Tag: Paper Writing

Question 1 In her work, “Untitled,” Tara Donavacreated a feeling of unity by: • a. Rpeating brush strokes O b. repeating materials • c. repeating flowing line O d. none of these choices QUESTION 2 The standards of beauty and aesthetics remain fixed throughout time. O True O False Question 3 Create unity in a composition by: * ??A. repetition of colors * ??B. challenge the viewer © C. adding a focal point © D. repetition of shape QUESTION 4 The empty space around an element in the picture plane is called the: * ??A. Positive shape * ??B. Negative shape * ??C. Figure D. Ground Question 5 In Kandinsky’s “Pink Accent,” the artsist predominantly uses the element of line. O True O False QUESTION 6 What is the difference between applied arts and fine arts? Question 7 Art can be used for which of the following reasons? O A. to show power O B. to show personal expression O C. to show beliefs or ideas O D. all of these choices Question 8 The use of soft light that dissolves edges and blurs details is called: O A. chiaroscuro * ??B. sfumato * ??C.value O D. monochromatic QUESTION 9 How did Japanese prints, like Hiroshige’s “Maple Leaves at the Takona Shrine, Mamma” influence Western art? Question 10 What is the first step in appreciating art? Question 11 QUESTION 11 In atmospheric perspective, what happens to the background the further back the depth goes? O A. forms become smaller * ??B. the distance becomes paler in value * ??C. details diminish O D. all of the above Question 12 How does the art of Tara Donovan break away from traditional sculpture? In what ways does it continue to address traditional sculptural concepts?

project.
1. Evaluation is the process of accessing the value of something, that is, determining the importance, worth, value, or effectiveness of something. It can be as simple as saying “that meal was delicious.” Evaluation can have simple criteria:
if the movie makes me laugh it is a good comedy
. An evaluation can also have many complex criteria too.
2. Part of the process of evaluation often includes developing criteria to use (for instance, a set of characteristics that distinguish a successful essay from an unsuccessful one). Sometimes, however, a set of criteria is already available; sometimes some entity (a boss, a committee, an institution) gives it to you. (If you wanted to buy a house, a bank or mortgage company has a complex set of criteria they have established that they use to evaluate you as a potential borrower. These criteria are set and underwriters use them to evaluate potential borrowers.) Another example is that I establish criteria for evaluating essays, such as the one you will write based on the work from this project.
3. In this particular case, as you will see in the immersion element, you are given a set of criteria. (The immersion element is just a tool to help create a sense that you are actually writing something for a real occasion. In this case, the scenario is as follows: you “work” for a company that publishes a periodical called
Living in America.
That scenario and the periodical is all a fiction developed merely to create this sense of reality. Many students find this helpful and enjoyable–as much as writing an assignment can be.)
4. In many cases of complex evaluation, you may not be asked just to make a claim of value (something meets some specified criteria effectively), but you may be asked also to make a claim of policy (something should be done). That is actually the case here.
5. You are being asked to evaluate three speeches based on a given set of criteria. Then, you are actually making an argument about which should be published.
a. Let me say that right now to keep things simple, I want you to think of three basic kinds of claims. The first is a claim of fact. This is the type of claim in which you are saying something is the case or something is true or even something is not the case or not true. If someone says, “Global Warming is a hoax,” he or she is making a claim of fact–he or she is saying that X is ( or is not) the case. (Two sub-categories of claim of fact are claims of definition (something fits into a definition or not) and claims of cause/effect (something causes something or is an effect of something).
b. The second of these basic types of claims is a claim of value. This is a claim that says something is good or bad, better or worse, the best choice, the worst choice, and so forth. (Beethoven was a better composer than Bach.)
c. The third of these basic types of claims is a claim of policy. This is a claim that says something should be done or should not be done or should be stopped. (We should build a colony on Mars. We should not waste money on space exploration.)
5. I want to make something very clear: the BURDEN OF PROOF is on the claimant. That means
if you make a claim
,
YOU are responsible for providing sufficient convincing reasons (proof)
; otherwise, no one has to believe you. Just because you make a claim is not reason enough. So, if you make a claim of fact (global warming is not causing worldwide havoc), you are responsible for providing enough proof (things that convince) for a critical audience to accept. (Thus, if you end up in an argument and someone makes a claim, ask them to provide proof. If they cannot do so, then you can say, I have no reason to believe that claim!)

Part A: Scavenger Hunt—Origin Myth Image
Find a unique image on the Internet that depicts either 1) a category of creation myths (sacrifice, earth diver, the cosmic egg, etc.) or 2) a creator motif from the Required Learning Materials.
Avoid using one of the first images that come up in your search. Dig deeper for something unique.
Following these instructions, embed the image in your post, provide a citation for the image, and a one-sentence caption for the image which identifies which category or motif the image depicts.
Part B: Discussion Question
Choose one of the following options.
Option 1—Creation Myth
First, choose one of the creation myths from the Required Learning Materials and discuss in which category or categories of creation myth you think this myth belongs, using specific examples from the myth. If there is a creator in the story, you can talk about which creator motif applies, using specific examples.
SECOND, do some research on the society or culture this cosmological myth is from
in the UMGC library or on a reliable website
and identify and explain two to three forms of nonmaterial culture (norm, belief, practice, tradition, ritual, or conception of humanity) specific to that culture that may have been influenced by this myth. Explain why you are making this connection.
Option 2—Categories of Creation Myth
First, choose the category of creation myth that you find most compelling and explain why. Select three creation myths from the Required Learning Materials that you think fit into this category and, using specific examples from each myth, explain how they relate to this category.
SECOND, compare and contrast the three myths, describing their similarities and differences, and explain their differences using specifics from the myths or information you learn from researching the myths’ cultures or societies
in the UMGC library or on a reliable website.

Include a minimum of five words that describe technical proficiency.
?      Consider words that describe hard technical proficiency skills.
?      Consider words that describe soft technical proficiency skills.

Vampires have represented multiples fears over the centuries, the most prominent being fear of disease. In Anne Rice’s novels of the 80s and 90s vampires represent fears regarding AIDS and homosexuality. We have also reviewed how science has tried to explain the folkloric origins of vampires. I have introduced you to two theories Tuberculosis and Pellagra. Do some research on your own and find a scientific case for vampirism you find compelling and discuss which theory or theories you feel is more credible.

What is the thesis of Jeanne Fahnestocks’ “The Rhetorical Arts of Cooperation”
The first few pages are pasted down below:
Human social evolution depends in part on using language persuasively to secure cooperation. Rhetoric emerged in the West over two thousand years ago as a deliberate cultural construction. Though often misunderstood today, rhetoric is fundamental in general education programs that teach students how knowledge is forged in agreement and applied. In pursuit of answers to Gauguin’s questions “Where do we come from? Who are we? Where are we going?” in The Social Conquest of Earth (2012), E. O. Wilson recalls the myths told around the world to provide identity-forming answers. A myth from the classical world could be added to this collection, and this one also has the special feature of addressing Wilson’s goal of explaining the origins of human social life. It was repeated in recovered texts from the Greek Sophist Isocrates in the fourth century b.c.e. to the Roman orator Quintilian in the first century c.e. and was revived and recirculated by humanists across Europe in the Renaissance (Rebhorn, 1995, pp. 24-28). The following version comes from Cicero’s course notes turned into a textbook, De Inventione (On Invention), written in the early first century b.c.e.: 1 There was a time when men wandered at large in the fields like animals and lived on wild fare; they did nothing by the guidance of reason, but relied chiefly on physical strength; there was as yet no ordered system of religious worship nor of social duties; no one had seen legitimate marriage nor had anyone looked upon children whom he knew to be his own; nor had they learned the advantages of an equitable code of law. So through their ignorance and error, blind and unreasoning passion satisfied itself by misuse of bodily strength, which is a very dangerous servant.
At this juncture a man—great and wise I am sure—became aware of the power latent in man and the wide field offered by his mind for great achievements if one could develop this power and improve it by instruction. Men were scattered in the fields and hidden in sylvan retreats when he assembled and gathered them in accordance with a plan; he introduced them to every useful and honourable occupation, though they cried out against it at first because of its novelty, and then when through reason and eloquence they had listened with greater attention, he transformed them from wild savages into a kind and gentle folk. (1976, pp. 5-7)
Cicero’s account of the sudden appearance of a gifted human speaker (not an immortal like Prometheus) who convinces others to act for their mutual benefit can be translated into Wilson’s terms, for it follows in a loose way the stages of human evolution sketched out in The Social Conquest of Earth. It speaks of the gathering, or coming together in groups that Wilson emphasizes, and of the useful actions accomplished by the group through cooperation. It mythologizes the transition identified by Wilson when “the binding effects of group selection” outweigh “the dissolutive effects of individual direct selection” (2012, p. 156). In Cicero’s version, this transition is accomplished through reasoning eloquently, identifying as the origin of social life, of civilization itself, the art of persuasive speaking.
The Social Conquest of Earth uses cooperation and altruism as labels for the actions that can secure group advantage. From the perspective of evolutionary psychology, both are difficult to explain by natural selection preserving fitness at the individual level, since those acting against their own welfare are liable to be selected out of existence. One answer to this conundrum of potentially harmful behavior has been kin selection, since altruism extended to those sharing one’s genes at least secures the survival of these “selfish” genes. And indeed, as Cicero’s myth notes, it helps to know who one’s own children are.
But Wilson and his colleagues now favor multilevel selection, operating at both the individual and group levels. Individuals are still the locus of genetic selection, but groups compete as well, and the cooperative and sometimes altruistic behavior of members secures survival advantage for the group as a whole. The Social Conquest of Earth is a defense of this new synthesis and a sketching out of the complex consequences when individual selection and group selection act in contrary directions. But that first “Where do we come from?” question requires asking what kick-started the rare turn to collective behavior. The precipitating causes for the appearance of social life among species of the genus Homo are sketchy but inferable. Wilson notes shared and divided labor in raising the young, maintenance of a “nest,” and the acquisition of fire and of meat in the diet. At some point, communication through cries and calls, so clearly present among primates today, evolved into symbol use and language (Deacon, 1997). But by the time Homo sapiens “breaks out” of Africa, as Wilson puts it, a new and more sophisticated level of coordinated behavior had to appear to bring about agriculture, tool cultures and metallurgy, and what Kenneth Burke once called the “disease of cooperation,” namely, warfare (1969, p. 22). What was the mechanism for this surge to a higher level?
Wilson does credit “malleable languages” with the creation of cultures (2012, p. 13), and he (2012, p. 256) cites Michael Tomasello’s emphasis on the importance of communication and the ability to read the intentions and “mind” of others. The evolution of language as a functional tool, subject to selective pressures, certainly accords with the evolution of other cultural practices; as evolutionary biologist Mark Pagel puts it, “In explaining the appearance of language we must look for the need for it,” including, in his account, the need to coordinate activities and negotiate arrangements (2012, p. 299). But such characterizations of the general importance of language for “communicating intentions” and “exchanging information” fall short of what humans actually do with language to secure coordinated action: we persuade each other with words. Pagel cites the “social technology” of language and the ability to read the intentions of others as separate factors in the development of culture. But these two belong together. We need to read the thoughts and intentions of others in order to persuade them. The explanation of the role of language in evolutionary biology needs to go one step further to recognize the deliberate use of language to secure cooperation. The arts of using cooperation-inducing or persuasive language, of reasoning eloquently, as Cicero put it, have been taught for millennia in the arts of rhetoric. In what follows, I want to discuss the rhetorical arts as a product of and a force in cultural evolution in Wilson’s terms and to address contemporary discomfort with the term rhetoric stemming from a misunderstanding about what it entails. Its tenets accord well with features of the new attention to cooperation in evolutionary psychology, including the new emphasis on reputation. Furthermore, as a means of securing cooperation in social groups, the arts of communication have long been a staple of education, especially of higher education in the West. Often taught in courses fulfilling a writing or communication requirement, they are an enduring element in the general education programs that our universities have put in place as an important grounding to requirements in the traditional domains of learning—the natural sciences, social sciences, and humanities. In The Social Conquest of Earth Wilson returns to the differences and connections among these domains, the theme of his earlier Consilience (1998). His insights provide thinking points for how these requirements can be offered in the contemporary university To anchor speculation on curriculum design, which is the goal of this essay, the final part of this discussion will focus on the newly revised General Education Program at the University of Maryland. As a member of the task force that designed this program, I had an inside view of the debates, of the ideal goals meeting constraining realities, and of the necessary fine-tuning of the “details” that make all the difference. The best possible general education programs can help our culture secure the necessary higher levels of cooperation that Wilson envisions in his conclusion so that the social conquest of the earth does not become its social destruction.

Character Archetype Table Identify and explain how particular characters from Ramayana: Divine Loophole function, and display the characteristics of character archetypes as expected by the monomyth genre. Stages of a Hero’s Journey Table Identify and explain how events from Ramayana: Divine Loophole align with relevant stages of the hero’s journey as expected by the monomyth genre. Analyze how the events in each stage in Ramayana: Divine Loophole help develop and convey its themes. Explanatory Essay – Introduction includes: . A hook. . An introduction. . A thesis that conveys and previews your ideas about how Ramayana: Divine Loophole illustrates the genre expectations of the monomyth. Three body paragraphs each include: . A topic statement that presents your idea. . Textual evidence that develops your idea. . Elaboration that explains how the evidence develops your idea. . Transitional words or phrases to show connections among your sentences. . A variety of sentence structures and types to convey your ideas effectively. . A concluding statement that reinforces your idea. . Internal citations to indicate where in the text your evidence is located. Conclusion: . Reinforces your thesis and main points. . Offers a “So What” that reflects the thesis’s larger significance. 1023 Great Minds PBC This page may be reproduced Page Assessment 9A: Focusing Question Iask I Explanatory Paragraph First described by the renowned mythologist Joseph Campbell, and later refined/simplified by others including Christopher Vogler and Matthew Winkler, the hero’s journey leads the protagonist through a cycle of stages, beckoning the hero to leave his ordinary world, venture out into the unknown, and return home transformed. This will provide you with an opportunity to deepen your understanding of Ramayana: Divine Loophole as well as to apply your beginning understanding of the expectations of the monomyth genre, which will support your success on the End-of-Module Task when you create your own monomyth. Task: Part 1: Working with a partner, demonstrate and organize your understanding of the characters and events of Ramayana: Divine Loophole by completing the Character Archetype (Handout 9A) and Stages of a Hero’s Journey (Handout 9B) tables. Part 2: Working on your own and for an audience who has read and studied the text as you have, write an explanatory essay in which you synthesize your understanding of Ramayana: Divine Loophole by explaining how this text illustrates the genre expectations of the monomyth as well as how it might diverge from those expectations. As you explain how this myth illustrates the hero’s journey, be sure to include how the hero responds or changes as the journey moves toward resolution. Please incorporate the following words into your essay response: genre, monomyth, and archetype. Support your response using evidence from the following text: . Ramayana: Divine Loophole, Sanjay Patel Hint: You should refer to your Response Journal to help you complete this task. You can also use the optional Explanatory Essay Graphic Organizers (Handout 9C) to help you plan your essay for Part 2. Additionally, the following structure might also help you organize your essay: . One body paragraph about how the stages of the hero’s journey are represented in this text. . One body paragraph about how the character archetypes are represented as well as how and why the hero is transformed as a result of his journey.

In her essay “Positive Obsession,” Octavia Butler describes the connection between her childhood and her renowned career as a science fiction and fantasy writer through a series of vignettes. In a ve-paragraph essay, select three or more vignettes to explain and evaluate the effectiveness of this narrative choice in conveying Butler’s theme.
Outline and Body paragraph and thesis

Frida Kahlo. (1940). El Sueno (or La Cama) [The Dream (or The Bed)]. Watch Frida. For more information about her art, check out the website: https://www.fridakahlo.org/
Does all human suffering call imperatively for a cure?
A life entirely free of suffering would be pleasanter, but would it still be human?
Is our vulnerability essential to our human identities and our humandignity?
Do you think that Frida Kahlo’s suffering affected her art? If so, in what way(s)?
How do you feel about Frida Kahlo’s style of art?
Select one painting from the “Masterpieces of Frida Kahlo” tab on fridakahlo.org and discuss how Kahlo gives visual form to her personal feelings in the image you select.

art work  “Mr and Mrs Andrews” by Thomas Gainsborough
1. Why did you choose the artwork – what is generally interesting to you about it? What was your initial, subjective interpretation of the artwork?  Did it change as you found out more about the context of the artwork? What emotions, concepts, or ideas did it provoke in you?  Do not simply describe the work or state whether or not you “like” the work; but rather, elaborate with specific details from the work that illustrate your response.