The film will tell the story of the cultural exchange between China and the Islamic civilization from the 8th to 18th centuries as represented in the Louvre Abu Dhabi's upcoming "Dragon & Phoenix" exhibition. Over three sentences, the film will highlight key moments like the Battle of Talas where artists were spared and spread paper production, the development of blue and white porcelain from imported dye, and Islamic influences upgrading Chinese tapestries. Attention to accurate historical details in costumes, settings, and artifacts will help bring the 1100 year relationship between the two civilizations to life.
- "Ozymandias" is a 14-line sonnet written by Percy Bysshe Shelley in 1817 about a traveler's encounter with the ruined statue of the once-mighty Egyptian pharaoh Rameses II.
- The traveler tells the speaker of coming upon two vast stone legs without a body and a crumbling stone head half buried in the desert sand, which were all that remained of a statue with an inscription claiming "My name is Ozymandias, king of kings."
- Around the decaying remains, nothing else survives except the "lone and level sands" stretching as far as the eye can see, vividly portraying how the vanity and
This document provides context and analysis of Percy Bysshe Shelley's poem "Ozymandias". It discusses the Egyptian pharaoh Rameses II, who had many statues and memorials built to portray his greatness, but over time they crumbled into ruins. The poem is about a traveler coming upon two legs and a shattered face in the desert, along with a pedestal describing King Ozymandias and his works. While he wanted to inspire fear and despair in onlookers, all that remains is decay, showing how the mighty can fall from great heights. The document examines Shelley's sonnet and its exploration of the fragility of power and longevity.
What Does History Do For Theatre and what does Theatre do for HistoryRubertDoo
The document summarizes the Italian theatrical movement known as Commedia Dell'Arte and its influence on theatre history. It discusses how Commedia Dell'Arte originated in 15th century Italy and used improvised comedy, stock characters, and physical humor. The movement brought theatre to the masses and influenced later playwrights and theatre styles. Key developments included the use of masks, improvisation, slapstick comedy, and stock characters that can still be seen in modern entertainment.
The speaker describes a conversation with a traveler who saw the remnants of an ancient statue in the desert. The statue depicted the Egyptian king Ramses II, known as Ozymandias. Though once vast and powerful, all that remained was a crumbling torso and legs, with the stern face half buried in sand. The traveler reads the inscription claiming the king's greatness, but there is nothing around but endless desert, illustrating the inevitable decline of even the mightiest of leaders and their empires over time.
The poet sees themselves as a voice for humanity, telling forgotten stories to restore lost nobility and equality. They view themselves as a lowly figure who sits upon the earth, using their poetry to shift society back on course and restore their destiny of speaking for all people and confirming that the human race will not break down.
The poem describes a traveler telling the narrator about ruined statue found in the desert. The statue consists of two large stone legs and a shattered head, with a still visible frown and sneer. An inscription on the pedestal introduces the statue as King Ozymandias, saying "Look on my works, ye Mighty, and despair." However, nothing remains of the king's works besides the decaying statue, as the lone and level sands stretch far away. The poem serves as a commentary on the impermanence of power and the inevitability that all earthly works will fade over time.
This poem describes a traveler telling the narrator about ruins found in the desert - two large stone legs and a broken face half buried in the sand. Writing on a pedestal says "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" But nothing of the king's works remain except these ruins, showing how even the mightiest of kings and their works will fade over time.
- "Ozymandias" is a 14-line sonnet written by Percy Bysshe Shelley in 1817 about a traveler's encounter with the ruined statue of the once-mighty Egyptian pharaoh Rameses II.
- The traveler tells the speaker of coming upon two vast stone legs without a body and a crumbling stone head half buried in the desert sand, which were all that remained of a statue with an inscription claiming "My name is Ozymandias, king of kings."
- Around the decaying remains, nothing else survives except the "lone and level sands" stretching as far as the eye can see, vividly portraying how the vanity and
This document provides context and analysis of Percy Bysshe Shelley's poem "Ozymandias". It discusses the Egyptian pharaoh Rameses II, who had many statues and memorials built to portray his greatness, but over time they crumbled into ruins. The poem is about a traveler coming upon two legs and a shattered face in the desert, along with a pedestal describing King Ozymandias and his works. While he wanted to inspire fear and despair in onlookers, all that remains is decay, showing how the mighty can fall from great heights. The document examines Shelley's sonnet and its exploration of the fragility of power and longevity.
What Does History Do For Theatre and what does Theatre do for HistoryRubertDoo
The document summarizes the Italian theatrical movement known as Commedia Dell'Arte and its influence on theatre history. It discusses how Commedia Dell'Arte originated in 15th century Italy and used improvised comedy, stock characters, and physical humor. The movement brought theatre to the masses and influenced later playwrights and theatre styles. Key developments included the use of masks, improvisation, slapstick comedy, and stock characters that can still be seen in modern entertainment.
The speaker describes a conversation with a traveler who saw the remnants of an ancient statue in the desert. The statue depicted the Egyptian king Ramses II, known as Ozymandias. Though once vast and powerful, all that remained was a crumbling torso and legs, with the stern face half buried in sand. The traveler reads the inscription claiming the king's greatness, but there is nothing around but endless desert, illustrating the inevitable decline of even the mightiest of leaders and their empires over time.
The poet sees themselves as a voice for humanity, telling forgotten stories to restore lost nobility and equality. They view themselves as a lowly figure who sits upon the earth, using their poetry to shift society back on course and restore their destiny of speaking for all people and confirming that the human race will not break down.
The poem describes a traveler telling the narrator about ruined statue found in the desert. The statue consists of two large stone legs and a shattered head, with a still visible frown and sneer. An inscription on the pedestal introduces the statue as King Ozymandias, saying "Look on my works, ye Mighty, and despair." However, nothing remains of the king's works besides the decaying statue, as the lone and level sands stretch far away. The poem serves as a commentary on the impermanence of power and the inevitability that all earthly works will fade over time.
This poem describes a traveler telling the narrator about ruins found in the desert - two large stone legs and a broken face half buried in the sand. Writing on a pedestal says "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" But nothing of the king's works remain except these ruins, showing how even the mightiest of kings and their works will fade over time.
This document provides context and analysis for the poem "Ozymandias" by Percy Bysshe Shelley. It examines the key poetic devices and literary techniques used, including rhyme, meter, enjambment, and caesura. It also analyzes the character and voice within the poem, noting how the unnamed traveler relates the story of encountering the shattered statue of Ramesses II, known as Ozymandias, in the desert. The document concludes that the poem serves as a symbolic representation of the arrogance of man and the transient nature of power and glory.
Ozymandias is a sonnet by Percy Bysshe Shelley about the ruins of a statue in the desert. It tells the story of a traveler who comes upon two enormous legs of stone and a shattered face half buried in the sand. The face still bears a sneering expression of "cold command" that tells of the ruler's power, though now only "lifeless things" remain. The only thing left whole is the inscription on the statue's pedestal, which reads "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" The sonnet reflects on how even the mightiest of rulers and their works will fade over time.
The document provides a summary of the short story "The Emperor's New Clothes" by Hans Christian Andersen. It describes how two con men arrive in town claiming they can weave clothes invisible to those unfit for their positions. They fool the emperor into paying them to make him fine clothes, though they actually weave nothing. When the emperor parades with his "new clothes," no one admits they can't see them for fear of being seen as stupid, until a child speaks the truth that the emperor has nothing on.
The document discusses how new technologies can be used to engage students with Shakespeare's works through a performance-based and remix approach, allowing students to create their own digital adaptations of Shakespeare's plays using tools like text, audio, video and more. It outlines trends in DIY media, participatory culture and remix that support this hands-on approach to learning about Shakespeare in the 21st century.
The poem describes a traveler's encounter with the remnants of a statue in the desert. The traveler tells of two large stone legs standing in the desert, near a broken face half-buried in the sand. An inscription on the pedestal identifies the statue as King Ozymandias, but all that remains is a shattered bust surrounded by endless, barren sands - a metaphor for the inevitable decline of even the mightiest of empires.
Rameses II was an Egyptian pharaoh known as Ozymandias who lived from 1279-1213 BCE. A traveler described seeing the remains of a large statue of Ozymandias in the desert, with only two legs and a shattered face remaining. The inscription on the pedestal read "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!", mocking Ozymandias' boastful words, as nothing else remained of his once-great statue and empire but sand and ruins.
Copy link here https://greatfull.readbooks.link/book=022645018X
“I sing of arms and the man . . . ” So begins the Aeneid greatest of Western epic poems. Virgils story of the journey of Aeneas has been a part of our cultural heritage for so many centuries that its all too easy to lose sight of the poem itselfof its brilliantly cinematic depiction of the sack of Troy; the monstrous hunger of the harpies; the intensity of Didos love for the hero and the blackness of her despair; and the violence that Aeneas and his men must endure before they can settle in Italy and build the civilization whose roots we still claim as our own. This new translation brings Virgils masterpiece newly to life for Englishlanguage readers. Its the first in centuries crafted by a translator who is first and foremost a poet and it is a glorious thing. David Ferry has long been known as perhaps our greatest contemporary translator of Latin poetry his translations of Virgils Eclogues and Georgics having established themselves as muchadmired standards. He brings to the Aeneid the same genius rendering Virgils formal metrical lines into an English that is familiar and alive. Yet in doing so he surrenders none of the feel of the ancient world that resonates throughout the poem and gives it the power that has drawn readers to it for centuries. In Ferrys hands the Aeneid becomes once more a lively dramatic poem of daring and adventure of love and loss of devotion and death. Never before have Virgils twin gifts of poetic language and urgent compelling storytelling been presented so powerfully for Englishlanguage readers. Ferrys Aeneid will be a landmark a gift to longtime lovers of Virgil and the perfect entry point for new readers. “Aurora rose spreading her pitying light And with it bringing back to sight the labors Of sad mortality what men have done And what has been done to them; and what they must do To mourn.” The ships are ready to sail. The journey from the fall of Troy to the birth of Rome is about to begin. Join us.
This document is an excerpt from the novel The Satanic Verses by Salman Rushdie. It summarizes:
1) Two men, Gibreel Farishta and Saladin Chamcha, fall from an exploded plane at 29,000 feet towards the English Channel without parachutes.
2) During their fall, strange transformations begin to occur and they find themselves able to hear and see impossible things.
3) They pass through the clouds and emerge, where Chamcha screams at Gibreel to fly and sing. Gibreel begins flapping his arms and singing in a language he does not know.
The poem "Ozymandias" is about a traveler who tells the poet about the ruins of a statue in the desert of an ancient Egyptian king named Ozymandias. The traveler saw two enormous stone legs without a body and a shattered face half-buried in the sand, which still expressed a look of cold command. Inscribed on the pedestal were the words "My name is Ozymandias, king of kings: Look upon my works, ye Mighty, and despair!" Nothing remains of the king's mighty works - only the lonely desert sands stretch as far as the eye can see. The poem suggests that no matter how powerful a king may seem, time destroys all.
Ladies Portraits from a non-ladies man: Women in the Poetry of C.P. Cavafy Martha Vassiliadi
The title of this essay seems as a fake dilemma or almost sacrilege, since it is well known how Cavafy did not love the "weak" sex, how he rejected the post romantic voluptuousness of his time and how he wasn’t inspired by passions and mythical separations. But how and from what poetic passage Cavafy slips, even "imperceptibly" in the ontological cosmology of Women ? How and by what virtue women gain a place in Cavafy’s ritual of historical construction, how do they fit in this highly erotic gay scenery?
Why do some words translated English behave differently compared to their usage by native English authors. I take a word invented by Milton in Paradise Lost, and see what happens.
The document provides a history of theatre from the Middle Ages to the English Renaissance. It discusses the origins of mystery and morality plays in medieval Europe. During the Renaissance, Italian theatre evolved styles like commedia dell'arte, with stock characters. English theatre in the Elizabethan era saw the building of permanent theatres and Shakespeare's rise, known for his plays performed by his acting company at the Globe theatre in varying styles unlike the neoclassical ideals of Italian Renaissance theatre.
The document discusses Italo Calvino's story about a herdsman and Marco Polo getting lost in the city of Cecilia. The herdsman prefers the natural spaces between cities to the buildings and streets of cities. Marco Polo gets lost in Cecilia as the places have mingled, and Cecilia is everywhere, removing any sense of orientation. The narrative explores how perceptions of space differ and how Cecilia seduces travelers into getting lost within its identical streets.
In this talk at the Museum of London for the "Night Museum" series in October 2016, Dr Caroline Edwards (Birkbeck, University of London) considers the post-apocalyptic London imaginary, from H G Wells, Virginia Woolf and Doris Lessing, to the disturbing urban fantasies of contemporary writers such as China Miéville and Alan Moore.
The document provides historical background on the development of Italian theatre, including Commedia dell'Arte, between the 15th-18th centuries. It discusses how ancient Roman and Greek traditions influenced the revival of theatre in Italy during the Renaissance. Commedia dell'Arte emerged as improvised comedy performances featuring stock characters in masks. Notable characters included Arlecchino, Pantalone, and Columbina. Playwrights like Carlo Goldoni and Carlo Gozzi further advanced the form by developing more structured plays.
The first set of ‘World Poems on the Underground’ in 2012 features poets born in India, Turkey, Germany, Pakistan, Guyana and Nigeria - although their lives took them to places far removed from their countries of origin. The poems:
• ‘Finding India in Unexpected Places’ by Sujata Bhatt from Pure Lizard (Carcanet 2008)
• ‘I Sing of Change’ by Niyi Osundare from Selected Poems (1992)
• ‘Baku at Night’ by Nazim Hikmet from Poems of Nazim Hikmet, translated from the Turkish by Randy Blasing & Mutlu Konuk (Persea Books 2002)
• ‘Toussaint L’Ouverture Acknowledges Wordsworth’s Sonnet To Toussaint L’Ouverture’ by John Agard from Alternative Anthems: Selected Poems (Bloodaxe 2009)
• ‘Carving’ by Imtiaz Dharker from The terrorist at my table ( Bloodaxe 2006)
• ‘Boy with Orange (out of Kosovo)’ by Lotte Kramer from New & Collected Poems (Rockingham Press 2011).
Poems on the Underground is supported by TfL, Arts Council England and the British Council and London 2012 Festival. Poems are selected by writer Judith Chernaik and poets Cicely Herbert and Gerard Benson (poet laureate of Bradford).
Ovid is pleading with his lover to lie to him and deny any wrongdoing, even if he catches her in the act. He says he will turn a blind eye to her indiscretions and be content with her simple denial, as he wants to remain ignorant and keep up the appearance of a faithful relationship. Ovid is resigned to being deceived by his lover in order to preserve his own happiness and spare himself pain.
This document provides a biography and overview of the work of Ralph Koltai, a renowned stage designer, scenographer, and sculptor. It describes his background and education, highlights some of his most notable stage design projects from 1967 to 2006 for theaters including the Old Vic, Royal Shakespeare Company, and Barbican Theatre. It also includes images of his set designs, models, and sculptures. The document concludes with a bibliography of additional resources about Koltai and his work.
Importance of voting essay. Free Essay: Importance of Voting. 2022-10-15. essay on importance of vote. Lily Wilkinson: Importance of Voting. Why every citizen should vote?. Essay On Importance Of Vote - Importance of voting essays. The importance of voting essay Applecheek Farm. Electoral College and National Popular Vote Pros and Cons Free Essay .... Why is voting important essay - Reliable Essay Writers That Deserve .... Why is it important to vote? - GCSE Politics - Marked by Teachers.com. Importance of Voting Essay Essay on Importance of Voting for Students .... Why My Vote matters-Essay format with example included-Bright Writers. Presidential Election an Voting Free Essay Sample on Samploon.com. Essay On E-Voting Importance Of E-Voting Essay On Electronic Voting .... Essay On Importance Of Vote Essay on voting rights. Right to vote essay. Importance of Voting Essay. 2022-10-20. Essay On Importance Of Vote : Every Single Vote Is Significant:. Essay On Importance Of Vote - The Importance of Voting Essay. Essay On Importance Of Vote - Cite this page. Why Voting Is Important 400 Words - PHDessay.com. PPT - The Importance of Voting PowerPoint Presentation, free download .... why voting is important essay Final.pdf - Why Voting is Important Sarah .... Essay On Importance Of Vote - Related Documents. Importance of election essay. PDF Notes Short Essay on Importance .... Essay on Voting - What are some factors
02 art - art of the ancient world (revised images)BettinaW
The document provides an overview of ancient art from several early civilizations. It discusses what constitutes ancient art and provides examples from Ancient Greece and Rome, Egypt, Mesopotamia, India, Japan, and China. For each region or culture, it highlights key time periods, artistic styles, and surviving examples of ancient artworks. Interactive elements engage the reader in identifying the cultural origins of different artworks.
This document discusses different types of figuration and representation in art, including realism, abstraction, and non-objective art. It provides examples of works that use various techniques like camouflage, anamorphic projection, and optical illusions to manipulate perception. Specifically, it examines Constantin Brancusi's abstracted bird sculpture, Robert Lazzarini's distorted payphone sculpture, and Isamu Noguchi's levitating water fountains that use tricks and hidden supports to create illusions.
This document provides context and analysis for the poem "Ozymandias" by Percy Bysshe Shelley. It examines the key poetic devices and literary techniques used, including rhyme, meter, enjambment, and caesura. It also analyzes the character and voice within the poem, noting how the unnamed traveler relates the story of encountering the shattered statue of Ramesses II, known as Ozymandias, in the desert. The document concludes that the poem serves as a symbolic representation of the arrogance of man and the transient nature of power and glory.
Ozymandias is a sonnet by Percy Bysshe Shelley about the ruins of a statue in the desert. It tells the story of a traveler who comes upon two enormous legs of stone and a shattered face half buried in the sand. The face still bears a sneering expression of "cold command" that tells of the ruler's power, though now only "lifeless things" remain. The only thing left whole is the inscription on the statue's pedestal, which reads "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" The sonnet reflects on how even the mightiest of rulers and their works will fade over time.
The document provides a summary of the short story "The Emperor's New Clothes" by Hans Christian Andersen. It describes how two con men arrive in town claiming they can weave clothes invisible to those unfit for their positions. They fool the emperor into paying them to make him fine clothes, though they actually weave nothing. When the emperor parades with his "new clothes," no one admits they can't see them for fear of being seen as stupid, until a child speaks the truth that the emperor has nothing on.
The document discusses how new technologies can be used to engage students with Shakespeare's works through a performance-based and remix approach, allowing students to create their own digital adaptations of Shakespeare's plays using tools like text, audio, video and more. It outlines trends in DIY media, participatory culture and remix that support this hands-on approach to learning about Shakespeare in the 21st century.
The poem describes a traveler's encounter with the remnants of a statue in the desert. The traveler tells of two large stone legs standing in the desert, near a broken face half-buried in the sand. An inscription on the pedestal identifies the statue as King Ozymandias, but all that remains is a shattered bust surrounded by endless, barren sands - a metaphor for the inevitable decline of even the mightiest of empires.
Rameses II was an Egyptian pharaoh known as Ozymandias who lived from 1279-1213 BCE. A traveler described seeing the remains of a large statue of Ozymandias in the desert, with only two legs and a shattered face remaining. The inscription on the pedestal read "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!", mocking Ozymandias' boastful words, as nothing else remained of his once-great statue and empire but sand and ruins.
Copy link here https://greatfull.readbooks.link/book=022645018X
“I sing of arms and the man . . . ” So begins the Aeneid greatest of Western epic poems. Virgils story of the journey of Aeneas has been a part of our cultural heritage for so many centuries that its all too easy to lose sight of the poem itselfof its brilliantly cinematic depiction of the sack of Troy; the monstrous hunger of the harpies; the intensity of Didos love for the hero and the blackness of her despair; and the violence that Aeneas and his men must endure before they can settle in Italy and build the civilization whose roots we still claim as our own. This new translation brings Virgils masterpiece newly to life for Englishlanguage readers. Its the first in centuries crafted by a translator who is first and foremost a poet and it is a glorious thing. David Ferry has long been known as perhaps our greatest contemporary translator of Latin poetry his translations of Virgils Eclogues and Georgics having established themselves as muchadmired standards. He brings to the Aeneid the same genius rendering Virgils formal metrical lines into an English that is familiar and alive. Yet in doing so he surrenders none of the feel of the ancient world that resonates throughout the poem and gives it the power that has drawn readers to it for centuries. In Ferrys hands the Aeneid becomes once more a lively dramatic poem of daring and adventure of love and loss of devotion and death. Never before have Virgils twin gifts of poetic language and urgent compelling storytelling been presented so powerfully for Englishlanguage readers. Ferrys Aeneid will be a landmark a gift to longtime lovers of Virgil and the perfect entry point for new readers. “Aurora rose spreading her pitying light And with it bringing back to sight the labors Of sad mortality what men have done And what has been done to them; and what they must do To mourn.” The ships are ready to sail. The journey from the fall of Troy to the birth of Rome is about to begin. Join us.
This document is an excerpt from the novel The Satanic Verses by Salman Rushdie. It summarizes:
1) Two men, Gibreel Farishta and Saladin Chamcha, fall from an exploded plane at 29,000 feet towards the English Channel without parachutes.
2) During their fall, strange transformations begin to occur and they find themselves able to hear and see impossible things.
3) They pass through the clouds and emerge, where Chamcha screams at Gibreel to fly and sing. Gibreel begins flapping his arms and singing in a language he does not know.
The poem "Ozymandias" is about a traveler who tells the poet about the ruins of a statue in the desert of an ancient Egyptian king named Ozymandias. The traveler saw two enormous stone legs without a body and a shattered face half-buried in the sand, which still expressed a look of cold command. Inscribed on the pedestal were the words "My name is Ozymandias, king of kings: Look upon my works, ye Mighty, and despair!" Nothing remains of the king's mighty works - only the lonely desert sands stretch as far as the eye can see. The poem suggests that no matter how powerful a king may seem, time destroys all.
Ladies Portraits from a non-ladies man: Women in the Poetry of C.P. Cavafy Martha Vassiliadi
The title of this essay seems as a fake dilemma or almost sacrilege, since it is well known how Cavafy did not love the "weak" sex, how he rejected the post romantic voluptuousness of his time and how he wasn’t inspired by passions and mythical separations. But how and from what poetic passage Cavafy slips, even "imperceptibly" in the ontological cosmology of Women ? How and by what virtue women gain a place in Cavafy’s ritual of historical construction, how do they fit in this highly erotic gay scenery?
Why do some words translated English behave differently compared to their usage by native English authors. I take a word invented by Milton in Paradise Lost, and see what happens.
The document provides a history of theatre from the Middle Ages to the English Renaissance. It discusses the origins of mystery and morality plays in medieval Europe. During the Renaissance, Italian theatre evolved styles like commedia dell'arte, with stock characters. English theatre in the Elizabethan era saw the building of permanent theatres and Shakespeare's rise, known for his plays performed by his acting company at the Globe theatre in varying styles unlike the neoclassical ideals of Italian Renaissance theatre.
The document discusses Italo Calvino's story about a herdsman and Marco Polo getting lost in the city of Cecilia. The herdsman prefers the natural spaces between cities to the buildings and streets of cities. Marco Polo gets lost in Cecilia as the places have mingled, and Cecilia is everywhere, removing any sense of orientation. The narrative explores how perceptions of space differ and how Cecilia seduces travelers into getting lost within its identical streets.
In this talk at the Museum of London for the "Night Museum" series in October 2016, Dr Caroline Edwards (Birkbeck, University of London) considers the post-apocalyptic London imaginary, from H G Wells, Virginia Woolf and Doris Lessing, to the disturbing urban fantasies of contemporary writers such as China Miéville and Alan Moore.
The document provides historical background on the development of Italian theatre, including Commedia dell'Arte, between the 15th-18th centuries. It discusses how ancient Roman and Greek traditions influenced the revival of theatre in Italy during the Renaissance. Commedia dell'Arte emerged as improvised comedy performances featuring stock characters in masks. Notable characters included Arlecchino, Pantalone, and Columbina. Playwrights like Carlo Goldoni and Carlo Gozzi further advanced the form by developing more structured plays.
The first set of ‘World Poems on the Underground’ in 2012 features poets born in India, Turkey, Germany, Pakistan, Guyana and Nigeria - although their lives took them to places far removed from their countries of origin. The poems:
• ‘Finding India in Unexpected Places’ by Sujata Bhatt from Pure Lizard (Carcanet 2008)
• ‘I Sing of Change’ by Niyi Osundare from Selected Poems (1992)
• ‘Baku at Night’ by Nazim Hikmet from Poems of Nazim Hikmet, translated from the Turkish by Randy Blasing & Mutlu Konuk (Persea Books 2002)
• ‘Toussaint L’Ouverture Acknowledges Wordsworth’s Sonnet To Toussaint L’Ouverture’ by John Agard from Alternative Anthems: Selected Poems (Bloodaxe 2009)
• ‘Carving’ by Imtiaz Dharker from The terrorist at my table ( Bloodaxe 2006)
• ‘Boy with Orange (out of Kosovo)’ by Lotte Kramer from New & Collected Poems (Rockingham Press 2011).
Poems on the Underground is supported by TfL, Arts Council England and the British Council and London 2012 Festival. Poems are selected by writer Judith Chernaik and poets Cicely Herbert and Gerard Benson (poet laureate of Bradford).
Ovid is pleading with his lover to lie to him and deny any wrongdoing, even if he catches her in the act. He says he will turn a blind eye to her indiscretions and be content with her simple denial, as he wants to remain ignorant and keep up the appearance of a faithful relationship. Ovid is resigned to being deceived by his lover in order to preserve his own happiness and spare himself pain.
This document provides a biography and overview of the work of Ralph Koltai, a renowned stage designer, scenographer, and sculptor. It describes his background and education, highlights some of his most notable stage design projects from 1967 to 2006 for theaters including the Old Vic, Royal Shakespeare Company, and Barbican Theatre. It also includes images of his set designs, models, and sculptures. The document concludes with a bibliography of additional resources about Koltai and his work.
Importance of voting essay. Free Essay: Importance of Voting. 2022-10-15. essay on importance of vote. Lily Wilkinson: Importance of Voting. Why every citizen should vote?. Essay On Importance Of Vote - Importance of voting essays. The importance of voting essay Applecheek Farm. Electoral College and National Popular Vote Pros and Cons Free Essay .... Why is voting important essay - Reliable Essay Writers That Deserve .... Why is it important to vote? - GCSE Politics - Marked by Teachers.com. Importance of Voting Essay Essay on Importance of Voting for Students .... Why My Vote matters-Essay format with example included-Bright Writers. Presidential Election an Voting Free Essay Sample on Samploon.com. Essay On E-Voting Importance Of E-Voting Essay On Electronic Voting .... Essay On Importance Of Vote Essay on voting rights. Right to vote essay. Importance of Voting Essay. 2022-10-20. Essay On Importance Of Vote : Every Single Vote Is Significant:. Essay On Importance Of Vote - The Importance of Voting Essay. Essay On Importance Of Vote - Cite this page. Why Voting Is Important 400 Words - PHDessay.com. PPT - The Importance of Voting PowerPoint Presentation, free download .... why voting is important essay Final.pdf - Why Voting is Important Sarah .... Essay On Importance Of Vote - Related Documents. Importance of election essay. PDF Notes Short Essay on Importance .... Essay on Voting - What are some factors
02 art - art of the ancient world (revised images)BettinaW
The document provides an overview of ancient art from several early civilizations. It discusses what constitutes ancient art and provides examples from Ancient Greece and Rome, Egypt, Mesopotamia, India, Japan, and China. For each region or culture, it highlights key time periods, artistic styles, and surviving examples of ancient artworks. Interactive elements engage the reader in identifying the cultural origins of different artworks.
This document discusses different types of figuration and representation in art, including realism, abstraction, and non-objective art. It provides examples of works that use various techniques like camouflage, anamorphic projection, and optical illusions to manipulate perception. Specifically, it examines Constantin Brancusi's abstracted bird sculpture, Robert Lazzarini's distorted payphone sculpture, and Isamu Noguchi's levitating water fountains that use tricks and hidden supports to create illusions.
- The document provides context and analysis of Gustave Moreau's 1864 painting "Oedipos and the Sphinx". It describes the painting's dimensions, subject matter showing Oedipus confronting the Sphinx, use of color, and symbolism.
- It then compares and contrasts the Greek heroes Theseus and Oedipus, noting they both had subjects who loved and honored them but also faced tragic downfalls due to flaws like pride.
- Finally, it provides examples of dramatic irony in Sophocles' play Oedipus the King, where the audience knows facts that Oedipus does not yet realize, like that he unknowingly killed his father and married his mother.
The document summarizes the narrative artwork "Places of Rebirth" by Thai artist Navin Rawanchaikul. The large-scale acrylic painting tells the story of the artist's family migration from Pakistan to Thailand in pursuit of opportunity. It blends images of the artist's family history with those of people he met in Pakistan, combining personal and national narratives. The work underscores how notions of nation are defined by historical accounts while layering those accounts with the personal and imaginary.
Appolo discovers a manuscript in Khufu's pyramid dating back to 0.02 BC. The manuscript reflects the universe in a unique way. Appolo and his companion enter a transcendental state while inside the pyramid, experiencing a rupture in time and space. They are transported to different eras and locations. The manuscript has the power to convert itself into many manuscripts, searching for the original that contains the history of human civilization.
The Virginia Museum of Fine Arts will host an exhibit of over 100 iconic film costumes from the past 100 years. Some highlights featured will include costumes from Marilyn Monroe in Some Like It Hot, Christopher Reeve in Superman, Robert De Niro in Taxi Driver, and Kate Winslet in Titanic. The exhibit aims to showcase the evolution of film through costumes and explore their influence on fashion and culture. It will also provide context for costume designs through quotes and insights from designers, actors, and directors.
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2. 1 Main Film
Quantity: 1
2 MUSIC & SFX
16:9
1920 x
1080
MUSIC & SFX
16:9
1920 x
1080
VO:
Arabic - English
Social Cut-downs
Quantity: 4
Duration
:
8 -15 sec
Duration
:
45 sec
Deliverables
1:1
1080 x
1080
SUPERs:
Arabic & English
9:16
1080 x
1920
NO
SUPERS
NO VO
3. VIP
Exhibition
Invitation
Film
Background
Louvre Abu Dhabi is organizing a temporary exhibition for Q4 2021 – Q1 2022, Dragon
& Phoenix which showcases through 250 carefully selected objects the cultural and
commercial connection between China (the Dragon) and the Islamic Civilisation (the Phoenix)
from the 8th Century AD – 18th Century AD. Yes, 1100 years of cultural and commercial
ties captured in 250 artifacts!
Mass
Audience
History Background
The history of the ancient silk-trade route manifests in the cultural objects left behind. When the two civilisations
connected through trade, they influenced the cultural products of each other (ex. the exhibited artifacts). This
happened many centuries ago but continues to happen to today as we are witnessing the rebirth of the New Silk
Road. Traces of Islamic influence can be seen in many of the Chinese porcelain decoration which adopts intricate
floral motifs. Equally, we see some Chinese influences in the use of green jade for Syrian & Egyptian pottery and
Chinese motif carvings like the fish (associated with Good Luck in Chinese mythology). A relations that spans
thousands of years, we will continue writing stories our cultural connection.
4. VIP
Exhibition
Invitation
Film
Film
The cultural exchange between both civilizations is rich and worthy to
be told, in order to highlight its memorable story. The film will tell the
story of both cultures and how they influenced each other over
centuries, linking the story to the name of the event in a unique twist.
All of the exhibitions art history talking points will be told as a story
and will be easily understood, both in terms of script and visually.
Art Direction
As we are telling a story of art and history, the film’s art direction
will be made of the Chinese ceramic style, as it’s not only beautiful
but also represents the cultural exchange between both civilizations.
Mass
Audience
7. Voice Over:
Humanity has always
been fascinated by stories and legends.
Visual Description
Camera moving across and above endless clouds
Voice Over
Like the dragon. The most imperial creature in
Chinese mythology.
Visual Description
Dragon appears from below the clouds flying between them,
penetrating the clouds and moving down towards the earth while the
camera pans quickly to follow it.
The dragon flies over a Chinese palace, camera goes through the
palace revealing the emperor on his throne with the dragon flying
around him. Or the dragon can go on his clothes as a drawing.
6 - 8 SEC
8. Voice Over:
And the Arabian Phoenix, rising majestically from the
ashes.
Visual Description
With some yellow flames entering the scene, it makes a
transition to reveal the Phoenix with its fire colors while it dies and then
starts forming again from the ashes before it flies.
Voice Over:
Did these magical creatures ever meet?
We can’t be sure. But we do know that the story of
The Dragon and The Phoenix was written by their
people.
Visual Description
Zoom out to reveal the dragon on the other side
of the scene as it starts flying towards the phoenix.
The camera moves down penetrating the clouds
and revealing the battle scene.
6 - 8 SEC
9. Voice Over:
Their story begins with
the battle of Talas.
The lives of artisans and artists were spared to
create works of culture. Spreading paper
production towards the Islamic civilization and
to Europe.
Visual Description
Two armies running towards each other, camera zooms out
between tress, using the shape of the tree or the grass as a
transition to cut to paper production strip and framing the
papers. we see some of the artisans working on producing
paper, Piles of paper will start flying across while the camera is
following it going towards the sea where we see some Islamic
camels at a distance.
10 SEC
10. Voice Over:
The story continues to the iconic blue and
white ceramics from China. At first, they
were monochrome.
The famed blue came from carpet-weaving
in Kashan, giving birth to today's blue and
white ceramics.
Visual Description
The scene will be in black& white. We see Islamic traders with their
camels and luggage coming towards China while a phoenix flies
around. Camera zooms in towards the camels to reveal carpets.
One carpet will fall in a nearby river.. blue ink will spread into the
water. The camera follows the blue ink till it goes to a skilled man
making ceramics and the color spreads and colors the vase and
many other vases and plates that were in the same scene in a row.
12 - 15 SEC
11. Voice Over:
And cloth and tapestries from
China?
Learning from Islamic weavers,
they upgraded to new
techniques, creating softer fabric.
Visual Description:
Camera follows the phoenix from the previous
scene going towards the Chinese creating
tapestries. A phoenix feather falls towards
the fabric, creating embroidered gold lines
that shape a dragon in quick cuts.
6-8 SEC
12. Voice Over:
This is the story of
The Dragon and the Phoenix.
Visual Description
Camera zooms out to follow the Phoenix flying
towards the dragons. Film ends with a dragon and
phoenix flying around each other, zooming out to
reveal they are a design on a ceramic plate. End line
and location are revealed inside the plate as well.
5 SEC
Supers:
Two Civilisations. One Story.
Discover the Dragon & Phoenix exhibition.
Louvre Abu Dhabi.
October 2021.
14. The film will be adapted into different Social
cut-downs.
Each story or post highlights achievements
like the porcelain story, tapestries, the
battle of Talas…etc.
15. TEASER
CUTDOWN
SUPER / VO:
Through legends & myths
Did the dragon and phoenix ever meet?
We can’t be sure. But we know that the story of the dragon &
phoenix Was written by their people.
Sign off:
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
16. Camera moves across and above endless clouds. The dragon
appears from below the clouds as he flies between them. He
glides through the clouds and moves down towards the earth
while the camera pans quickly and smoothly to follow it.
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
Voice Over/ SUPER
Through legends & myths. Did the dragon and phoenix ever meet? We can’t be sure. But we know that the story of the dragon & phoenix was written by their people.
TEASER CUTDOWN STORY BOARD
The dragon flies over a Chinese palace, the camera
transitions to the palace where we reveal an emperor on his
throne with the dragon flying around him.
We then cut to see an artist behind prison bars.
With some yellow flames entering the scene, it makes a
transition to reveal the Phoenix with its fire colors while it dies
and then starts forming again from the ashes before it flies
with a roar towards the sun.
We zoom out to reveal the dragon on the other side
of the scene as it starts flying towards the phoenix.
Cut to the frame where we see the super with the Louvre Abu
Dhabi logo
17. BATTLE OF TALAS
CUTDOWN
SUPER / VO:
During the Battle of Talas,
artists were spared to create works of culture
Which is how paper production spread towards the Islamic civilisation
Sign off:
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
18. We start the scene where we see two armies
running towards each other
camera zooms out between tress, using the shape of the tree or the grass as a transition Camera zooms out from the bars to show us that
these bars were part of strips from the paper
during the paper production process
We reveal more of the paper
production process We show two pieces of paper from both
civilisations with the same key visual
execution.
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
Voice Over/ SUPER
During the Battle of Talas, artists were spared to create works of culture.
Voice Over/ SUPER
Which is how paper production spread towards the Islamic civilisation
BATTLE OF TALAS CUTDOWN STORY BOARD
19. CERAMIC
CUTDOWN
SUPER / VO:
Did you know the iconic Chinese
blue & white ceramics used to be monochromatic?
The blue color comes from Islamic carpet weavers and was imported to
Quanzhou
giving birth to the ceramics we know today.
Sign off:
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
20. The scene starts in black & white. We see Islamic
traders holding their luggage on camels. We follow
them as they approach China. The phoenix enters
and exits the frame in a flying motion.
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
Voice Over/ SUPER
Did you know the iconic Chinese blue & white ceramics used to be monochromatic?
Voice Over/ SUPER
The blue color comes from Islamic carpet weavers and was imported to Quanzhou giving birth to the ceramics we know today.
CERAMIC CUTDOWN STORY BOARD
Camera zooms in towards the camels
to reveal carpets.
One carpet will fall in a nearby river. The blue ink will spread into the water.
The camera follows the journey of the blue ink in the water untill it reaches a skilled man making ceramics where the
color spreads and slowly colors in the vase and the many other vases and plates that were in the same scene one by
one.
Cut to show two pieces of two plates from both
civilisations with same key visual execution.
21. TAPESTRY
CUTDOWN
SUPER / VO:
Did you know tapestries from China were
made of coarse gold fibers?
They connected with Islamic weavers
Using paper strands and covering them with
gold leaf to create softer textiles
Sign off:
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
22. The scene starts with the Phoenix flying over the Chinese land and goes towards the Chinese people creating
tapestries.
TWO CIVILISATIONS. ONE STORY.
Discover more at Dragon & Phoenix,
Louvre Abu Dhabi
Voice Over/ SUPER
Did you know tapestries from China were made of coarse gold fibers?
Voice Over/ SUPER
They connected with Islamic weavers using paper strands and covering them with gold leaf to
create softer textiles
TAPESTRY CUTDOWN STORY BOARD
We zoom out to see the dragon tapestry ready
between all the Chinese people.
The phoenix’s feathers on to the fabric, creating embroidered gold lines that shape
a dragon in quick cuts.
We cut to see a visual with two tapestries from
both civilisations.
24. Since the film is a historical film and for the Louvre
exhibition, the outfit details, buildings, places, and
characters need to be accurate and approved from
cultural sides. So in the next slide, some references
for those details.
40. Dragon and Phoenix.
We defiantly need to create and
stylized those 2 creature but also let’s
try to be close to this reference as it
been used across all the exhibition
material.