Required works of art for AP* Art History - Khan Academy
A famous play, first performed in 1863,described the Mafia as an organization complete with initiation rites, thoughfolk historian 's interpretation of Mafia history has been largely discounted as whimsical or at least highly embellished. By 1900, the "black hand" was identified with the "friends of the friends." They were one and the same, and each town(or city quarter) had its resident (chief). When the rose topower, Mussolini's "Iron Prefect," Cesare Mori, threw most of them inprison. In reality, the relationship between the Fascists and the Mafia was that of one group of criminals pitted against another - two wolves fighting over the same chicken coop.
What made art valuable—then and now (article) | Khan Academy
For better or worse, much of Hegel's historicism has become part of our contemporary intellectual baggage. The notion that mankind has progressed through a series of primitive stages of consciousness on his path to the present, and that these stages corresponded to concrete forms of social organization, such as tribal, slave-owning, theocratic, and finally democratic-egalitarian societies, has become inseparable from the modern understanding of man. Hegel was the first philosopher to speak the language of modern social science, insofar as man for him was the product of his concrete historical and social environment and not, as earlier natural right theorists would have it, a collection of more or less fixed "natural" attributes. The mastery and transformation of man's natural environment through the application of science and technology was originally not a Marxist concept, but a Hegelian one. Unlike later historicists whose historical relativism degenerated into relativism tout court, however, Hegel believed that history culminated in an absolute moment - a moment in which a final, rational form of society and state became victorious.
FOR HEGEL, the contradictions that drive history exist first of all in the realm of human consciousness, i.e. on the level of ideas - not the trivial election year proposals of American politicians, but ideas in the sense of large unifying world views that might best be understood under the rubric of ideology. Ideology in this sense is not restricted to the secular and explicit political doctrines we usually associate with the term, but can include religion, culture, and the complex of moral values underlying any society as well.
What's the difference between postmodernist art and contemporary art
Impressionism, for example, gains much of its art historical significance through its place within a scheme of stylistic development that has its roots in the preceding Realism of Courbet and Manet, and by its providing also the main impetus for the successive styles of Post-Impressionism.
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I received my bachelor's degree in Art History last year and am looking for opportunities to work or continue to study in this field so if you have any advise he thought you might be able to help.As far as Formal Analysis examples go I liked this site from the University of Arkansas because these examples also show you the format for the paper as well as the writing style.
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For Kojève, as for all good Hegelians, understanding the underlying processes of history requires understanding developments in the realm of consciousness or ideas, since consciousness will ultimately remake the material world in its own image. To say that history ended in 1806 meant that mankind's ideological evolution ended in the ideals of the French or American Revolutions: while particular regimes in the real world might not implement these ideals fully, their theoretical truth is absolute and could not be improved upon. Hence it did not matter to Kojève that the consciousness of the postwar generation of Europeans had not been universalized throughout the world; if ideological development had in fact ended, the homogenous state would eventually become victorious throughout the material world.
Albrecht Dürer: Art, Life, and Times
Unfortunately for the history of art, in the process of neutralizing progressive modernism, art historians had to neutralize also all other art from earlier periods and from elsewhere in the world.