A Comparison Of Displays At The National Gallery And Tate Modern The WritePass Journal

A Comparison Of Displays At The National Gallery And Tate Modern Introduction: A Comparison Of Displays At The National Gallery And Tate Modern ).   It is this matter of communicative vision versus skilled labor that is the crucial difference in the curating of the 18th to early 20th century display at the National Gallery and the Transformed Visions display at Tate Modern. Vision is here defined as the concept or thinking around the message communicated by the art while the definition of labor is a combination of meticulous work and technique. Both displays show a variety of work painted, sculpted and conceived by artists moving away from the realistic painting school – and by realistic I mean painted to approximate our physical, observable world or to be â€Å"physically truthful† if you will – and moving towards an art of emotional truth. As both displays contain mainly relatively new art and artwork that is conceptual – albeit to a very varying degree – the essay will instead focus on the curating of the displays and the interpretation of what is important about a specific artwork and by extension about art itself. According to Cecilia Anderson (2007, p,72) ‘the curatorial challenge is to situate what at first may†¨seem like vastly different ideas and create coherence.’ The focus of the argument is therefore on how order and information provided creates this coherence. Despite the fundamentally similar impetus for the creation of the artworks displayed, the two galleries diverge in their displays’ interpretation of the importance of vision and labor on the following three points: The focus created by title of and initial information about the display The type of information provided in the wall-text The layout – i.e. the division and content of separate rooms – in the display A Comparison of   Displays The first contrast between the two galleries is the difference in the initial contact between the observer and the display. While Tate Modern has given its display the title Transformed Visions, the National Gallery simply display their collection under the heading 1700 to 1900 or 18th to early 20th century. ‘Transformed Visions’ clearly indicates an emphasis on the driving forces behind the artworks themselves, and it is quickly derived that the art displayed within will be of a conceptual nature to a large extent.   This impression is further confirmed by the information given about the purpose of the display; ‘After the Second World War, artists forged a new kind of expressive abstraction. This wing looks at the ongoing presence of the human figure within such works, as well as wider responses to violence and war, and the tendency towards contemplative immersion exemplified by Mark Rothko’s Seagram  Murals.’ (Tate Modern, 2012) The expression ‘ongoing presence of the human figure’ suggests a transformative quality to this figure, making the human conceptual rather than an absolute physical form.   In some cases, like in Giacometti’s ‘Man Pointing’ (see bibliography for illustrations of this and all further mentioned artwork) or Francis Bacon’s ‘Seated Figure’, the human form is abstracted and twisted in some way, yet still clearly approximating a human form – much in the same way as less realistic paintings like Degas’ ‘Combing the Hair’ or Daumier’s ‘Don Quixote and Sancho Panza’ exhibited towards the end of the National Gallery display. In other works like ‘Head I’ by Philip Guston the human figure is highly abstracted – being merely a silhouette of a possible head, much in the same way a ball could be mistaken for one in thick fog – and yet others abandon the physical figure altogether.   Jackson Pollock’s ‘Yellow Islands’ is not a portrait of flesh, but of the psyche.   As the wall-text explains: ‘By dripping and pouring paint, [Pollock] was able to work in a free and intuitive way, his thoughts and feelings finding direct expression in the rhythmic patterns he created.’ Thus in a way, Pollock’s painting is a self-portrait of his own mind, a new kind of human figure. In contrast to this focus on the mind behind the matter, the National Gallery’s naming of and information about their display places its works of art in a temporal and historical framework rather than an artistic thought.   Most obvious is of course the name of the display; the visitor is instantly made aware of when the art he/she will see was created, yet not what it is about, unlike the Tate display which suggests a post-war period, yet does not limit itself to that only. Furthermore, the information provided about the display, as a whole, positions it historically: ‘it became more common for artists to paint smaller works that were exhibited and sold through art dealers and public exhibitions. In the 19th century, art movements [†¦] emerged, as did the idea of the independent artist who rebelled against the official art establishment.’ (National Gallery, 2012) Thus the display information draws focus to a history of art within the confines of merchants, movements and commissions rather than ideas, ideals and thoughts within the movements mentioned. Similarly, the second point of difference – the information provided in the wall-text – is also a matter of focus.   As the National Gallery display covers quite a lot of time the information they provide about the works centers on biographical, historical and technical facts. Tate Modern, on the other hand, provides wall-text with some technical points, but brimming with information about the conception of the work, the ideas acted upon and the message the artist wanted to convey. Take for example the wall-text provided for Degas’ ‘After the Bath, Woman Drying Herself’ at the National Gallery: This densely worked pastel is executed on several pieces of paper mounted on cardboard. [†¦] This work is one of a series of similar subjects dating from this period, when bathers and dancers were the artists principal themes. Here Degas has exploited the flexibility of the pastel medium, creating sumptuous textures and blurred contours which emphasise the movement of the figure.’ (National Gallery, 2012) Then compare it to the information provided by Tate Modern about ‘Seated Figure’ by Francis Bacon: ‘Bacon’s portraits are explorations of the human condition as much as they are character studies [†¦] They also represent a complex exploration of pictorial space: the figure is simultaneously posed among some elegant items of furniture and confined within a box-like frame. This device, which was one of Bacon’s trademarks, underlines the sense of isolation as well as generating a claustrophobic psychological intensity.’ (Tate Modern, 2012) While the text in the National Gallery display talks of the ‘pieces of paper mounted on cardboard’, the ‘flexibility of the pastel medium’ and Degas’ use of bathers and dancers as themes, the text from Tate Modern comments on the artist’s general work as ‘character studies’, the box underlining a ‘sense of isolation as well as generating a claustrophobic psychological intensity.’   The first is about artistic fact, the second about interpretation of emotional artistic intent. Though these are merely two examples, the displays as a whole follow these lines in their wall-texts throughout. This prioritizing of information around the art further underlines the difference in approach taken by the two galleries; the National Gallery’s display – spanning over two centuries – focuses on the evolution of techniques and surrounding circumstances while Tate Modern’s display, with its snippet of a time frame, investigates the ideas of that time more closely.   Both provide relevant information to their aim. Finally, there is the matter of the division and content within the displays themselves.   The National Gallery’s display is divided into 13 rooms, each with an art historic theme like ‘France 1700-1800’ (room 33), ‘Canaletto and Guardi’ (room 38), ‘Degas and Art Around 1900’ (room 46) or ‘The Academy’ (room 41).   Thus the National Gallery enforces the perception of art in a fixed, historical timeline through which the visitor can trace the evolution of themes, techniques, establishments or artistic development within a nation.   This layout of the display makes the National Gallery an institution for the study of art history, but perhaps it is less suitable than the Tate Modern for the study of message-loaded art. The layout of Transformed Visions is all about the artistic impetus behind the work.   The rooms are equipped not according to time period or artists, but according to the ideas the artists have in common.   It is a different take on how to show the evolution of art.   The display begins with alternative conceptions of what it means to display the human figure as the human itself.   Germaine Richier’s ‘Shepherd of the Landes’ depicts a French shepherd who has become one with his stilts ‘achieving an insect-like adaptability’ (Tate Modern, 2012) and the caption on the wall comments on this as ‘striking a chord with the bleak image of humanity prevalent in Europe after the Second World War’ (Tate Modern, 2012). Moving from this concept of alternative images of the human figure itself, the display moves through ‘This Exquisite Forest’ – a web-based art project encouraging public contribution i.e. an abstracted virtual imprint of human life and connection, and finally leaves the visitor with the idea that the human figure does not have to be a figure at all.   Mark Ruwedel and Ursula Schulz-Dornburg’s photographies towards the end of the display present the idea that things like bomb craters and train stations   are ultimately imprints of humans because they are human-made, and in the very last room of the display finding nothing but Iranian flags stained by pollution cements the idea of extensions of humanity as humanity itself. While the National Gallery’s display moves chronologically through the time of art, Transformed Visions includes works from outside the era of its theme (post-war, see Room 5 of the display for example) in order to showcase the influences on the artist.   In this way both the National Gallery and Tate Modern trace the historical placement of the art in the display – the National Gallery through linear history, allowing the art to show for itself who has been influenced by what, and the Tate Modern creates an alternative history traced through impact and idea. It can in fact be said that both the 18th to early 20th century display and Transformed Visions concern themselves with history as the primary and optimal way of displaying art.   The difference is in how the displays consider history to move.   While Tate Modern takes a conceptual approach to art history – the concept being that a linear history can be traced through ideas rather than events and physical happening – the National Gallery’s display centers on a traditional, physical history. However, the question is not, after all, a question about mind or matter.   Rather, it is a question about the mind in the matter.   One display sends a message from Whistler – indeed the National Gallery’s choice in display layout and information conveys an inclination towards Whistler’s idea – ‘art for art’s sake’ (Ten O’clock Lecture, 1885) – whilst the other is all about art as a mouth piece for political, philosophical and aesthetic issues. The 18th to early 20th century display at the National Gallery is designed to give minimal interpretation of the artworks.   Instead the display is designed for the observation of the development of artistic ideas – artistic here meaning ideas about the making of the art and the art itself – to appreciate the craftsmanship that went into making it and to enjoy the impression left by well-made art. Transformed Visions is to the contrary all about art engaging in a political conversation with its surroundings.   The focus is not necessarily on the craftsmanship that goes into making the piece but rather on what the piece means.   While Hirschhorn’s ‘Candelabra with Heads’ may not require a lot of artistic craftsmanship – it is after all just mannequin heads gaffa-taped onto obscure lumps and a pole – it certainly requires artistic vision. Therefore, as stated in the introduction, the main contrast between the two displays is the matter of artistic labor and technique versus artistic vision and message. Both displays show a variety of work conceived by artists moving away from the realistic painting school – though of course the National Gallery’s display due to time span does begin in a more classicist strand of art – and moving towards a more emotionally and intellectually expressive form of art. Conclusion According to Joseph Ishikawa (1961, p. 238) ‘it is of prime importance for the museum man to know what he is peddling, to what he is converting people, why he is parting people from their money to support a particular program.’ In other words; in order to create a good display a curator must understand not only what the individual painting is saying but the display as a whole, and therefore deciding what information to provide visitors with varying knowledge with, becomes a crucial element of the display itself and therefore the focus of this essay. Despite the fundamentally similar impetus for the creation of the artworks exhibited, the two displays diverge in their choice of focus on aspects of the art. The National Gallery’s 18th to early 20th century display, is chronological and historical with a focus of information about the style of the artwork, the biographical details around the subjects and the artist and detailed information about the artistic movements and developments in techniques and thinking around art that all went into creating the work discussed. The Tate Modern Transformed Visions display presents a different chronology – a chronology of thought.   The focus of the display is post-war thinking on humanity but where the idea fits, the time of creation of a work of art is insignificant and works like Joseph Mallord William Turner’s ‘Yacht Approaching the Coast’ – painted over a century before most of the works in the rest of the display – are still featured because of their influence, importance or other relation to the more contemporary artworks in question. The display in the National Gallery, taking up a full wing of an established institution, placed in a historical building with grand arches and great historical standing effectively canonizes the artworks on display the art itself is the message. The Tate Modern display in the barren rooms of a modern building with   modern ideas is a look into the recent past that casts a reflection into the future – an idea that the political or philosophical message of the art might override the appreciation of aesthetically pleasing forms. Ultimately, both displays concern themselves with the past of art and how it reflects on the present world of art and the direction it might be heading in the future. Art is not, after all, mind over matter, a choice of idea or aesthetic, but rather a combination of all four into different modes of expressions emphasising different concepts at different times and in different ways. REFERENCE LIST Reading: Anderson, C., 2007. Madrid Abierto: Curatorship, Public Art and the City, Building Materials [e-journal] 17, Available through: JSTOR [url: jstor.org/stable/29792339 ] [Accessed 21 November 2012) Brainy Quote, 2012, James Whistler Quotes [online] Available at: brainyquote.com/quotes/quotes/j/jameswhist382345.html [Accessed on 17 November 2012] Ishikawa, J., 1961, Curatorship Training and Museology, Art Journal [e-journal] 20 (4) Available through: JSTOR [url: jstor.org/stable/774392] [Accessed 21 November 2012] James McNeill Whistler, 1885, Ten O’clock Lecture, Public lecture, Princes Hall [online] Available at: whistler.arts.gla.ac.uk/miscellany/tenoclock/ [Accessed on 18 November 2012] National Gallery, 2012, 18th to early 20th century: Collection Overview [online] nationalgallery.org.uk/paintings/collection-overview/collection-overview/*/viewPage/5 [Accessed on 16 November 2012] Tate Modern, 2012, Tate Collection Displays: Transformed Visions [online] Available at: tate.org.uk/whats-on/tate-modern/display/transformed-visions [Accessed on 16 November 2012] Tate Modern, 2012, Museum Map [online] Available at: tate.org.uk/download/file/fid/20671 [Accessed on 18 November 2012] Think Exist, 2012, James Whistler Quotes [online] Available at: http://thinkexist.com/quotation/an-artist-is-not-paid-for-his-labor-but-for-his/1273394.html [Accessed on 17 November 2012] Works without available illustration: Hirschhorn, T., 2006, Candelabra with Heads (London: Tate Modern Collection Displays) Ruwedel, M., 1999, printed 2008, Crater #1 (London: Tate Modern Collection Displays) Schulz-Dornburg, U., 2003, From Medina to Jordan Border, Saudi Arabia (London: Tate Modern Collection Displays)

Brand audit of cadbury dairy milk

The journey of Cadbury started way back in the year 1905 from Bourneville, UK. But it came to Indian market in 1948. From the time it was introduced in India, Dairy Milk has been the market leader in the confectionery segment. It has average daily sales of 1 Million bars. The reason that our group chose Cadbury Dairy Milk for the Brand Audit is that it provides us with ample scope to study the various aspects of Branding like Communication Strategies, Innovative Ad Campaigns, and Emotional Connect with Consumers, Brand Repositioning, and Rebranding etc†¦ We will study the evolution of Cadbury Dairy Milk by focusing on following Aspects: In 1824, John Cadbury opened a shop in Birmingham. This one-man business, trading mainly in Tea Coffee was to be the foundation of Cadbury Limited. For over 100 years Cadbury was a family business. In 1943 non family directors were appointed. In 1847, the enterprise had prospered to a large factory in Bridge Street, Birmingham. John Cadbury took his brother Benjamin into partnership and the family business became Cadbury Brothers Birmingham. The business moved to Bourneville after outgrowing the Bridge Street Factory. The Workforce had risen up to 200 after 32 years at Bridge Street. After the death of two brothers in 1899, the company was privatized. It entered the era of scientific management; it introduced new ideas for their department like: On 2nd February, Kraft Foods took over 71% shares of Cadbury. They acquired it totally. But still Cadbury was on top in the market. This acquisition did not changed people’s mind and their craze for Cadbury Dairy Milk. OPERATIONS Cadbury’s operations are carried out in many countries. Few of them are: BRAND ELEMENTS Dairy Milk has been meticulously built around the world by Cadbury. It has been able to sustain a strong position in the market. There are many branding elements which have resulted into consistent result of its success. Few core Branding Elements are as given below: Not only the above three, But there are many more elements due to which the consistent Branding of Dairy Milk is so very popular. Its different Advertisements, its punch lines etc†¦ It has always kept a strong association with Milk, with slogans such as â€Å"a glass and half of full cream milk in every half pound. And also advertisement which featured a glass of milk pouring out and forming the Dairy Milk bar. Also the ad campaigns are also the important element of Dairy Milk. It made chocolate an eating habit among the consumers, especially the adults. Long back it was a belief that chocolate is only for kids. But Dairy Milk changed this belief. Also they changed the trend of Sweets (Mithai) during the occasions like Diwali, New Year etc†¦ Dairy Milk brought a new trend that whether any occasion, Dairy Milk is best for all. It also gave some famous dialogues from the ads which people remember always. They were also the core brand elements of Dairy Milk. Let us see them below: All these above dialogues were form the very famous and popular ad’s of Dairy Milk. By this ad they wanted to covey to the people that for eating Dairy Milk they do not have to wait for any occasion. They can just have it. Whether they are happy or Sad, But Dairy Milk can be taken in any of the mood. BRAND PORTFOLIO Worldwide In June 1905, Cadbury launched its first Dairy Milk bar, with a higher proportion of milk and it became the best selling product of the company by 1913. Fruit and Nut was introduced in 1928. In 2003, Cadbury made Dairy Milk into a family brand by taking the brands like Caramel, Whole Nut, and Wispa and marketed them as the sub-brands of Dairy Milk. By 2006, there were 15 Dairy Milk sub-brands produced in UK including Shortcake Biscuit, Wafer, Orange Chips, Mint Chips, Crispies and Cream Egg. In following two years these brands were discontinued as they were not successful. Indian Market The Dairy Milk Brand alone accounts for approximately 33% of total Cadbury’s sales. It has made Cadbury the number one confectionery brand in the market. Currently in India, Dairy Milk has following sub-brands under its name. They are; BRAND POSITIONING The Brand Positioning of Cadbury Dairy Milk in mid 90’s was that chocolate is not only for kids but also for adults. And to prove this they immediately released the very popular† Real Taste of Life† campaign , shifting the focus from â€Å"just for kids† to â€Å" kid in all of us†. Let us see the Brand Positioning of Dairy Milk on segmentation bases on two main bases. And they are: Demographic Dairy Milk silk is little higher in cost compared to ordinary Dairy Milk, Fruit and Nut and Crackle. But still people love to have Dairy Milk. Silk is the premium Brand of Dairy Milk Behavioral As we know that Dairy Milk is the only Brand who is the only one to promote chocolate as an important part of Festivals as well as it changed the mind sets of the people that chocolate is not only for kids but for all. The strategy to target adults was taken further with the help of a brand new positioning â€Å"Kuch Meetha Ho Jaye†. For Indians occasions and festivals have utmost importance and Dairy Milk rigorously focused on this point and set a new trend of having Dairy Milk in place of â€Å"Mithai† during the occasions. COMMUNICATION STRATEGY Up to 2002, Cadbury was the one having 70 % market shares in chocolate industry. Out of which 30% was the Dairy Milk alone. This is because of constant re-invention of the brand bombarding communication towards the consumers consistently to maintain the top position in mind recall in confectionery segment. Dairy Milk was awarded as No. 1 most trusted brand in Mumbai 2005 for the edition of Brand Equity’s most trusted Brand Survey. Dairy Milk targeted all the aspects as possible to get into the heart of all the people, of all age groups. For this they communicated with people through different Ad’s Campaigns. Let us see few of them below: Shubh Aarambh was one of successful campaigns of Dairy Milk. This means Auspicious Beginning. With this campaign they said that for whatever you start, start it with Dairy Milk and it will be successful. For this they chose the best to advertise: Amitabh Bacchhan. Tools for Communication Dairy Milk used different media options to communicate different campaigns and promote Dairy milk. They are: TV Advertisements is the most popular method for Dairy Milk to show their new campaigns to people so that they can more and more relate it with their personal lives. They also have ground promotions in different malls. They arrange some contests also to promote their brand. DISTRIBUTION STRATEGY As we know that Dairy Milk holds 30% value share of chocolate market. The demand of chocolate is increasing day by day. And Dairy Milk is no. 1 in that race. Indian market specifically where the penetration of chocolates is increasing, brings a need for efficiency in logistics and distribution. There is stiff competition in the confectionery market due to large exposure of foreign currency rate risk, mainly on account of import of cocoa beans, cocoa butter. Cadbury Dairy Milk is easily available anywhere in the market. Cadbury’s success of proper distribution is their efficiency. PRICING STRATEGY Dairy Milk is positioned towards age group of 4-50, and thus the price is accordingly kept affordable. Also it is easily accessible to all categories. Price range starts from Rs. 5 to Rs. 20 in different sizes. Cadbury Dairy Milk fruit and nut starts from Rs. 30. Dairy Milk Silk is a premium brand and thus the price of it is little higher that is Rs. 50. COMPETITOR’S ANALYSIS In Indian Market, the main players in the confectionery market are Cadbury, Nestle, Candico, ITC and Parle. Let us see the competitors of Cadbury Dairy Milk in detail below Company Founded in Brand Portfolio Kraft Foods 1903 Cadbury Dairy Milk Variants, Eclairs, Bourn vita etc†¦ Nestle 1860 Kitkat, Smarties Ferrero 1940 Rocher, Raffaelo, Nutella Amul 1945 Milk Chocolate, Fruit and Nut chocolate Candico 1997 Loco Poco Gum, Big Bubble ITC 2002(Confectionery Segment) Minto and Candy man Parle 1929 Melody, Mango Bite, Poppins, Kismi, Orange Candy POINT OF PARITY (POP) POINT OF DIFFERENCE (POD) POP’s POD’s OF CADBURY DAIRY MILK Point of Parity Point of Difference Chocolate manufacturing Legacy Goodwill Variants such as Fruit Nut, Dark Chocolate Emotional connect with customers Constant innovation in ads Generic name in Indian chocolate market Good quality products Campaigns targeting from kids to adults Association with milk Excellent distribution systems 2 Layer packaging Dairy Milk is the only one chocolate which says that in occasions also it can be used as sweet. BRAND EXPLORATORY Customer Knowledge Cadbury dairy Milk has been trying to get out of the image of† Just another chocolate† and become something special in the minds of the people. They have also been trying to position themselves as chocolates for all age groups and not just kids. The campaign has successfully created a picture in the mind of the customers that Cadbury is not just a chocolate but means of celebrations. Sources of Brand Equity There are two main sources of Brand Equity and they are: Based on various search results, Cadbury’s Dairy Milk not only enjoys high level of Brand Awareness but unaided Brand Recall. This level of recall is generated when Dairy Milk enjoys The Top of the Mind Effect. The Brand image of Cadbury Dairy Milk plays an important role in building the Brand Equity of Dairy Milk through the medium of unique brand associations. Right from Kuch Meetha Ho Jaye campaign to the recent Shubh Aarambh, Dairy Milk has managed to create strong, unique, and favorable brand associations in the minds of the consumers which is commendable. Brand Recall and Brand image are the strong supports that Dairy Milk has with its all time availability and attractive packaging which only adds to the Brand associations for the Dairy Milk and help build its Brand Equity. Two more important sources of Brand Equity are: \ BRAND AMBASSADORS As we know that previously Dairy Milk was only considered as Chocolate, but their new campaign has changed this perception of consumers. As discussed above now Dairy Milk is considered as Traditional sweet of Indian culture(Mithai) which people give to their near and dear ones on the occasions and now they use Dairy Milk as sweet(Mithai). Brand Ambassador chosen for Dairy Milk is none other than Megastar Amitabh Bacchhan. He endorsed the brand so successfully that everyone loved the brand much more than they did. The endorsement has successfully captured the Indian festivals like Rakshabandhan, Diwali, Wedding, Birthdays etc†¦ Now people give Dairy Milk as token of love, care and affection to their friends and family. DAIRY MILK MENTAL MAP These three form the mental map of Dairy Milk which associates with them the different aspects. Let us see them in detail: CBBE MODEL BRAND MANTRA OF DAIRY MILK SWOT ANALYSIS Strength Weakness Dairy milk is owned by Cadbury which is a globally established brand name known for its manufacturing competency and leadership in innovation. The recent acquisition of Cadbury by Kraft Foods may result in somewhat negative effect on the brand. Dairy Milk has been able to establish a clear and consistent Brand Image over the years. Dairy Milk is somewhat lacking in other emerging markets. It has strong command over its brand image in India and Europe But other places it is lacking. It offers quality product with innovations with crafted communication campaign Certain segment feel that price of Dairy Milk is high and compared to that Amul Milk chocolate is preferred. Dairy Milk has huge command over its distribution network spanning across India. Dairy Milk also enjoys a great Brand Recall value when comes to chocolates with Milk. Threats Opportunities Increasing competition from international brands is biggest threat to Dairy Milk To introduce sugar free category is biggest opportunity for Dairy Milk. Highly price sensitive nature of the industry. Dairy Milk can innovate more by bringing international flavors so that is also gets an opportunity to compete with this threat as well. BRAND STRATEGIES The marketing strategy that a business uses must reflect the objectives of the business as a whole. These strategies must therefore be consistent with the wider corporate objectives of the organization. Strategies are likely to be influenced by the attitudes of decision makers towards matters such as the desirability of risk and change. Such attitudes are influenced not only by the environment within which a business operates but also by the views of Managers and Directors and the culture of business itself. External influences also play a major role in any products advertising, its position in the market. They range from consumers to press and media, and also health and safety laws. PEST Analysis will more clearly throw light on external environment and global factors that may affect Dairy Milk’s Business. This will give a quick and visual representation of the external pressures facing the business and their possible constraints on strategy. PEST means: Political Factors Cadbury at the time of finalizing any marketing strategy will have to think of different political factors regionally, nationally and internationally.

The early 20th century USA, Latin America, and Africa Essay - 1

The early 20th century USA, Latin America, and Africa - Essay Example le, there three distinctive trends that they had; there was a tendency to be less and less accessible to the average person, a tendency to glorify art itself as well as to undercut traditional standards and values. A period before the 20th century, music was pretty easy for the average person to understand because they followed common harmonic patters that one could find to frequently popular tunes. (Hoffer, Charles pg. 67) However in the 20th century, composers began to move away from these patters toward what is called atonal music, that which has a pattern not easy to recognize. The century brought with it new freedom and wide experimentation with new musical styles and forms that challenged the accepted rules of early periods. Industrialization led to the inventions of electronic instruments and synthesizer that revolutionized popular music and speeded up the development of new form of music. A good case study is a Latin American music, which has a variety of styles that arrived in America and eventually become influential from the early Spanish and European Baroque to the different beats of the African rhythms.( Gopal, Sarvepalli pg. 102) On the other hand, in visual arts too, the three tendencies could be seen; artists could combine a multiple of perspectives, looking at an object from different points of view and sometimes at different times. It was not easy for an average person to interpret a simple piece of art rather than simply appreciating the art’s use of color, line, composition, as well as the artist’s feelings. They were also influenced by the various movements that fought for the people’s rights and freedom. Africans used various songs to mobilize their members against imperialisms; they also drew diagrams that could only be interpreted by them. But in the 20th century pieces of art have been used to give us, not unfamiliar images, but images that are as familiar as they can possibly be. People have been able to express their feelings in

Material science Research Paper Example | Topics and Well Written Essays - 500 words

Material science - Research Paper Example GBS has also been found to be a major means of deformation for polycrystalline materials leading to the belief that GBS controls superplasticity properties. GBS refers to the displacement occurring when two grains subjected to external stress slide over one another in which the movement occurs at or in closer proximity to the common interface between the grains (Langdon 598). The occurrence of grain boundary sliding has been demonstrated by several scholars over the years. Grain boundary sliding has increasingly become an area of interest among material scientists. Two different forms of GBS have been suggested. The first form of GBS suggested by Rachinger in 1952 involves the displacement of nearby grains in which the grain’s original shape and size is retained despite being evidently displaced over each other (Mayo and Nix 2). This phenomenon has been demonstrated as a form of deformation in polycrystalline materials under creep situations where the number of grains within the measured length increases in the same direction as the external tensile stress (Rachinger 81). Rachinger GBS exists under two different situations namely; conventional creep where the size of the grain d exceeds that of the equilibrium sub-grain as well as in superplasticity where the grain size is smaller than the equilibrium size of the sub-grain (Langdon 598). Both GBS GBS also exists in form of Lifschitz sliding which represents the offsets in the boundaries that occur due to stress and does not increase the number of measured grains (Langdon 598). The main difference between the two GBS forms is that while Lifschitz is an accommodation process by itself, Rachinger sliding entails accommodation through intragranular grip (Nieh, Sherby and Wadsworth 40). The two GBS types have been unified through rate equations which are consistent with empirical observations (Vastava and Langdon 2339). Grain boundary sliding also plays a significant role in superplasticity.

The first time Jane and Mr Bingley meet, the air is filled with promise :: Free Essay Writer

The first time Jane and Mr Bingley meet, the air is filled with promise and romance. It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. There are many women and men in this world that state that they don’t need bind in holy matrimony in order to feel complete or happy about their lives. Obviously, these women and men don’t live in the world of Pride and Prejudice. Even the opening line declares a subtle truth so well that it get you thinking. At first one sees it as an ironic statement trying to open the book’s comedic and love-related atmosphere. However as one digs deeper you see there is more to this line than what meets the eye. This sentence can sum up the goal of many women in this novel who are in search of a single man in possession of a good fortune such as Ms Lucas, as it does sum up the plot in many ways. As it states that men must be in want of a wife, it subtly hints that the women in the novel are most likely looking or are in desperate need of a [wealthy] husband. This line also sets out little hints as to who are these men in search of these women? If one reads on the same page as this line is printed on, one notes that Mr Bingley, who has just recently moved into Netherfield, is one of those men "Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England†¦ . This quote states that Mr Bingley is a man of large fortune which is similar to good fortune, in fact even better. The meeting of each new male central character is attached to a descriptive sentence of his wealth and background. As we read along the novel we see that most of the women in the novel notice this wealth and also notice that these men are in fact looking after wives to wed and share their life with. The first time Jane and Mr Bingley meet, the air is filled with promise and romance. They can be referred back to this opening line of that he is looking for mutual affection in his life. There is a lot of truth behind this quote which sums up the behaviours of most of the male characters in the book; with the slight exception of Darcy who doesn’t seek love though is surprisingly revealed to it.

Misanthrope’s Satire

?Sarah Newsome 3-19-10 2nd Period Misanthrope Response The gossip session Moliere reveals in The Misanthrope among Acaste, Clitandre, and Celimene is that of a double satire. This conversation exemplifies Moliere’s satirical attitude towards the hypocrisy of individuals as well as a society which accepts, even forces, such falsehoods. He is equally critical of Alcaste’s impliant rectitude as he is of the other characters’ sense of falsehood. However, Moliere’s greatest satire focuses on the society which instigates both extremes as he carefully crafts each character and their dialogue. Moliere develops the characters of Philante and Eliante with the perfect balance of honesty and forgiveness so the satirical focus is on the corrupt society rather than the characters. Philante’s character is one of exculpation and acceptance, especially involving his fellow men and his selfless friendship with Alceste. Nonetheless, he is not afraid to suggest the idea of moderation when speaking the brutal truth as he stands up to Alceste by saying. â€Å"†¦you have a way of bridling at whatever people say; whether they praise of blame, your angry spirit is equally unsatisfied to hear it. † Similarly, the observant Eliante notices the nature of Celimene as a -gossip queen and even comments on it aloud when she says to Philante, â€Å"The conversation takes it’s usual turn, and all our dear friends’ ears will shortly burn. In such a simple sentence Moliere is able to speak through Eliante and Philante to express his condemnation of Celimene, Acaste, and Clitandre by admitting that dishonestly is constructed and accepted by society. Additionally, Moliere satirizes society by speaking through them in order to recognize that while not all people are hypocrites, society is the greatest threat as it accepts the false hypocrisies that do exist. Without the encouragement of suitors such as Acaste and Clitandre, Celimene would have less reason to degrade others. Likewise, without a society so accepting of falsehoods, Alceste would have less reason to be so cynical and disapproving of humanity. Therefore, although Moliere is equally critical of Acaste’s impliant rectitude as he is of the other characters’ dominating acceptance of untruth, the author’s greatest amount of satire is focused on the society when compels both extremes.

Odysseus as an Epic Hero Essay - 932 Words

The Odyssey is an example of Greek history portrayed in literature. As in all Greek literature, the epic hero Odysseus answers a call to action, suffers through great confrontation, and returns with a better understanding of life. Greek stories such as, The Odyssey set the stage for todays modern action movies with epic heroes such as Indiana Jones, Frodo from the Lord of the Rings, and Western cowboys like Roy Rogers and The Lone Ranger. The first characteristic that makes Odysseus an epic hero is that he answers a call to action. Odysseus answers two calls to action in The Odyssey. His first call is to go to Troy with Agamemnon and rescue Helen even though his son Telemachus has just been born and his wife Penelope doesnt want him†¦show more content†¦Odysseus realizes that Polyphemus is the only one that can move the boulder and devises a plan to blind Polyphemus while he is asleep. When Polphemus awakes, he moves the boulder to tell his brothers what has happened to him. Then Odysseus and his men sneak out of the cave by hiding under Polyphemus sheep. When Odysseus pride gets the best of him and he reveals his identity to Polyphemus, then Polyphemus lifts up a prayer to his father Poseidon and curses Odysseus. Next Odysseus and his men go to the home of Aeolus, ruler of the winds. Aeolus gives Odysseus a bag containing all of the bad winds and stirs up a wind to send Odysseus and his men back to Ithaca. However, Odysseus men thought that Aeolus had given Odysseus a bag of treasure and thought he wasnt going to share the treasure with them. When Odysseus falls asleep his men open the bag and the winds blow them away from Ithaca back to Aeolus. This time Aeolus will not help them because he believes the gods hate Odysseus. Now Odysseus and his men have to row to the land of the Laestrygonians, a race of powerful giants, who turn Odysseus scouts into their dinner. Odysseus and his remaining men retreat to the ships, but the giants pelt the ships with boulders and sink them as they sit in the harbor. Only Odysseus ship escapes.Show MoreRelatedOdysseus As An Epic Hero1067 Words   |  5 PagesOdysseus as an Epic Hero Homer s The Odyssey follows the incredible journey of the main character Odysseus, and his long trip home to the Island of Ithaca. The Odyssey is an epic poem written in verse, and is fittingly named after the epic hero Odysseus. An epic hero is defined as a character who possesses superhuman strength, craftiness, and confidence, is helped or harmed by the gods, and usually possesses a natural position of authority. Without a doubt, Odysseus is an epic hero; he is cleverRead MoreOdysseus as an Epic Hero859 Words   |  4 PagesA true epic hero has many very defining characteristics. Usually you will find this hero to be the ‘alpha male. With an almost super hero personality, epic heroes are extremely above an average human being. 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Odysseus is known asRead MoreOdysseus, an Epic Hero796 Words   |  4 Pages a hero of great legends who travels to the underworld and back to get directions to his home from a blind prophet. It sounds like quite an impossible journey, but that’s exactly what makes Odysseus all the more interesting. The Odyssey, an epic poem orally transmitted by Homer, a Greek poet, had to contain some sort of attri butes that Greeks valued in a person. That one embodiment of what the Greeks found intriguing in a character is Odysseus. Odysseus is known as what is called an epic hero. AnRead MoreOdysseus Journey as an Epic Hero1267 Words   |  6 PagesOdysseus Journey as an Epic Hero In the epic poem The Odyssey, the main character Odysseus displays the epic hero. An epic hero is given certain qualities. 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On his way home to Ithaca Odysseus faces man y challenges, and with each solution, we see why he is consideredRead MoreOdysseus As A Hero Of This Epic1414 Words   |  6 PagesOdysseus is the main protagonist or hero of this epic, but there are instances in which he is presented in a negative light rather than the positive light that is associated with a protagonist or hero. This essay aims to demonstrate such instances and explain if he is justified in anyway. After leaving Troy it takes Odysseus ten years to return home to Ithaca, during this time he uses different aspects of his character in order to survive, some of which are not exactly heroic characteristics. ErwinRead More odysseus: an epic hero Essay1134 Words   |  5 Pages Is Odysseus An Epic Hero? nbsp;nbsp;nbsp;nbsp;nbsp;Is Odysseus, the main character of Homer’s The Odyssey, really an epic hero? 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During the story,Read MoreOdysseus As An Epic Hero In The Odyssey By Homer1109 Words   |  5 Pages Epic heroes are featured in literature throughout history. Most notably, the epic poem The Odyssey by Homer is about Odysseus, an epic hero. He is the king of Ithaca who goes to fight in the Trojan War. After 20 years, Odysseus finally returns home, although through many obstacles. Once in Ithaca, Odysseus kills the suitors who plague his wife, along with all other disloyal subjects. He fits the definition of an epic hero, which is an admirable character who displays courage while working towards