cell.
[Student Learning Outcomes 6.1, 6.2, 6.3, 6.6, 6.7]
File Needed:
ClassicGardens-06.xlsx
(Available from the
Start File
link.)
Completed Project File Name:
[your name]-ClassicGardens-06.xlsx
Skills Covered in This Project
Nest
MATCH
and
INDEX
functions.
Create
DSUM
formulas.
Build an
IFS
function.
Build
SUMIFS
formulas.
Use
TEXTJOIN
to join labels.
Open the
ClassicGardens-06
start file. The file will be renamed automatically to include your name. Change the project file name if directed to do so by your instructor, and save it.
Create a nested
INDEX
and
MATCH
function to display the number of responses from a city.
Click the
Mailings
sheet tab and select and name cells
A3:D28
as
Responses
.
Click the
Mailing Stats
sheet tab.
Click cell
B21
and type
Carthage
.
Click cell
C21
, start an
INDEX
function, and select the first argument list option.
Choose or type the
Responses
range name for the
Array
argument.
Click the
Row_num
box and nest a
MATCH
function. Select cell
B21
for the
Lookup_value
and cells
A3:A28
on the
Mailings
sheet for the
Lookup_array
. Click the
Match_type
argument box and type
0
.
Click
INDEX
in the
Formula
bar. Click the
Column_num
box and nest a second
MATCH
function to look up cell
D3
on the
Mailings
sheet in the lookup array
A3:D3
.
Click the
Match_type
box and type
0
(Figure 6-106) and click
OK
. The result displays as 343.00.
Figure 6-106 Nested
MATCH
and
INDEX
functions
Format the results to show zero decimal places.
Type
Smyrna
in cell
B21
.
Use
DSUM
to summarize mailing data.
Select the
Mailings
sheet and note that number mailed is located in the third column and response data is in the fourth column.
Click the
Criteria
sheet tab. Select cell
B2
and type
lan*
to select data for the Landscape Design department.
Type
law*
in cell
B5
for the Lawn & Maintenance department.
Type
pat*
in cell
B8
for the Patio & Furniture department.
Click the
Mailing Stats
sheet tab and select cell
B7
.
Use
DSUM
with the range name
Responses
as the
Database
argument. Type
3
for the
Field
argument (# Mailed column), and enter an absolute reference to cells
B1:B2
on the
Criteria
sheet as the
Criteria
argument.
Copy the formula to cell
C7
and edit the
Field
argument to use the fourth column (# Responses).
Use
DSUM
in cells
B8:C9
to calculate results for the two remaining departments.
Use
SUM
in cells
B10:C10
.
Format all values as
Comma Style
with no decimal places.
Create an
IFS
function to display a response rating.
Note: If your version of Excel does not include the
IFS
function, build the following nested
IF
function
=IF.
Class, this is the final forum of the course. From our readings fro.docx
Class, this is the final forum of the course. From our readings from Week 8, we see that field of emergency management including the Incident Command System and NIMS have changed drastically over the years. The NIC has been developed in order to make sure that our incident management systems are as efficient and effective as possible. Going forward, there will inevitably be changes that will positively impact our emergency response and disaster planning organizations. In the past 50 years we have seen significant changes to the field of emergency management in our country. Some of the notable turning points in the field of emergnecy management include the following:
1974 - Disaster Relief Act of 1974
- The Disaster Relief Act of 1974 authorized the president of the United States to implement a program of disaster preparedness and relief aid that would enable use of all federal agencies. The Disaster Relief Act of 1974 states that any federal assistance offered is dependent upon the president authorizing such aid in the form of issuing a declaration.
1979
- FEMA is created.
1988 - Stafford Act
- Part of the reason for the change from the Disaster Relief Act of 1974 to the Stafford Act was the fact that the federal government was concerned about expanding disaster declarations beyond only natural disasters, and this included other types of incidents such as technological disasters (Three Mile Island in PA) and other instances outside the scope of natural disasters. Terrorism is not yet included. Federal assistance could be requested by the state on behalf of either the local government or state government. However, the request from the state must come from the governor.
2002 - Homeland Security Act
- The September 11, 2001 terrorist attacks resulted in the creation of the Department of Homeland Security (DHS). FEMA is now included under the umbrella of DHS.
HSPD-5 established the National Incident Management System (NIMS) and the National Response Plan (NRP).
HSPD-8 established policies to strengthen the preparedness of the United States to prevent and respond to threatened or actual domestic terrorist attacks, major disasters, and other emergencies by requiring a national domestic all-hazards preparedness goal, establishing mechanisms for improved delivery of Federal preparedness assistance to State and local governments, and outlining actions to strengthen preparedness capabilities of Federal, State, and local entities.
2005 - Post-Katrina Emergency Management Reform Act
- the performance of FEMA and other emergency management agencies during Hurricane Katrina results in the Post-Katrina Emergency Management Reform Act (
PKEMRA
) of 2006. The act enhances FEMA's responsibilities and its autonomy within DHS. Significant and meaningful changes to FEMA were made to increase preparedness levels of the general population and aid in mitigation and resilience efforts. These changes also included incident managem.
Class Subjects we went overWEEK 1 April 5thMULTICULTURAL.docx
Class Subjects we went over
WEEK 1 April 5thMULTICULTURALISM: REALITY & DEBATERead: “A Different Mirror: The Making of Multicultural America,” Ronald Takaki “An Overview and Point of View,” John Koval“Urban Fieldwork,” George Gmelch & Petra Kuppinger, from Urban Life (our required course text)
WEEK 2 April 12thDIVERSITY & DIVISIONRead:“Race Relations Chicago Style: Past, Present and Future,” Michael Bennett & RichardSchaefer “Transnationalism, Old and New: New York Immigrants,” Nancy Foner, Urban Life “A Tale of 3 Cities: The State of Racial Justice in Chicago Report,” Executive Summary, pp. 1 – 10, Institute for Research on Race and Public Policy, UICDue: Reading Review, for Weeks 1-2, online under Submissions on D2L by 6PM Thursday
WEEK 3 April 19thGEOGRAPHY & INEQUALITYRead: “The Shadow of the Skyscraper,” Harvey Zorbaugh“Urban Danger: Life in a Neighborhood of Strangers,” Sally Engle Merry, Urban Life“How Urban Ethnography Counters Myths About the Poor,” J. Goode, UrbanLifePART II: MAKING BLACK, LATINO & WHITE CHICAGOS
WEEK 4 April 26thTHE BLACK BELT & SEGREGATIONRead: “The Black Ghetto,” St. Clair Drake & Horace Cayton “Less Than Plessy: The Inner City, Suburbs, and State-Sanctioned Residential Segregation in the Age of Brown,” Arnold R. HirschDue: Reading Review, for Weeks 3-4, online under Submissions on D2L by 6PM Thurs
Writing Ethnographic Fieldnotes – Robert M. Emerson
University of Chicago Press
Published 1995
Chapter 1: Fieldnotes in Ethnographic Research
Ethnographic field research involves the study of groups and people as they go about their everyday lives. Carrying
out such research involves two distinct activities. First, the ethnographer enters into a social setting and gets to
know the people involved in it; usually, the setting is not previously known in an intimate way. The ethnographer
participates in the daily routines of this setting, develops ongoing relations with the people in it, and observes all the
while what is going on. Indeed, the term "participant-observation" is often used to characterize this basic research
approach. But, second, the ethnographer writes down in regular, systematic ways what she observes and learns
while participating in the daily rounds of life of others. Thus the researcher creates an accumulating written record of
these observations and experiences. These two interconnected activities comprise the core of ethnographic
research: Firsthand participation in some initially unfamiliar social world and the production of written accounts of
that world by drawing upon such participation. In the following sections we examine in detail each of these activities
and then trace out their implications for writing fieldnotes.
ETHNOGRAPHIC PARTICIPATION
Ethnographers are committed to going out and getting close to the activities and everyday experiences of other
people. "Getting close" minimally requires physical and social pr.
Class ProfileStudent NameEnglish Language LearnerSocio.docx
Class Profile
Student Name
English Language Learner
Socio-economic
Status
Ethnicity
Gender
IEP/504
Other
Age
Reading
Performance Level
Math Performance
Level
Parental
Involvement
Internet Available
at Home
Arturo
Yes
Low SES
Hispanic
Male
No
Tier 2 RTI for Reading
Grade level
One year below grade level
At grade level
Med
No
Bertie
No
Low SES
Asian
Female
No
None
Grade level
One year above grade level
At grade level
Low
Yes
Beryl
No
Mid SES
White
Female
No
NOTE: School does not have gifted program
Grade level
Two years above grade level
At grade level
Med
Yes
Brandie
No
Low SES
White
Female
No
Tier 2 RTI for Math
Grade level
At grade level
One year below grade level
Low
No
Dessie
No
Mid SES
White
Female
No
Tier 2 RTI for Math
Grade level
Grade level
One year below grade level
Med
Yes
Diana
Yes
Low SES
White
Female
No
Tier 2 RTI for Reading
Grade level
One year below grade level
At grade level
Low
No
Donnie
No
Mid SES
African American
Female
No
Hearing Aids
Grade level
At grade level
At grade level
Med
Yes
Eduardo
Yes
Low SES
Hispanic
Male
No
Tier 2 RTI for Reading
Grade level
One year below grade level
At grade level
Low
No
Emma
No
Mid SES
White
Female
No
None
Grade level
At grade level
At grade level
Low
Yes
Enrique
No
Low SES
Hispanic
Male
No
Tier 2 RTI for Reading
One year above grade level
One year below grade level
At grade level
Low
No
Fatma
Yes
Low SES
White
Female
No
Tier 2 RTI for Reading
Grade level
One year below grade level
One year above grade level
Low
Yes
Frances
No
Mid SES
White
Female
No
Diabetic
Grade level
At grade level
At grade level
Med
Yes
Francesca
No
Low SES
White
Female
No
None
Grade level
At grade level
At grade level
High
No
Fredrick
No
Low SES
White
Male
Learning Disabled
Tier 3 RTI for Reading and Math
One year above grade level
Two years below grade level
Two years below grade level
Very High
No
Ines
No
Low SES
Hispanic
Female
Learning Disabled
Tier 2 RTI for Math
Grade level
One year below grade level
One year below grade level
Low
No
Jade
No
Mid SES
African American
Female
No
None
Grade level
At grade level
One year above grade level
High
Yes
Kent
No
High SES
White
Male
Emotion-ally Disabled
None
Grade level
At grade level
One year above grade level
Med
Yes
Lolita
No
Mid SES
Native American/
Pacific Islander
Female
No
None
Grade level
At grade level
At grade level
Med
Yes
Maria
No
Mid SES
Hispanic
Female
No
NOTE: School does not have gifted program
Grade level
At grade level
Two years above grade level
Low
Yes
Mason
No
Low SES
White
Male
No
None
Grade level
At grade level
At grade level
Med
Yes
Nick
No
Low SES
White
Male
No
None
Grade level
One year above grade level
At grade level
Med
No
Noah
No
Low SES
White
Male
No
None
Grade level
At grade level
At grade level
Med
Yes
Sharlene
No
Mid SES
White
Female
No
None
Grade level
One year above grade level
At grade level
Med
Med
Sophia
No
Mid SES
White
Female
No
None
Grade level
At grade level
At grade level
Med
Yes
Stuart
No
Mid SES
Whit.
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