(1994,39,'2011-10-31 19:59:31','2011-11-01 01:59:31','<p style=\"text-align: center\">[gallery]\r\n\r\n&nbsp;\r\n\r\n\"A Doll\'s House\" is a play that was written in 1879 by Henrik Ibsen that broke the barriers of social norms for its time.  Ibsen was a figure head in his field known world wide for his playwrights one critic states, \"was not the second half of the nineteenth century the age of Ibsen: is tragedy not restored to the heights in him?\". <!--more-->\r\n(Gray)  It focuses on a typical married couple for the time period, Torvald and Nora.  In order to save her husband’s life Nora forges a signature to get money to save him only to find he is very unappreciative.  Some say it is a piece that was written for women’s rights.  Ibsen however has stated that the play was not written simply about women\'s rights during the time, but every human’s natural right that had been taken or severely restricted due to social norms.  \"A Doll\'s House\" should be preserved due to its innovative thought about human rights and how these natural rights we have were so suppressed under irrational social norms.\r\n\r\nThe piece is beautiful in my opinion.  Not only does it express the harsh reality of the social conditions that people had to live through during those times.  I mean compared to current day where some men don\'t even work and stay home while the woman is the bread winner.  He was not afraid to let people know that he was not ok following this unwritten handbook of social acceptability.  The other thing that I love about the piece is that it is a woman who goes through the harsh times, but he defends the husband stating that it’s about human rights.  Ibsen said, \"I . . . must disclaim the honor of having consciously worked for women\'s rights. I am not even quite sure what women\'s rights really are. To me it has been a question of human rights.\" (Goonetilleke)   Torvald then does not seem like so much of a monster with that statement.  If it weren\'t for the norms put in place he may have reacted properly with love rather than anger about his wife\'s decision.\r\n\r\nIt is uncanny however how two pieces that have to do with personal rights were created so closely in time.  Another work that was made about women\'s rights but still about natural human rights was \"The Subjugation of Women\" by John Stuart Mill in 1869.  The piece talks about how social norms have turned women into willing slaves.  They are deprived from a young age of opportunity that men have and this causes them to play the subordinate role.  It talks about how women are pretty much bread from a young age to be placed in the house taking care of children and chores.  The other great point Mill makes as well is that all women of the time have been brainwashed into thinking it is acceptable.  As said they are turned into willing slaves by the social norms.(Fiero)  This factor is almost identical to Ibsen\'s display of social norms stating men will act based on social norms regardless of situation, and that the women are expected to abide by these norms because that is just how things are.\r\n\r\nThis piece is very innovative for its time.  Ibsen was going against the level of social acceptability that was in place at the time, and had been in place for years.  Almost an unwritten rule on how people were supposed to act based on their given gender role.  It was innovative; however as said before you had other artists such as Mills who were still standing up for women\'s rights.  A little more off based than Ibsen who saw how the guidelines for \"social acceptability\" were depriving citizens of their natural birth rights.  Both produced their works in order to show people that the way things have been just did not make sense and it did not take a genius to see that.  Ibsen denying he wrote for women\'s rights however I feel made a more profound impact stating that he wrote because both men\'s and women\'s rights were being impeded on.\r\n\r\nWhen the play was originally written it did not go over very well with audiences due to the shocking acts of Nora.  One critic has stated, “The play was deemed so daring that, when performed in many countries, the ending was changed so that Nora returns home, finding she cannot leave Torvald or her three children so great is her love and devotion to them.” (Brunnemer)  However today the once shocking actions of Nora are now seen in a different light, “Nora\'s quest for her personal identity, while scandalous to some at the time, is exactly what made the play so famous—and why it continues to hold such currency as a drama today.” (Brunnemer)  Ibsen’s portrayal of how social norms had stunted human rights for all citizens is something that will always be appreciated.\r\n\r\nThe important reason for future generations to know about \"A Doll\'s House\" is how it was created to try and change social norms.  Ibsen saw how these roles are predetermined simply based on gender and nothing else.  No one gave the thought that women might be able to operate just as well as men in the work place and other aspects of life.  They were bread and brainwashed into thinking their role was in the house and to be subservient to their husbands.  Then he comes back and defends the men of society as well.  They too are brainwashed and set in their ways of how things are supposed to be and follow it strictly.  As quoted before Ibsen wrote this with the thought of all human rights in mind not just about one gender as both fell victim to the “cookie cutter” social norms.\r\n\r\n\"A Doll\'s House\" is a play written in order to sway public opinion and generate some thought about equality in gender.  Not only in gender but also in social acceptability associated with gender.  It showed how the women were slaves or a \"Doll\" merely in the “Doll House”.  It gives us a real view into how things were in those days.  To the extremes where even if a woman lied to save her husbands life he would recover with disappointment and criticism of such a wrong action.  Who could think of something like that today?  Many would do anything to save loved ones lives and their loved ones would be nothing but thankful.  It shows us how even when it came to actions of the people we hold closest the social norms were so overbearing that one could treat a spouse as a stranger committing such an act.   \"A Doll\'s House\" should be preserved due to its innovative school of thought about natural rights and how far society has come since then.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<p align=\"center\">Work Cited</p>\r\nBrunnemer, Kristin. \"Sexuality in Henrik Ibsen\'s <em>A Doll\'s House</em>.\" In Bloom, Harold, ed. <em>Human Sexuality</em>, Bloom\'s Literary Themes. New York: Chelsea House Publishing, 2009. <em>Bloom\'s Literary Reference Online.</em> Facts On File, Inc. http://www.fofweb.com\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nGoonetilleke, D.C.R.A. \"A Doll\'s House (Et Dukkehjem) Play by Henrik Ibsen, 1879.\" <em>Reference Guide to World Literature</em>. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1231-1232. <em>Gale</em><em> Virtual Reference Library</em>. Web. 17 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nGray, Ronald. \"Ibsen, Henrik (1828-1906).\" <em>European Writers</em>: <em>The Romantic Century</em>. Ed. George Stade. Vol. 7. New York: Charles Scribner\'s Sons, 1983. 1421-1447. <em>Gale Virtual Reference Library</em>. Web. 31 Oct. 2011.\r\n\r\n&nbsp;','Ibsen\'s \"A Doll\'s House\"','','inherit','open','open','','1990-revision-3','','','2011-10-31 19:59:31','2011-11-01 01:59:31','',1990,'http://jeanatacc.com/2011/?p=1994',0,'revision','',0),(1996,39,'2011-10-31 20:03:25','2011-11-01 02:03:25','<p style=\"text-align: center\"></p>\n\"A Doll\'s House\" is a play that was written in 1879 by Henrik Ibsen that broke the barriers of social norms for its time.  Ibsen was a figure head in his field known world wide for his playwrights one critic states, \"was not the second half of the nineteenth century the age of Ibsen: is tragedy not restored to the heights in him?\". <!--more-->\n(Gray)  It focuses on a typical married couple for the time period, Torvald and Nora.  In order to save her husband’s life Nora forges a signature to get money to save him only to find he is very unappreciative.  Some say it is a piece that was written for women’s rights.  Ibsen however has stated that the play was not written simply about women\'s rights during the time, but every human’s natural right that had been taken or severely restricted due to social norms.  \"A Doll\'s House\" should be preserved due to its innovative thought about human rights and how these natural rights we have were so suppressed under irrational social norms.\n\nThe piece is beautiful in my opinion.  Not only does it express the harsh reality of the social conditions that people had to live through during those times.  I mean compared to current day where some men don\'t even work and stay home while the woman is the bread winner.  He was not afraid to let people know that he was not ok following this unwritten handbook of social acceptability.  The other thing that I love about the piece is that it is a woman who goes through the harsh times, but he defends the husband stating that it’s about human rights.  Ibsen said, \"I . . . must disclaim the honor of having consciously worked for women\'s rights. I am not even quite sure what women\'s rights really are. To me it has been a question of human rights.\" (Goonetilleke)   Torvald then does not seem like so much of a monster with that statement.  If it weren\'t for the norms put in place he may have reacted properly with love rather than anger about his wife\'s decision.\n\nIt is uncanny however how two pieces that have to do with personal rights were created so closely in time.  Another work that was made about women\'s rights but still about natural human rights was \"The Subjugation of Women\" by John Stuart Mill in 1869.  The piece talks about how social norms have turned women into willing slaves.  They are deprived from a young age of opportunity that men have and this causes them to play the subordinate role.  It talks about how women are pretty much bread from a young age to be placed in the house taking care of children and chores.  The other great point Mill makes as well is that all women of the time have been brainwashed into thinking it is acceptable.  As said they are turned into willing slaves by the social norms.(Fiero)  This factor is almost identical to Ibsen\'s display of social norms stating men will act based on social norms regardless of situation, and that the women are expected to abide by these norms because that is just how things are.\n\nThis piece is very innovative for its time.  Ibsen was going against the level of social acceptability that was in place at the time, and had been in place for years.  Almost an unwritten rule on how people were supposed to act based on their given gender role.  It was innovative; however as said before you had other artists such as Mills who were still standing up for women\'s rights.  A little more off based than Ibsen who saw how the guidelines for \"social acceptability\" were depriving citizens of their natural birth rights.  Both produced their works in order to show people that the way things have been just did not make sense and it did not take a genius to see that.  Ibsen denying he wrote for women\'s rights however I feel made a more profound impact stating that he wrote because both men\'s and women\'s rights were being impeded on.\n\nWhen the play was originally written it did not go over very well with audiences due to the shocking acts of Nora.  One critic has stated, “The play was deemed so daring that, when performed in many countries, the ending was changed so that Nora returns home, finding she cannot leave Torvald or her three children so great is her love and devotion to them.” (Brunnemer)  However today the once shocking actions of Nora are now seen in a different light, “Nora\'s quest for her personal identity, while scandalous to some at the time, is exactly what made the play so famous—and why it continues to hold such currency as a drama today.” (Brunnemer)  Ibsen’s portrayal of how social norms had stunted human rights for all citizens is something that will always be appreciated.\n\nThe important reason for future generations to know about \"A Doll\'s House\" is how it was created to try and change social norms.  Ibsen saw how these roles are predetermined simply based on gender and nothing else.  No one gave the thought that women might be able to operate just as well as men in the work place and other aspects of life.  They were bread and brainwashed into thinking their role was in the house and to be subservient to their husbands.  Then he comes back and defends the men of society as well.  They too are brainwashed and set in their ways of how things are supposed to be and follow it strictly.  As quoted before Ibsen wrote this with the thought of all human rights in mind not just about one gender as both fell victim to the “cookie cutter” social norms.\n\n\"A Doll\'s House\" is a play written in order to sway public opinion and generate some thought about equality in gender.  Not only in gender but also in social acceptability associated with gender.  It showed how the women were slaves or a \"Doll\" merely in the “Doll House”.  It gives us a real view into how things were in those days.  To the extremes where even if a woman lied to save her husbands life he would recover with disappointment and criticism of such a wrong action.  Who could think of something like that today?  Many would do anything to save loved ones lives and their loved ones would be nothing but thankful.  It shows us how even when it came to actions of the people we hold closest the social norms were so overbearing that one could treat a spouse as a stranger committing such an act.   \"A Doll\'s House\" should be preserved due to its innovative school of thought about natural rights and how far society has come since then.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Work Cited</p>\nBrunnemer, Kristin. \"Sexuality in Henrik Ibsen\'s <em>A Doll\'s House</em>.\" In Bloom, Harold, ed. <em>Human Sexuality</em>, Bloom\'s Literary Themes. New York: Chelsea House Publishing, 2009. <em>Bloom\'s Literary Reference Online.</em> Facts On File, Inc. http://www.fofweb.com\n\n&nbsp;\n\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\n\n&nbsp;\n\nGoonetilleke, D.C.R.A. \"A Doll\'s House (Et Dukkehjem) Play by Henrik Ibsen, 1879.\" <em>Reference Guide to World Literature</em>. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1231-1232. <em>Gale</em><em> Virtual Reference Library</em>. Web. 17 Oct. 2011.\n\n&nbsp;\n\nGray, Ronald. \"Ibsen, Henrik (1828-1906).\" <em>European Writers</em>: <em>The Romantic Century</em>. Ed. George Stade. Vol. 7. New York: Charles Scribner\'s Sons, 1983. 1421-1447. <em>Gale Virtual Reference Library</em>. Web. 31 Oct. 2011.\n\n&nbsp;','Ibsen\'s \"A Doll\'s House\"','','inherit','open','open','','1990-autosave','','','2011-10-31 20:03:25','2011-11-01 02:03:25','',1990,'http://jeanatacc.com/2011/?p=1996',0,'revision','',0),(2003,43,'2011-10-31 20:59:21','2011-11-01 02:59:21','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\r\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\r\n\r\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\r\n\r\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\r\n\r\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\r\n\r\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\r\n\r\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\r\n\r\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\r\n\r\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\r\n\r\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\r\n\r\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\r\n\r\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\r\n\r\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael Kennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/237/e1035&gt;.\r\n\r\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\r\n\r\n&nbsp;\r\n\r\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>. Ed. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\r\n\r\nThis is an article about “La Saragossa.” I used this for reference to historical context.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook. &lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\r\n\r\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\r\n\r\n&nbsp;\r\n\r\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011.\r\n\r\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\r\n\r\n&nbsp;\r\n\r\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 18 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/groe/music/40026pg14&gt;.\r\n\r\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\r\n\r\n&nbsp;\r\n\r\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory and method</em>. Cambridge University Press, 1997. eBook.\r\n\r\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\r\n\r\n&nbsp;\r\n\r\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\r\n\r\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\r\n\r\n&nbsp;\r\n\r\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\r\n\r\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','publish','open','open','','beethovens-eroica-symphony','','','2011-10-31 20:59:21','2011-11-01 02:59:21','',0,'http://jeanatacc.com/2011/?p=2003',0,'post','',12),(2004,43,'2011-10-31 20:52:01','2011-11-01 02:52:01','','eroica','','inherit','open','open','','eroica','','','2011-10-31 20:52:01','2011-11-01 02:52:01','',2003,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg',0,'attachment','image/jpeg',0),(2001,41,'2011-10-31 20:45:39','2011-11-01 02:45:39','<p align=\"left\"><em>Pride and Prejudice</em> was completed in August of 1797 by Jane Austen and is an epic and cautionary tale about marriage.  Don’t let that fact discourage you from enjoying this piece of literary excellence. It is a book about how personal pride and unknown prejudices can ruin lives, devastate families, divide generations and drive life-long wedges between people. Fortunately, it is also a book about overcoming obstacles, healing personal flaws, avoiding catastrophes and forming a love-filled marriage based on mutual respect. This iconic piece of literature must be preserved for all future generations because <em>Pride and Prejudice</em> changed the world by offering insight into how married life could be both disastrous and wonderful.</p>\n<p align=\"left\">The protagonist of the story is Miss Elizabeth Bennet. She is considered Jane Austen’s most memorable feminine heroine, and her intelligent and strong-willed character single-handedly effects a monumental change in societal views that is still heralded, discussed, debated and agonized over today, some 214 years after the novel was completed [Marsh].  The classic and well-loved story was published in 1813 and details the life of Elizabeth Bennet, as she confronts issues of etiquette, manners, morality, education and marriage in the society of the affluent classes during early 19th-century England.</p>\n<p align=\"left\">Elizabeth is the second of five daughters and part of a middle-class family that lives near the fictional English town just outside of London. The original title of this work was <em>First Impressions</em> but I am pleased that the title was changed to <em>Pride and Prejudice </em>[Shields]. The fictional story focuses on a myriad of prejudices that each of us acquire as we travel through our lives and how our pride can cloud our view of others. The storyline clearly shows how one’s decisions are influenced by unknown prejudices and stubborn haughtiness. The end result of this fictional work is a message that is timeless.</p>\n<p align=\"left\">Miss Bennet miserably suffers through the typical adventures of an early 19th-century middle-class woman with the constant shadow of societal expectations looming over her shoulder. Bennet and the other five eligible females in the story are counted upon to land well-established, wealthy and aristocratic husbands starting around their sixteenth birthday. These marriages were often the means by which families survived, plain and simple. Therefore, grooming their daughters in an effort to secure a rich son-in-law was paramount to all middle-class families. Daughters were generally compliant and actively participated in the delicate dance of snaring an eligible (and wealthy) husband. However, Miss Bennet differs greatly from her peers because she is highly self-reliant, well-read, assertive, independent and strong-willed. And, she is not so sure that a “good marriage” is actually possible for any woman.</p>\n<p align=\"left\">She is not mesmerized by the gentry (what the upper-middle-class were often called) or the aristocracy and does not fall prey to the typical aristocratic and societal expectations. Bennet is not the typical young woman of the early 1800s. She abhors arrogance and much to her frustration, finds it in abundance among aristocratic men. According to the tenets of society, Bennet, her four sisters and their family friend, Charlotte Lucas, <em>require</em> husbands. There was no other means available for a young woman to make her way in the world besides riding on the coattails of a husband. Men were the only ones allowed to own land and other property. Even if a woman inherited a fortune, it was rare that she was allowed to manage it or even touch any of it. Women were considered too delicate and unsophisticated to have financial or business minds. Bennet was hearing none of that and remained head-strong.</p>\n<p align=\"left\">Austen’s tale accompanies the six women through various garden parties, drawing rooms, ballrooms and dramatic performances on their way to finding their perfect match. Most of the interactions between the characters in the book are quite interesting including the possibility of cousins marrying each other, sex before marriage, social class rivalries and dramatic verbal altercations. Critics of Austen’s work have generally discounted the authenticity of her writing because she rarely mentions the undercurrent of real-world political events that were in existence at the time [Watt]. The plot of <em>Pride and Prejudice</em> does not introduce these women to the historical events swirling around them and some say that fact is a shortcoming of Austen’s writing. In the story, there are off-handed and miscellaneous references to the excitement surrounding soldiers visiting the quaint town, including the blackguard George Wickham, but the intricate details of the political upheaval in England are skillfully ignored by Austen. It appears to modern-day readers that Austen has tried to focus her novel on bringing to light the strict marital obligations placed upon young women of the day and she carves out a picture-perfect environment and does not allow the fears of revolution in Great Britain to encroach on her story.</p>\n<p align=\"left\">Austen has also been criticized for writing about what she knew, and that mundane topics were not scintillating enough for the newer and more discerning reader of  the early 1800\'s [Shields]. The world of 19<sup>th</sup> Century England and the pressures on women were the focus of all of her books. I don’t find this unusual or lacking at all. It was natural for Austen to write about being encumbered by society’s expectations because she experienced that in her own life. As a middle-class young woman the political disturbances of the time did not affect her much. Nor did it affect the characters she conceived in <em>Pride and Prejudice</em>.</p>\n<p align=\"left\">When Austen began laying the foundation for this novel, in 1796, the British government was still reeling after their devastating loss of thousands men in battle against the Colonists, and they had depleted their coffers to the tune of an estimated $100 million in the fight to maintain control over the thirteen colonies [Fiero]. The political climate in Great Britain was horrific when the remnants of that war were coupled with their four-year-long conflict with France. Toward the end of her writing <em>Pride and Prejudice</em>, in 1797, the British began the blockade of Spain and this move brought further political uproar. Great Britain had become a shadow of its former self and Austen may have intentionally ignored the political chaos and written the novel as an enormous distraction for the nation. In fact, she does not mention the Napoleonic wars a single time in any of her nine novels [Shields].</p>\nGenerally, popular literary work of the time was either romantically sentimental to the point of being sickening sweet and unrealistic or Gothic-related horror. This type of sensationalism repelled Austen and she refused to construct her novels in a similar fashion. For example, <em>The Castle of Otranto</em> (Horace Walpole, 1765) and <em>The Mysteries of Udolpho</em> (Ann Radcliffe, 1794) were set in far-off, unrealistic places and filled with princes, dukes, and counts. These two novels were also known for their “violent, horrific and often supernatural action,” states Marsh. Readers were so used to being taken on a fantasy ride while reading a novel that they considered Austen’s <em>Pride and Prejudice</em> boring when it was published. Her book was not typical of its era because it was written in a ironic style that showed that ordinary, real life in a familiar town could also be malicious and terribly cruel.\n\nAnother reason why Austen’s <em>Pride and Prejudice</em> was considered unusual for its time was because it was one of the first books that blatantly addressed society’s oppression of women. Her creation of a complex main character that was embarrassed by her own family’s etiquette and yet wanted to defend their right to be themselves (no matter what their habits may be) had never been seen in a main character before [Baker]. At one point in the story, Bennet refuses a marriage proposal from Mr. Darcy (the richest and most well bred aristocrat in all of England), she does so with such insolence, and audacity that the readers must have gasped, dropped their snuffboxes, and tossed the book across the room upon reading that section. Refusing a man such as Mr. Darcy was simply <em>not done</em>. Nor were stories of such ill-mannered behavior told in polite society. Miss Elizabeth Bennet was, indeed, a rebel and created a storm of controversy.\n<p align=\"left\">Sadly, it was not until after her death in 1817, at the age of 42, that her writing managed to gain popularity with the English. <em>Pride and Prejudice</em>, in particular, has become one of the most popular novels in English literature, and receives considerable attention from literary scholars. Modern interest in the book has resulted in a large number of dramatic versions and a profusion of novels and tales imitating Austen\'s memorable characters and themes about strong-willed and independent women. <em>Pride and Persuasion</em> has sold more than 20 million copies worldwide, been made into several movies, mini-series dramas, and plays [Marsh].</p>\n<p align=\"left\">When researching the scholarly view of Austen’s work, I stumbled across an organization called the English Association. This body of work was created after the First World War (WWI) when many pieces of English Literature were lost during the skirmishes of war. The organization was founded by A.C. Bradley, a University professor and advocate for placing Austen’s work on the Association’s list of English Literature to be studied on the University level. In his 1911 lecture, A.C. Bradley stated, “I was meant to fall in love with her [Bennet], and I do.” The popularity of Austen’s work was greatly elevated in the years immediately following WWI, as shown in the mention of her work in Rudyard Kipling’s <em>The Janeites</em> (1922). Kipling speaks of soldiers reading Austen\'s books (<em>Pride and</em> <em>Prejudice</em> in particular) in the trenches of war to uplift their spirits. Baker states in his review of <em>Jane Austen Once More</em> that Austen’s work had a “class-less appeal that helped severely shell-shocked soldiers through the healing process” after WWI. The Jane Austen Society, created during the Blitz, was hell-bent on preserving and restoring Austen’s texts as if Jane Austen was a saint and her writings were prized relics. [Baker]</p>\n<p align=\"left\">This book has impacted my life in many ways. I know men and women that have entered into marriages for reasons other than love. It happens every single day, actually. I believe that people spend more time choosing a house than a life partner. I do not see that will change anytime in the future. One poignant moment in the book was when, speaking of her mother, Elizabeth Bennet\'s father says that he \"had married a woman whose weak understanding and illiberal mind had, very early in their marriage, put an end to all real affection for her.\" He admitted to his daughter that he had not thought things through when he married her mother. He further stated that he was, \"captivated by youth and beauty, and that appearance of good humour\" and then had tears in his eyes when he admitted he had not loved his wife in years [Austen]. This innocent and touching conversation in the father\'s library affected me deeply.  I have often wondered if my parents have felt the same way as Mr. Bennet after their 59 years of marriage.</p>\n<p align=\"left\"> I was also profoundly affected by the thread of prejudice that runs through the book. The prejudices spotlighted in this book are not the usual type of prejudice that we see and hear about today, but they run deep, occur on many levels and for many different reasons. Reading this book has caused me to inspect my own prejudices and see how they may be limiting the experiences in my own life. Sure, readers of this novel should be moved by the numerous events that occur. If nothing else, they should value the microscope that shines a light on all of our own prejudices that magically defy time and place. Today, we have some of the same prejudices that Jane Austen had back in 1796.</p>\n<p align=\"left\"> Marriages are not a means to climb the social ladder, become popular, or support your parents in their old age. Marriages are meant to be a joining of two people with the same goals, aspirations, and visions for their future. It is not enough for a woman to want to find “true love” before she marries. It is not enough for a man to heal his financial ills by obtaining an enormous dowry from his new wife. The back room political and financial wrangling that took place during the time Austen wrote this epic story was always slanted toward the absurd. This book shall stand as an example of what we do <em>not want</em> in marriages of today.</p>\n<p align=\"left\">I suppose I don\'t have to tell you that Simon Langton’s 1995 version of <em>Pride and Prejudice</em> (with Colin Firth) is the only DVD I own. I am thankful that times have changed for women and that the pressure of a \"good marriage\" is not placed squarely on the shoulders of young, naive women. If you are not married yet, read this book and then take time to find a partner that believes in mutual respect and honesty. This book must be preserved for numerous reasons; the very least of which is that it just might save you from entering a bad marriage!</p>\n<p align=\"left\"></p>\n<p align=\"left\"></p>\n<p align=\"left\"></p>\n<p align=\"left\"><strong>WORKS CITED</strong></p>\n<p align=\"left\"></p>\n<p align=\"left\"><strong>Austen</strong>, Jane. <em>Pride and Prejudice</em>. London: Penguin, 2003. Print. This is the original, reprinted version of the book that I used to quote Mr. Bennet when he was speaking of his own marriage.</p>\n<p align=\"left\"></p>\n<p align=\"left\"></p>\n<p align=\"left\"><a href=\"http://alicat.austincc.edu/search%7ES8?/aAusten%2C+Jane%2C+1775-1817./aausten+jane+1775+1817/-3,-1,0,B/browse\"><strong>Austen</strong>, Jane, 1775-1817.</a> <strong><em>Pride and Prejudice</em></strong><strong> </strong><strong>/ Jane Austen; edited with an introduction and notes by Vivien Jones ; with the original Penguin Classics introduction by Tony Tanner.</strong> Imprint London; New York: Penguin Books, 2008. This is a Biography and I used the Introduction and Notes sections of this Biography, written by Vivian Jones, when referencing the original, reprinted text of <em>Pride and Prejudice</em>.</p>\n<p align=\"left\"></p>\n<p align=\"left\"></p>\n<p align=\"left\"><a href=\"http://alicat.austincc.edu/search%7ES8?/aAusten%2C+Jane%2C+1775-1817./aausten+jane+1775+1817/-3,-1,0,B/browse\"><strong>Austen</strong>, Jane, 1775-1817</a>. <strong><em>The Complete Novels of Jane Austen.</em></strong> Imprint New York, The Modern Library 1933  This is a compilation of Jane Austen\'s writing that I used to compare themes regarding strong-willed women characters.</p>\n<p align=\"left\"><strong> </strong></p>\n<p align=\"left\"><strong> </strong></p>\n<p align=\"left\"><strong>Baker</strong>, William.<strong> </strong><em>Jane Austen Once More</em>. Rev. of Jane Austen and The Enlightenment by Peter Knox-Shaw. Studies in the Novel, Fall 2007, Vol. 39 Issue 3, p357-367. Accessed online EBSCO Database on October 31, 2011.</p>\n<p align=\"left\">Website: http://tinyurl.com/4yfo2nq</p>\n<p align=\"left\"><strong> </strong></p>\n<p align=\"left\"><strong>Fiero</strong>, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 24-26, 2011. This is a college-level course textbook that I used to learn about Jane Austen\'s literary piece called, <em>Pride and Prejudice</em>. I researched romantic stereotypes at the time <em>Pride and Prejudice</em> was written.</p>\n<p align=\"left\"><strong> </strong></p>\n<p align=\"left\"><strong>Marsh</strong>, Nicholas. <em>Jane Austen: The Novels, Analyzing Texts</em>. New York: St. Martin\'s, 1998. Print. I used this analytical study of Jane Austen\'s writing to research how she created her characters from real-life examples, the general view of women in society at the time <em>Pride and Prejudice</em> was written and what the critics thought of this work when it was published.</p>\n<p align=\"left\"></p>\n<p align=\"left\"><strong> </strong></p>\n<p align=\"left\"><strong>Shields</strong>, Carol. <em>Jane Austen.</em> New York: Viking Penguin, 2001. Print.</p>\n<p align=\"left\">I used this Biography to research Jane Austen\'s view of her family life and how it manifested itself in her writing. I used the facts of her broken engagement and her view of marriage to compare with the views of the characters she created.</p>\n<p align=\"left\"></p>\n<p align=\"left\"><strong> </strong></p>\n<p align=\"left\"><strong>Watt</strong>, Ian P. <em>Jane Austen: A Collection of Critical Essays</em>. Englewood Cliffs, NJ: Prentice-Hall, 1963. Print. I used this book of criticisms and interpretations for research about how the book is viewed today.</p>\n<p align=\"left\"></p>\n<p align=\"left\"></p>\n<p align=\"left\"></p>\n<p align=\"left\"></p>','Don\'t Judge a Book by Its Cover!','','inherit','open','open','','2000-revision','','','2011-10-31 20:45:39','2011-11-01 02:45:39','',2000,'http://jeanatacc.com/2011/?p=2001',0,'revision','',0),(2010,43,'2011-10-31 20:58:40','2011-11-01 02:58:40','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\r\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\r\n\r\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\r\n\r\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\r\n\r\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\r\n\r\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\r\n\r\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\r\n\r\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\r\n\r\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\r\n\r\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\r\n\r\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\r\n\r\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\r\n\r\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael Kennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/237/e1035&gt;.\r\n\r\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\r\n\r\n&nbsp;\r\n\r\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>. Ed. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\r\n\r\nThis is an article about “La Saragossa.” I used this for reference to historical context.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook. &lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\r\n\r\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\r\n\r\n&nbsp;\r\n\r\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011.\r\n\r\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\r\n\r\n&nbsp;\r\n\r\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 18 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/groe/music/40026pg14&gt;.\r\n\r\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\r\n\r\n&nbsp;\r\n\r\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory and method</em>. Cambridge University Press, 1997. eBook.\r\n\r\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\r\n\r\n&nbsp;\r\n\r\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\r\n\r\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\r\n\r\n&nbsp;\r\n\r\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\r\n\r\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','inherit','open','open','','2003-revision-6','','','2011-10-31 20:58:40','2011-11-01 02:58:40','',2003,'http://jeanatacc.com/2011/?p=2010',0,'revision','',0),(2005,43,'2011-10-31 20:54:29','2011-11-01 02:54:29','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\n\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\n\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\n\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\n\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\n\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\n\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\n\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\n\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\n\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\n\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Works Cited</p>\n<p align=\"center\"></p>\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\n\n&nbsp;\n\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\n\n&nbsp;\n\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael\n\nKennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011\n\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/\n237/e1035&gt;.\n\n&nbsp;\n\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\n\n&nbsp;\n\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>.\n\nEd. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\n\n&nbsp;\n\nThis is an article about “La Saragossa.” I used this for reference to historical context.\n\n&nbsp;\n\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\n\n&nbsp;\n\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\n\n&nbsp;\n\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook.\n\n&lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\n\n&nbsp;\n\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\n\n&nbsp;\n\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct.\n\n2011.\n\n&nbsp;\n\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\n\n&nbsp;\n\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music</em>\n\n<em>Online</em>. 18 Oct. 2011\n\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/gro\n\ne/music/40026pg14&gt;.\n\n&nbsp;\n\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\n\n&nbsp;\n\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory</em>\n\n<em>and method</em>. Cambridge University Press, 1997. eBook.\n\n&nbsp;\n\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\n\n&nbsp;\n\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\n\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\n\n&nbsp;\n\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\n\n&nbsp;\n\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\n\n&nbsp;\n\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','inherit','open','open','','2003-revision','','','2011-10-31 20:54:29','2011-11-01 02:54:29','',2003,'http://jeanatacc.com/2011/?p=2005',0,'revision','',0),(2008,43,'2011-10-31 20:56:39','2011-11-01 02:56:39','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\r\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\r\n\r\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\r\n\r\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\r\n\r\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\r\n\r\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\r\n\r\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\r\n\r\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\r\n\r\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\r\n\r\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\r\n\r\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\r\n\r\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\r\n\r\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael\r\n\r\nKennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/\r\n237/e1035&gt;.\r\n\r\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\r\n\r\n&nbsp;\r\n\r\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>.\r\n\r\nEd. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\r\n\r\nThis is an article about “La Saragossa.” I used this for reference to historical context.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\r\n\r\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\r\n\r\n&nbsp;\r\n\r\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct.\r\n\r\n2011.\r\n\r\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\r\n\r\n&nbsp;\r\n\r\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music</em>\r\n\r\n<em>Online</em>. 18 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/gro\r\n\r\ne/music/40026pg14&gt;.\r\n\r\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\r\n\r\n&nbsp;\r\n\r\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory</em>\r\n\r\n<em>and method</em>. Cambridge University Press, 1997. eBook.\r\n\r\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\r\n\r\n&nbsp;\r\n\r\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\r\n\r\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\r\n\r\n&nbsp;\r\n\r\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\r\n\r\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','inherit','open','open','','2003-revision-4','','','2011-10-31 20:56:39','2011-11-01 02:56:39','',2003,'http://jeanatacc.com/2011/?p=2008',0,'revision','',0),(2006,43,'2011-10-31 20:54:42','2011-11-01 02:54:42','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\r\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\r\n\r\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\r\n\r\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\r\n\r\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\r\n\r\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\r\n\r\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\r\n\r\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\r\n\r\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\r\n\r\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\r\n\r\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\r\n\r\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n<p align=\"center\"></p>\r\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\r\n\r\n&nbsp;\r\n\r\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael\r\n\r\nKennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/\r\n237/e1035&gt;.\r\n\r\n&nbsp;\r\n\r\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\r\n\r\n&nbsp;\r\n\r\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>.\r\n\r\nEd. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nThis is an article about “La Saragossa.” I used this for reference to historical context.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\n&nbsp;\r\n\r\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\r\n\r\n&nbsp;\r\n\r\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\r\n\r\n&nbsp;\r\n\r\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct.\r\n\r\n2011.\r\n\r\n&nbsp;\r\n\r\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\r\n\r\n&nbsp;\r\n\r\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music</em>\r\n\r\n<em>Online</em>. 18 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/gro\r\n\r\ne/music/40026pg14&gt;.\r\n\r\n&nbsp;\r\n\r\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\r\n\r\n&nbsp;\r\n\r\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory</em>\r\n\r\n<em>and method</em>. Cambridge University Press, 1997. eBook.\r\n\r\n&nbsp;\r\n\r\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\r\n\r\n&nbsp;\r\n\r\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\r\n\r\n&nbsp;\r\n\r\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\r\n\r\n&nbsp;\r\n\r\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\r\n\r\n&nbsp;\r\n\r\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','inherit','open','open','','2003-revision-2','','','2011-10-31 20:54:42','2011-11-01 02:54:42','',2003,'http://jeanatacc.com/2011/?p=2006',0,'revision','',0),(2007,43,'2011-10-31 20:55:09','2011-11-01 02:55:09','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\r\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\r\n\r\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\r\n\r\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\r\n\r\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\r\n\r\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\r\n\r\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\r\n\r\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\r\n\r\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\r\n\r\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\r\n\r\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\r\n\r\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\r\n\r\n&nbsp;\r\n\r\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael\r\n\r\nKennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/\r\n237/e1035&gt;.\r\n\r\n&nbsp;\r\n\r\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\r\n\r\n&nbsp;\r\n\r\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>.\r\n\r\nEd. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nThis is an article about “La Saragossa.” I used this for reference to historical context.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\n&nbsp;\r\n\r\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\r\n\r\n&nbsp;\r\n\r\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\r\n\r\n&nbsp;\r\n\r\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct.\r\n\r\n2011.\r\n\r\n&nbsp;\r\n\r\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\r\n\r\n&nbsp;\r\n\r\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music</em>\r\n\r\n<em>Online</em>. 18 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/gro\r\n\r\ne/music/40026pg14&gt;.\r\n\r\n&nbsp;\r\n\r\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\r\n\r\n&nbsp;\r\n\r\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory</em>\r\n\r\n<em>and method</em>. Cambridge University Press, 1997. eBook.\r\n\r\n&nbsp;\r\n\r\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\r\n\r\n&nbsp;\r\n\r\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\r\n\r\n&nbsp;\r\n\r\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\r\n\r\n&nbsp;\r\n\r\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\r\n\r\n&nbsp;\r\n\r\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','inherit','open','open','','2003-revision-3','','','2011-10-31 20:55:09','2011-11-01 02:55:09','',2003,'http://jeanatacc.com/2011/?p=2007',0,'revision','',0),(2009,43,'2011-10-31 20:56:44','2011-11-01 02:56:44','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\r\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\r\n\r\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\r\n\r\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\r\n\r\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\r\n\r\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\r\n\r\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\r\n\r\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\r\n\r\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\r\n\r\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\r\n\r\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\r\n\r\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\r\n\r\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael\r\n\r\nKennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/\r\n237/e1035&gt;.\r\n\r\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\r\n\r\n&nbsp;\r\n\r\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>.\r\n\r\nEd. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\r\n\r\nThis is an article about “La Saragossa.” I used this for reference to historical context.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\r\n\r\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\r\n\r\n&nbsp;\r\n\r\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct.\r\n\r\n2011.\r\n\r\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\r\n\r\n&nbsp;\r\n\r\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music</em>\r\n\r\n<em>Online</em>. 18 Oct. 2011\r\n\r\n&lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/gro\r\n\r\ne/music/40026pg14&gt;.\r\n\r\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\r\n\r\n&nbsp;\r\n\r\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory</em>\r\n\r\n<em>and method</em>. Cambridge University Press, 1997. eBook.\r\n\r\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\r\n\r\n&nbsp;\r\n\r\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\r\n\r\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\r\n\r\n&nbsp;\r\n\r\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\r\n\r\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','inherit','open','open','','2003-revision-5','','','2011-10-31 20:56:44','2011-11-01 02:56:44','',2003,'http://jeanatacc.com/2011/?p=2009',0,'revision','',0),(2011,43,'2011-10-31 20:58:45','2011-11-01 02:58:45','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\"><img class=\"aligncenter size-full wp-image-2004\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/eroica.jpg\" alt=\"\" width=\"128\" height=\"193\" /></a><a href=\"http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl\">http://bks8.books.google.com/books?id=IwjZmTjlEvEC&amp;printsec=frontcover&amp;img=1&amp;zoom=1&amp;edge=curl</a></p>\r\nOriginally titled ‘Bonaparte,’ Beethoven’s Eroica Symphony, or Sinfonia eroica, was completed in 1804 in Vienna, Austria. The Eroica (“Heroic”) Symphony is a piece of orchestral instrumental music made up of four parts, said to be “an authentic watershed work” which marks a turning point in modern music (Joseph). “The symphony begins with an Allegro in E-flat that is vigorously scored; a Funeral March in C minor follows which is later developed fugally. After this comes an Allegro scherzo and a Finale, both in E-flat.” (Forbes). This work should be preserved because it broke the rules of classical symphony, exampling true creativity and originality.<!--more-->\r\n\r\nDuring the late 1700’s and early 1800’s, orchestras were still relatively new and were becoming more popular. Lots of new instruments, specifically brass, were being invented due to the industrial revolution, including the French Horn and the Flugelhorn. Pianos, although were already invented and used, became more popular because their construction was improved. Along with new inventions, came improvements (such as valves), and new thinking, such as to use lighter pressure on mouthpieces. All this resulted in popularizing the orchestra.\r\n\r\nThe French declared war on Spain in 1793 which sparked “anti French fervor.” When peace was declared, hatred continued because Napoleon refused to recognize Spain’s leader and installed his own brother to the throne, and this caused nationwide revolt (Calkins). The Industrial Revolution also had a big impact on people’s lives during this time and “stimulated growth in Europe\'s urban centers” and “provided the basis for the West\'s controlling influence over the rest of the world” (Fiero).\r\n\r\nThis work is typical of its time because it was partly inspired by heroism. During the nineteenth century, the Romantics “exalted the creative individual in the person of the hero” (Fiero), and the Eroica Symphony was dedicated to a Napoleon, a hero in Beethoven’s eyes. It was also typical during the nineteenth century to rid of the Enlightenment values of “order, clarity, and rational restraint,” and embrace the Romantic values of spontaneity, imagination, and nonconformity which proves to be true in the Eroica Symphony with its daring length and disorderly elements (Fiero). It was typical because it was an orchestra, and orchestras “grew to grand proportions” in this era (Fiero). Songs that dealt with the theme of death were significant in this time, and the Eroica falls typical to this because it had a Funeral March in its second part. It followed the “standard number and order of movements found in the classical symphony” (Fiero). Another trend popular in this era was Promethean myth, and in the last movement, Beethoven included “musical passages originally written for a ballet on the subject of Prometheus” (Fiero).\r\n\r\nThis work is innovative because it was far longer than any symphony before it - twice the length of Mozart’s or Haydn’s (it is made up of four parts all together totaling about forty five minutes and thus was usually performed first, as Beethoven suggested in a note on the original edition of Eroica). “Besides being a work of revolutionary import because it greatly extended the possibilities of symphonic form, was significant because it was originally [dedicated] to Napoleon Bonaparte” but Beethoven erased the dedication when Napoleon became emperor (“Beethoven…”). This work is “‘unusual’ and ‘fantastic,’ combining ‘heterogeneous’ elements” (Sipe). It is unusual because instead of the traditional two themes, it has six, and instead of the traditional minuet there is a “scherzo.” Using the musical dynamics of “gradations of loudness and softness” set him as “more explicit and varied than his classical predecessors” (Fiero). “The forcefulness, expanded range and evident radical intent of [Eroica Symphony] sets [it] apart from symphonies in the 18th-century tradition” (Joseph).\r\n\r\nThere was mixed initial reception for this piece. Some believed this was Beethoven’s masterpiece and is the “true style for high-class music,” others claimed it has no artistic value and failed to achieve “beauty or true sublimity and power,” and others stood in between saying it “contains many beauties but concedes that the connection is often disrupted entirely” (Sipe). Also, the length of this symphony was a common complaint. In 1805, the Eroica Symphony was reviewed and praised as a “splendid artistic production” (Forbes). But in contrast, another reviewer “was disturbed that this symphony lacked overall unity as a result of many ‘glaring and bizarre’ elements” (Reynolds). In particular, Friedrich Weber, the director of the Prague Conservatory, referred to the Eroica as an “abortion” (Sipe).\r\n\r\nDuring time, critic’s judgments were softened, and after 1805, negative critics were scarce. By 1807, it was “favorably acknowledged by both experts and amateurs” (Sipe). Today, the Eroica Symphony is considered Beethoven’s greatest achievement, a landmark, as it perfected the new ‘symphonic ideal.’ It also is believed that it “initiates a new era for the arts and … is definitive for the realm of musical art” (Marx).\r\n\r\nI believe this work is wonderful. The first movement particularly gives me a sense of prestige and importance. There are some slow soft calming parts throughout the whole piece, which I enjoy, and there are upbeat loud exciting parts which I also enjoy. Through my research, I now understand the history behind this work, and it is not “just another classical music song” to me, but a representation of innovation and creativity. It is especially interesting to me because it is nearly an hour long, and I find that incredible for one piece of music.\r\n\r\nWritten in 1830, Berlioz’s “Symphonie fantastique” is under the “program music” category, as well is the Eroica. Program music is “instrumental music endowed with a specific literary or pictorial content indicated by the composer” (Fiero). Both of these pieces are similar in length; Symphonie fantastique is also nearly an hour long. They are also alike in their reception. Wagner says Symphonie fantastique is “rich in inspiration and imagination; flawed but the work of a genius” (Barry). While the Eroica is said to possess originality, Berlioz’s work is also said to have “boldness and originality” (Hugh). These two symphonies both start off with an Allegro and have a march and a finale. Both of these works were inspired by their artist’s love of another person; Beethoven’s idolization of Napoleon, and Berlioz’s love for a woman.\r\n\r\nDifferences are that Berlioz’s work has five parts, where Beethoven’s has only four. A characteristic of “Symphonie fantastique” is that it has “idée fixe” (“fixed idea”) where he “links a specific mood or event to a musical phrase” (Fiero), which is not seen in the Eroica. This symphony is about a musician’s “opium-induced dream” (Fiero). “At one stroke the symphony as a form became a fully-fledged medium of explicit drama,” (Hugh), where the Eroica is not necessarily seen as a drama. Symphonie fantastique has a sequel, “<em>Le retour à la vie</em>” and the Eroica does not have a sequel.\r\n\r\nThe most significant thing for future generations to be aware of about the Eroica Symphony is that it broke the rules of classical symphony. This piece is an example that you can stray from the norm and achieve amazing. You don’t have to stick to the rules or fit in with the styles of music in order for it to be great. The Eroica Symphony possesses creativity and originality definitely worth preservation for future generations and music lovers to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nBarry Millington, et al. \"Wagner.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/grove/music/29769-2001-10-31pg1&gt;.\r\n\r\nThis article is about Wagner’s early life and career, as well as some of his family members. I used this for his review of Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\n\"Beethoven, Ludwig van.\" <em>The Oxford Dictionary of Music</em>, 2nd ed. rev. Ed. Michael Kennedy. <em>Oxford</em><em> Music Online</em>. 13 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/opr/237/e1035&gt;.\r\n\r\nThis is an article about Beethoven and his life in Vienna and his influence. This is a source where I found out about the original dedication to Napoleon.\r\n\r\n&nbsp;\r\n\r\nCalkins, Susanna. \"La Saragossa.\" <em>Great Lives from History: The Nineteenth Century</em>. Ed. John Powell. 4 vols. Salem Press, 2007. <em>Salem</em><em> History</em> Web. 24 Oct. 2011.\r\n\r\nThis is an article about “La Saragossa.” I used this for reference to historical context.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\nThis is a textbook about Humanities with mentions of history, art, and ideas around the world. I used this source for historical context and typical trends and styles of its time as well as specific descriptions of the Eroica Symphony and Symphonie fantastique.\r\n\r\n&nbsp;\r\n\r\nForbes, Elliot. <em>Thayer\'s Life of Beethoven</em>. 1. Princeton University Press, 1992. eBook. &lt;http://books.google.com/books/feeds/volumes?q=0-691-09103&gt;.\r\n\r\nThis is a book about Beethoven; a biography, his works, and reception. This source was used for the brief description of the work, and receptions from its time.\r\n\r\n&nbsp;\r\n\r\nHugh Macdonald. \"Berlioz, Hector.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 27 Oct. 2011.\r\n\r\nThis article is about Berlioz’s symphonies. I used it to find information in order to compare “Symphonie fantastique” with the Eroica.\r\n\r\n&nbsp;\r\n\r\nJoseph Kerman, et al. \"Beethoven, Ludwig van.\" <em>Grove Music Online</em>. <em>Oxford</em><em> Music Online</em>. 18 Oct. 2011 &lt;http://www.oxfordmusiconline.com.lsproxy.austincc.edu/subscriber/article/groe/music/40026pg14&gt;.\r\n\r\nThis is an article about Beethoven’s life; childhood, his works, influence and reception. This source I used for helping support my thesis.\r\n\r\n&nbsp;\r\n\r\nMarx, Adolf Bernhard. <em>Musical form in the age of Beethoven: selected writings on theory and method</em>. Cambridge University Press, 1997. eBook.\r\n\r\nThis is a book about Marx’s progressive program, and a detailed critical analysis of the Eroica. This source I used for today’s reception.\r\n\r\n&nbsp;\r\n\r\nReynolds, Christopher. <em>Beethoven Forum</em>. 1. U of Nebraska Press, 1992. eBook.\r\n\r\n&lt;http://books.google.com/books/feeds/volumes?q=9780803239067&gt;.\r\n\r\nThis book is a compilation of many different studies on Beethoven. I used this source to find a negative review of Eroica.\r\n\r\n&nbsp;\r\n\r\nSipe, Thomas. <em>Beethoven, Eroica symphony </em>. Cambridge University Press, 1998. eBook.\r\n\r\nThis book examines the Eroica symphony; politics, aesthetics, reception, and musical meaning. This is a source I used to find out the receptions (positive and negative) of the work from when it was first performed.','Beethoven\'s Eroica Symphony','','inherit','open','open','','2003-revision-7','','','2011-10-31 20:58:45','2011-11-01 02:58:45','',2003,'http://jeanatacc.com/2011/?p=2011',0,'revision','',0),(2012,41,'2011-10-31 20:59:56','2011-11-01 02:59:56','','Five Bennet Sisters','The Five Bennet Sisters http://tinyurl.com/3mr6t7y','inherit','open','open','','group','','','2011-10-31 20:59:56','2011-11-01 02:59:56','',2000,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/group.jpg',0,'attachment','image/jpeg',0),(2013,41,'2011-10-31 21:02:29','2011-11-01 03:02:29','','Portrait of Jane Austen http://tinyurl.com/3mr6t7y','Portrait of Jane Austen http://tinyurl.com/3mr6t7y','inherit','open','open','','jane','','','2011-10-31 21:02:29','2011-11-01 03:02:29','',2000,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg',0,'attachment','image/jpeg',0),(2014,41,'2011-10-31 21:03:53','2011-11-01 03:03:53','','The Five Bennet Sisters Source: http://tinyurl.com/3mr6t7y','The Five Bennet Sisters Source: http://tinyurl.com/3mr6t7y','inherit','open','open','','group-2','','','2011-10-31 21:03:53','2011-11-01 03:03:53','',2000,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1.jpg',0,'attachment','image/jpeg',0),(2015,41,'2011-10-31 21:06:01','2011-11-01 03:06:01','','Colin Firth as Mr. Darcy Source: http://en.paperblog.com/talking-jane-austen-84059/','Colin Firth as Mr. Darcy Source: http://en.paperblog.com/talking-jane-austen-84059/','inherit','open','open','','darcy','','','2011-10-31 21:06:01','2011-11-01 03:06:01','',2000,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy.jpg',0,'attachment','image/jpeg',0),(2016,41,'2011-10-31 21:08:02','2011-11-01 03:08:02','','Five Bennet Daughters with Mother Source: http://tinyurl.com/69dbq5p','Five Bennet Daughters with Mother Source: http://tinyurl.com/69dbq5p','inherit','open','open','','5daughters','','','2011-10-31 21:08:02','2011-11-01 03:08:02','',2000,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters.jpg',0,'attachment','image/jpeg',0),(2066,49,'2011-11-09 21:28:37','2011-11-10 03:28:37','Tchaikovsky’s Swan Lake\r\n\r\n	Swan Lake is a monumental ballet composed in 1875 that was the center stage of Romantic ballet. While telling the story of the beautiful Swan Princess Odette, this ballet is able to show the innovations in theatrical effects and its showcase of new styles such as pointe shoe dancing.\r\n	Commissioned by Vladmir Petrovich Begichev of the Russian Imperial Theatres(1), it was very unsuccessful in its first running. It wasn’t until famous choreographers Petipa and Ivanov’s revision did the ballet become what it destined to be, a raging hit. The modern Swan Lake is based on the revision.\r\n	Swan Lake is about Princess Odette who is turned into a swan by the evil Sorcerer Rothbart who is both part Swan and human. After her imprisonment, the handsome Prince Siegfried goes on a hunting trip and sees the beautiful Odette who is only able to become human again during the night. He instantly falls in love. Odette explains to him that only when a man vows true love to her will the spell be broken. He invites her to his birthday party where he plans on vowing his love to her. Aware of his plans, Rothbart send his daughter, the Black Swan in her place. On accident, he vows his love to the black swan and Odette is distraught. Realizing what he’s done, he flees to the lake and tells Odette that he would rather be dead the vow his love to someone else. They then recede into the lake together and the ballet ends.\r\n	Swan Lake is a Romantic Era ballet and it lives up to the characteristics of its time.  The previous Classical Era was all about restraint and restriction. The Romantic era was the complete opposite with creativity and imagination greatly encouraged. “The heroine of romantic ballets symbolized the elusive ideas and love and beauty that were a favorite subject of the romantic poet.”(3) Most of these ballets centered around the angelic female and the ideal romantic ballerina was a version of the eternal female.  A main component of the romantic style is the fixation of the supernatural. This includes Rothbart and Odette being turned into a swan. Many of the ballets and artworks during this period shed light from eternal beings and folk tales. Swan Lake was composed based on Russian mythology. Also, eternal love was a common theme. Dancing en pointe was also popular during this time period. “It was perhaps Marie Taglioni who, at the height of the Romantic Era, developed the aesthetic beauty of pointe work, which enabled her to appear ethereal and weightless.”(4) This weightlessness along with new gaslight theatre lighting helped create beautiful scenes where the ballerina actually appears to “float”.\r\n	During the time of its first running, Swan Lake had great difficulty and wasn’t very popular. The music was thought to be very difficult to dance to. The original choreographer, Julius Reisinger, required demanding physical skill from his dancers to perform flawlessly. It was even said that “The prestige with performing Swan Lake flawlessly was invaluable.”- Unknown. The revised version we see today is fantastic. It has been performed and adapted by ballet troupes for almost 150 years. \r\n	I have never seen Swan Lake personally but the clips that I have been able to find are fascinating. The ballerina’s are so fluid and graceful. It makes sense though because they are portraying swans. Like the Romantic era, women dominate the roles with just two men, the sorcerer Rothbart and Prince Siegfried. The dances are beautiful and I think future generations should be able to see Romantic ballet at its best. \r\n\r\nWorks Cited\r\n1.	\"A Profile of Swan Lake: The History of Swan Lake.\" Classical Music at About.com - Classical Music for Beginners and Experts Alike. Web. 29 Oct. 2011. .\r\n\r\n2.	\"Swan Lake Story | English National Ballet.\" English National Ballet - The Home of Ballet. Web. 29 Oct. 2011. .\r\n\r\n3.	http://www.youtube.com/watch?v=gkzf9sYQYJc&amp;feature=related\r\n\r\n\r\n4.	\"To The Pointe -- A Brief History of the Pointe Shoe.\" Parke Family Web Site. Web. 09 Nov. 2011. .\r\n\r\n','Tchaikovsky\'s Swan Lake','','inherit','open','open','','2062-revision-2','','','2011-11-09 21:28:37','2011-11-10 03:28:37','',2062,'http://jeanatacc.com/2011/?p=2066',0,'revision','',0),(2018,44,'2011-10-31 21:22:52','2011-11-01 03:22:52','<p style=\"text-align: center\"> </p>\r\n\r\n\r\n[caption id=\"attachment_2022\" align=\"aligncenter\" width=\"605\" caption=\"http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/gettysburg-address.jpg\"><img class=\"size-full wp-image-2022\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/gettysburg-address.jpg\" alt=\"\" width=\"605\" height=\"412\" /></a>[/caption]\r\n<p style=\"text-align: center\"><span style=\"text-decoration: underline\">“Four score and seven years ago”</span></p>\r\n               One of the most famous quotes in the country starts off with “Four score and seven years ago” it’s quoted in movies, said by our children when they are growing up, it was first said by President Abraham Lincoln back on November 19, 1863 at the Gettysburg Memorial Dedication. The speech was given in a ceremony by Abraham Lincoln that was over the graves of the men who fought in the battle of Gettysburg “four and half months before” (Roy P. Balser). I would like for you to get a better understanding behind the picture above by the time that you are done with reading; the picture above that was taken by Mathew Brady himself. This is the only photo that was taken at the time that had the current President Abraham Lincoln in it (that has shown up on the market). There are a lot of controversial things that were correlated to Mathew Brady with him taking photos during the Civil War and we will touch a bit on that as well. This photo is something that has an impact on history and is the photo of a piece of land that is this part of this countries historical landmark.<!--more-->\r\n\r\n               The picture at the top of this page was taken on November 19, 1863 at the Gettysburg Memorial Dedication. This, like I have already said the only photo that has ever shown up from that day with the Abraham Lincoln in it. President Lincoln only spoke at the dedication for “hardly more than two minutes in length” (Owen Edwards) but the speech (at least the start of it) has been stuck and embedded into the minds of the youth over and over again in each generation. There was another guy by the name of Edward Everett who at that time was a senator in the state of Massachusetts. Everett’s speech did not become as famous as President Lincoln’s did, nor was Everett’s speech short, it is said that Everett’s speech was just a bit longer than two hours long. “Harry Rubenstein who is on the board of politics with the Smithsonian was quoted saying “Everybody says the same thing about the ceremony: Lincoln gave a great speech and Everett spoke for two hours.\" (Own Edwards)\r\n\r\n               There are over 6,000 photos that have been stored in museums around this country about the Civil War. There are pictures of before and after battles, but there has not been one picture that has popped up of actual battlefield pictures; most of these pictures will have the name Mathew Brady to it as the photographer. He had helpers that also took photos for him too and those men will have their name on the photo, but not all of Mathew Brady’s men made it through the war alive, and back then there were no copyright laws on photos. So it is said that Mathew Brady stole photos from those were working for him or taking pictures after they had been killed in a battle and published them as his work; but no one can actually prove or disprove it. This photo though, at the Gettysburg Memorial Dedication is in fact a photo taken by Mathew Brady he was known to be there and there is no question that he would have past this up due to the war was in a stall and no large battles were being faught.\r\n\r\n               The photo as you can see above is a very dark photo. Even though it is in the summer it looks like it might have been a cold day, but personally think that is just due to the fact it is in black and white, and a little over hundred years old.  The picture is blurry and it is hard to make out at first if that is Abraham Lincoln in the middle but on a different website you can see it blown up and tell that it is Abraham Lincoln (<a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a>).\r\n\r\n               This photo was typical of the time due to that others were taking pictures of a speech given by a President Lincoln, or of a speech being given by someone. Something that is a good comparison from that time would have to be the photo of Lincolns 2<sup>nd</sup> Inaugural speech in 1864 shortly after he gave his speech in Gettysburg, West Virginia. In both instances they expected something meaningful to be said and there was a large group around to listen to him. If you look at a picture before this time they aren’t as clear and focused as these two photos are.\r\n\r\n               This helps make the photo more innovated for its time, because people were taking photos but the only good ones that came out clear were the ones that were standing put for a long period of time. Mathew Brady was an innovated person with thinking that someone should photographically document a war so people can actually be able to get pictures from the front lines of the battlefields. Showing pictures of men at camps on their free time, as men got ready for a fight, and the carnage that was left behind after the last shot of that battle was fired. The fact that he thought of hiring people to take photos for him so he could be able to get just about every single battle so nothing would be missed (unless his men had died during a battle).\r\n\r\n               This pictured could be compared to a photo now of one of our presidents or a famous person who has gone over seas to our troops in the Middle East to raise their spirits while they are away from their family and fighting for their country. But one photo that would be really well compared to this photo would be the one where President Bush had a conference talking to everyone letting them know what had happened on September 11, 2001. President Bush acted just like Abraham Lincoln and gave a short but meaningful speech to the public and didn’t try to do too much at one time.\r\n\r\n               The pictures at that time came across in a positive and negative way.  I know that people didn’t really like his photos because they weren’t a fan of him due to they had heard he took others who had died photos and developed them and published them as his. But this photo itself of Abraham Lincoln was mostly liked because of the fact it was of the Gettysburg Memorial Dedication and that everyone knew of how large the number of deaths on that battlefield and it was a speech by Lincoln and he didn’t do many speeches (The people also had pushed for Abraham Lincoln to do a speech trying to get the two sides to stop fighting since so many people were dying. Lincoln was too busy to give a speech until the day he gave this speech to the public. This is just another meaning that allows this photo to be so meaningful.).\r\n\r\n               I think that majority of the people today like this picture (if they are happy with the way the Civil War ended). It is something that has so much meaning. When the picture was found it was taken and stored in the Smithsonian so it would never be ruined, and we would have this meaningful piece of history for everyone to see. Mathew Brady has a lot of photos from the Civil War that are well loved and hated (due to the graphic of some of them), but the fact they are all a part of history and showing something that had never been seen before at that time unless you had been on the front lines fighting yourself wants to make you like them.\r\n\r\n               I love Mathew Brady’s work. Now do I honestly think he took all the pictures of the war that he has his name credited to? No, not at all do I think he might have taken a lot of them yes.  Without these photos then we would have no visual images of the war of what took place during the down time. His photo of the Gettysburg Address is something that I love because of the fact that, that one picture even though taken after the battle help change the mentality of people who had fought in the war. It is also the only photo that has Abraham Lincoln on the battlefield talking about what had taken place, motivating this country to come to a halt with the war. The most meaningful thing about this picture is probably something that is not going to be meaningful to someone else, but in the background (behind everyone) of where this picture is taken is where my family’s farm sat before the war.\r\n\r\n               This photo amongst other photos by Mathew Brady should be preserved for the fact that this is one if not the worst war in our country’s history. This photo alone is where one battle that took place killing thousands (actual number is still not known) of men in one battlefield. This photo is taken during a speech by the president at the time who was trying to convince the people of this country to stop fighting and just reside because the killing was becoming too high. This photo is also a reminder that this country was different and that slavery was wrong and that if we fall back that way the many more men and women would die just like they did on that field that day in July.\r\n\r\n&nbsp;\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Bibliography</span></p>\r\n\r\n<ol>\r\n	<li>Abraham Lincoln Online; by Roy P. Balser; October 17, 2011 <a href=\"http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm\">http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm</a></li>\r\n	<li>Abraham Lincoln and the Gettysburg Address Lincoln Mentions Government “Of the people, by the people, and For the People”; by Robert McNamara; About.com Guide; October 17<sup>th</sup>, 2011 <a href=\"http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm\">http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm</a></li>\r\n	<li>Gettysburg Address Displayed at Smithsonian; by Owen Edwards; Smithsonian Magazine, December 2008;   <a href=\"http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html\">http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html</a></li>\r\n	<li>Teaching With Documents: The Civil War as Photographed by Mathew Brady, by Douglas Perry, National Archives, October 31, 2011 <a href=\"http://www.archives.gov/education/lessons/brady-photos/\">http://www.archives.gov/education/lessons/brady-photos/</a></li>\r\n	<li>Types of Hauntings in Gettysburg, by: Natalie Lynn, 2006, October 31, 2011, <a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a></li>\r\n</ol>','\"Four Score and seven years ago\"','','publish','open','open','','four-score-and-seven-years-ago','','','2011-10-31 21:27:07','2011-11-01 03:27:07','',0,'http://jeanatacc.com/2011/?p=2018',0,'post','',18),(2019,41,'2011-10-31 21:22:33','2011-11-01 03:22:33','[caption id=\"attachment_2013\" align=\"alignleft\" width=\"292\" caption=\"Portrait of Jane Austen Source: http://www.janeaustenfestival.org/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\"><img class=\"size-full wp-image-2013 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\" alt=\"\" width=\"292\" height=\"224\" /></a>[/caption]\n<p align=\"left\"><em>Pride and Prejudice</em> was completed in August of 1797 by Jane Austen and is an epic and cautionary tale about marriage.  Don’t let that fact discourage you from enjoying this piece of literary excellence. It is a book about how personal pride and unknown prejudices can ruin lives, devastate families, divide generations and drive life-long wedges between people. Fortunately, it is also a book about overcoming obstacles, healing personal flaws, avoiding catastrophes and forming a love-filled marriage based on mutual respect. This iconic piece of literature must be preserved for all future generations because <em>Pride and Prejudice</em> changed the world by offering insight into how married life could be both disastrous and wonderful.<!--more--></p>\n<p align=\"left\">The protagonist of the story is Miss Elizabeth Bennet. She is considered Jane Austen’s most memorable feminine heroine, and her intelligent and strong-willed character single-handedly effects a monumental change in societal views that is still heralded, discussed, debated and agonized over today, some 214 years after the novel was completed [Marsh].  The classic and well-loved story was published in 1813 and details the life of Elizabeth Bennet, as she confronts issues of etiquette, manners, morality, education and marriage in the society of the affluent classes during early 19th-century England.</p>\n<p align=\"left\">Elizabeth is the second of five daughters and part of a middle-class family that lives near the fictional English town just outside of London. The original title of this work was <em>First Impressions</em> but I am pleased that the title was changed to <em>Pride and Prejudice </em>[Shields]. The fictional story focuses on a myriad of prejudices that each of us acquire as we travel through our lives and how our pride can cloud our view of others. The storyline clearly shows how one’s decisions are influenced by unknown prejudices and stubborn haughtiness. The end result of this fictional work is a message that is timeless.</p>\n<p align=\"left\">Miss Bennet miserably suffers through the typical adventures of an early 19th-century middle-class woman with the constant shadow of societal expectations looming over her shoulder. Bennet and the other five eligible females in the story are counted upon to land well-established, wealthy and aristocratic husbands starting around their sixteenth birthday. These marriages were often the means by which families survived, plain and simple. Therefore, grooming their daughters in an effort to secure a rich son-in-law was paramount to all middle-class families. Daughters were generally compliant and actively participated in the delicate dance of snaring an eligible (and wealthy) husband. However, Miss Bennet differs greatly from her peers because she is highly self-reliant, well-read, assertive, independent and strong-willed. And, she is not so sure that a “good marriage” is actually possible for any woman.</p>\n\n\n[caption id=\"attachment_2014\" align=\"alignright\" width=\"300\" caption=\"The Five Bennet Sisters Source: http://tinyurl.com/3mr6t7y\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1.jpg\"><img class=\"size-medium wp-image-2014\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1-300x211.jpg\" alt=\"\" width=\"300\" height=\"211\" /></a>[/caption]\n<p align=\"left\">She is not mesmerized by the gentry (what the upper-middle-class were often called) or the aristocracy and does not fall prey to the typical aristocratic and societal expectations. Bennet is not the typical young woman of the early 1800s. She abhors arrogance and much to her frustration, finds it in abundance among aristocratic men. According to the tenets of society, Bennet, her four sisters and their family friend, Charlotte Lucas, <em>require</em> husbands. There was no other means available for a young woman to make her way in the world besides riding on the coattails of a husband. Men were the only ones allowed to own land and other property. Even if a woman inherited a fortune, it was rare that she was allowed to manage it or even touch any of it. Women were considered too delicate and unsophisticated to have financial or business minds. Bennet was hearing none of that and remained head-strong.</p>\n<p align=\"left\">Austen’s tale accompanies the six women through various garden parties, drawing rooms, ballrooms and dramatic performances on their way to finding their perfect match. Most of the interactions between the characters in the book are quite interesting including the possibility of cousins marrying each other, sex before marriage, social class rivalries and dramatic verbal altercations. Critics of Austen’s work have generally discounted the authenticity of her writing because she rarely mentions the undercurrent of real-world political events that were in existence at the time [Watt]. The plot of <em>Pride and Prejudice</em> does not introduce these women to the historical events swirling around them and some say that fact is a shortcoming of Austen’s writing. In the story, there are off-handed and miscellaneous references to the excitement surrounding soldiers visiting the quaint town, including the blackguard George Wickham, but the intricate details of the political upheaval in England are skillfully ignored by Austen. It appears to modern-day readers that Austen has tried to focus her novel on bringing to light the strict marital obligations placed upon young women of the day and she carves out a picture-perfect environment and does not allow the fears of revolution in Great Britain to encroach on her story.</p>\n<p align=\"left\">Austen has also been criticized for writing about what she knew, and that mundane topics were not scintillating enough for the newer and more discerning reader of  the early 1800\'s [Shields]. The world of 19<sup>th</sup> Century England and the pressures on women were the focus of all of her books. I don’t find this unusual or lacking at all. It was natural for Austen to write about being encumbered by society’s expectations because she experienced that in her own life. As a middle-class young woman the political disturbances of the time did not affect her much. Nor did it affect the characters she conceived in <em>Pride and Prejudice</em>.</p>\n<p align=\"left\">When Austen began laying the foundation for this novel, in 1796, the British government was still reeling after their devastating loss of thousands men in battle against the Colonists, and they had depleted their coffers to the tune of an estimated $100 million in the fight to maintain control over the thirteen colonies [Fiero]. The political climate in Great Britain was horrific when the remnants of that war were coupled with their four-year-long conflict with France. Toward the end of her writing <em>Pride and Prejudice</em>, in 1797, the British began the blockade of Spain and this move brought further political uproar. Great Britain had become a shadow of its former self and Austen may have intentionally ignored the political chaos and written the novel as an enormous distraction for the nation. In fact, she does not mention the Napoleonic wars a single time in any of her nine novels [Shields].</p>\nGenerally, popular literary work of the time was either romantically sentimental to the point of being sickening sweet and unrealistic or Gothic-related horror. This type of sensationalism repelled Austen and she refused to construct her novels in a similar fashion. For example, <em>The Castle of Otranto</em> (Horace Walpole, 1765) and <em>The Mysteries of Udolpho</em> (Ann Radcliffe, 1794) were set in far-off, unrealistic places and filled with princes, dukes, and counts. These two novels were also known for their “violent, horrific and often supernatural action,” states Marsh. Readers were so used to being taken on a fantasy ride while reading a novel that they considered Austen’s <em>Pride and Prejudice</em> boring when it was published. Her book was not typical of its era because it was written in a ironic style that showed that ordinary, real life in a familiar town could also be malicious and terribly cruel.\n\n[caption id=\"attachment_2015\" align=\"alignleft\" width=\"174\" caption=\"Colin Firth as Mr. Darcy Source: http://en.paperblog.com/talking-jane-austen-84059/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy.jpg\"><img class=\"size-medium wp-image-2015\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy-174x300.jpg\" alt=\"\" width=\"174\" height=\"300\" /></a>[/caption]\n\nAnother reason why Austen’s <em>Pride and Prejudice</em> was considered unusual for its time was because it was one of the first books that blatantly addressed society’s oppression of women. Her creation of a complex main character that was embarrassed by her own family’s etiquette and yet wanted to defend their right to be themselves (no matter what their habits may be) had never been seen in a main character before [Baker]. At one point in the story, Bennet refuses a marriage proposal from Mr. Darcy (the richest and most well bred aristocrat in all of England), she does so with such insolence, and audacity that the readers must have gasped, dropped their snuffboxes, and tossed the book across the room upon reading that section. Refusing a man such as Mr. Darcy was simply <em>not done</em>. Nor were stories of such ill-mannered behavior told in polite society. Miss Elizabeth Bennet was, indeed, a rebel and created a storm of controversy. Click here to watch the scene where Elizabeth rebuffs Mr. Darcy and his proposal of marriage:<a href=\"http://www.youtube.com/watch?v=BJX5_rj2lZg\">Elizabether refuses Mr. Darcy Source: http://www.youtube.com/watch?v=BJX5_rj2lZg</a>\n<p align=\"left\">Sadly, it was not until after her death in 1817, at the age of 42, that her writing managed to gain popularity with the English. <em>Pride and Prejudice</em>, in particular, has become one of the most popular novels in English literature, and receives considerable attention from literary scholars. Modern interest in the book has resulted in a large number of dramatic versions and a profusion of novels and tales imitating Austen\'s memorable characters and themes about strong-willed and independent women. <em>Pride and Persuasion</em> has sold more than 20 million copies worldwide, been made into several movies, mini-series dramas, and plays [Marsh].</p>\n<p align=\"left\">When researching the scholarly view of Austen’s work, I stumbled across an organization called the English Association. This body of work was created after the First World War (WWI) when many pieces of English Literature were lost during the skirmishes of war. The organization was founded by A.C. Bradley, a University professor and advocate for placing Austen’s work on the Association’s list of English Literature to be studied on the University level. In his 1911 lecture, A.C. Bradley stated, “I was meant to fall in love with her [Bennet], and I do.” The popularity of Austen’s work was greatly elevated in the years immediately following WWI, as shown in the mention of her work in Rudyard Kipling’s <em>The Janeites</em> (1922). Kipling speaks of soldiers reading Austen\'s books (<em>Pride and</em> <em>Prejudice</em> in particular) in the trenches of war to uplift their spirits. Baker states in his review of <em>Jane Austen Once More</em> that Austen’s work had a “class-less appeal that helped severely shell-shocked soldiers through the healing process” after WWI. The Jane Austen Society, created during the Blitz, was hell-bent on preserving and restoring Austen’s texts as if Jane Austen was a saint and her writings were prized relics. [Baker]</p>\n<p align=\"left\">This book has impacted my life in many ways. I know men and women that have entered into marriages for reasons other than love. It happens every single day, actually. I believe that people spend more time choosing a house than a life partner. I do not see that will change anytime in the future. One poignant moment in the book was when, speaking of her mother, Elizabeth Bennet\'s father says that he \"had married a woman whose weak understanding and illiberal mind had, very early in their marriage, put an end to all real affection for her.\" He admitted to his daughter that he had not thought things through when he married her mother. He further stated that he was, \"captivated by youth and beauty, and that appearance of good humour\" and then had tears in his eyes when he admitted he had not loved his wife in years [Austen]. This innocent and touching conversation in the father\'s library affected me deeply.  I have often wondered if my parents have felt the same way as Mr. Bennet after their 59 years of marriage.</p>\n<p align=\"left\"> I was also profoundly affected by the thread of prejudice that runs through the book. The prejudices spotlighted in this book are not the usual type of prejudice that we see and hear about today, but they run deep, occur on many levels and for many different reasons. Reading this book has caused me to inspect my own prejudices and see how they may be limiting the experiences in my own life. Sure, readers of this novel should be moved by the numerous events that occur. If nothing else, they should value the microscope that shines a light on all of our own prejudices that magically defy time and place. Today, we have some of the same prejudices that Jane Austen had back in 1796.</p>\n\n\n[caption id=\"attachment_2016\" align=\"alignright\" width=\"300\" caption=\"Five Bennet Daughters with Mother Source: http://tinyurl.com/69dbq5p\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters.jpg\"><img class=\"size-medium wp-image-2016\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters-300x213.jpg\" alt=\"\" width=\"300\" height=\"213\" /></a>[/caption]\n<p align=\"left\"> Marriages are not a means to climb the social ladder, become popular, or support your parents in their old age. Marriages are meant to be a joining of two people with the same goals, aspirations, and visions for their future. It is not enough for a woman to want to find “true love” before she marries. It is not enough for a man to heal his financial ills by obtaining an enormous dowry from his new wife. The back room political and financial wrangling that took place during the time Austen wrote this epic story was always slanted toward the absurd. This book shall stand as an example of what we do <em>not want</em> in marriages of today.</p>\n<p align=\"left\">I suppose I don\'t have to tell you that Simon Langton’s 1995 version of <em>Pride and Prejudice</em> (with Colin Firth) is the only DVD I own. I am thankful that times have changed for women and that the pressure of a \"good marriage\" is not placed squarely on the shoulders of young, naive women. If you are not married yet, read this book and then take time to find a partner that believes in mutual respect and honesty. This book must be preserved for numerous reasons; the very least of which is that it just might save you from entering a bad marriage!  Remember, don\'t judge a book (or a person) by its cover!</p>\n<p align=\"left\"></p>\n<p align=\"left\"><strong>WORKS CITED</strong></p>\n<p align=\"left\"><strong>Austen</strong>, Jane. <em>Pride and Prejudice</em>. London: Penguin, 2003. Print. This is the original, reprinted version of the book that I used to quote Mr. Bennet when he was speaking of his own marriage.</p>\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em></em><em>Pride and Prejudice</em> / Jane Austen; edited with an introduction and notes by Vivien Jones; with the original Penguin Classics introduction by Tony Tanner. Imprint London; New York: Penguin Books, 2008. This is a Biography and I used the Introduction and Notes sections of this Biography, written by Vivian Jones, when referencing the original, reprinted text of <em>Pride and Prejudice</em>.</p>\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em>The Complete Novels of Jane Austen.</em> Imprint New York, The Modern Library 1933  This is a compilation of Jane Austen\'s writing that I used to compare themes regarding strong-willed women characters.</p>\n<p align=\"left\"><strong>Baker</strong>, William.<strong> </strong><em>Jane Austen Once More</em>. Rev. of Jane Austen and The Enlightenment by Peter Knox-Shaw. Studies in the Novel, Fall 2007, Vol. 39 Issue 3, p357-367. Accessed online EBSCO Database on October 31, 2011. Website: http://tinyurl.com/4yfo2nq</p>\n<p align=\"left\"><strong>Fiero</strong>, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 24-26, 2011. This is a college-level course textbook that I used to learn about Jane Austen\'s literary piece called, <em>Pride and Prejudice</em>. I researched romantic stereotypes at the time <em>Pride and Prejudice</em> was written.</p>\n<p align=\"left\"><strong>Marsh</strong>, Nicholas. <em>Jane Austen: The Novels, Analyzing Texts</em>. New York: St. Martin\'s, 1998. Print. I used this analytical study of Jane Austen\'s writing to research how she created her characters from real-life examples, the general view of women in society at the time <em>Pride and Prejudice</em> was written and what the critics thought of this work when it was published.</p>\n<p align=\"left\"><strong>Shields</strong>, Carol. <em>Jane Austen.</em> New York: Viking Penguin, 2001. Print. I used this Biography to research Jane Austen\'s view of her family life and how it manifested itself in her writing. I used the facts of her broken engagement and her view of marriage to compare with the views of the characters she created.</p>\n<p align=\"left\"><strong>Watt</strong>, Ian P. <em>Jane Austen: A Collection of Critical Essays</em>. Englewood Cliffs, NJ: Prentice-Hall, 1963. Print. I used this book of criticisms and interpretations for research about how the book is viewed today.</p>','Don\'t Judge a Book by Its Cover!','','inherit','open','open','','2000-revision-2','','','2011-10-31 21:22:33','2011-11-01 03:22:33','',2000,'http://jeanatacc.com/2011/?p=2019',0,'revision','',0),(2020,44,'2011-10-31 21:21:54','2011-11-01 03:21:54','<a href=\"http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg\">http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg</a>\n\n&nbsp;','\"Four Score and seven years ago\"','','inherit','open','open','','2018-revision','','','2011-10-31 21:21:54','2011-11-01 03:21:54','',2018,'http://jeanatacc.com/2011/?p=2020',0,'revision','',0),(2021,41,'2011-10-31 21:22:36','2011-11-01 03:22:36','[caption id=\"attachment_2013\" align=\"alignleft\" width=\"292\" caption=\"Portrait of Jane Austen Source: http://www.janeaustenfestival.org/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\"><img class=\"size-full wp-image-2013 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\" alt=\"\" width=\"292\" height=\"224\" /></a>[/caption]\r\n<p align=\"left\"><em>Pride and Prejudice</em> was completed in August of 1797 by Jane Austen and is an epic and cautionary tale about marriage.  Don’t let that fact discourage you from enjoying this piece of literary excellence. It is a book about how personal pride and unknown prejudices can ruin lives, devastate families, divide generations and drive life-long wedges between people. Fortunately, it is also a book about overcoming obstacles, healing personal flaws, avoiding catastrophes and forming a love-filled marriage based on mutual respect. This iconic piece of literature must be preserved for all future generations because <em>Pride and Prejudice</em> changed the world by offering insight into how married life could be both disastrous and wonderful.<!--more--></p>\r\n<p align=\"left\">The protagonist of the story is Miss Elizabeth Bennet. She is considered Jane Austen’s most memorable feminine heroine, and her intelligent and strong-willed character single-handedly effects a monumental change in societal views that is still heralded, discussed, debated and agonized over today, some 214 years after the novel was completed [Marsh].  The classic and well-loved story was published in 1813 and details the life of Elizabeth Bennet, as she confronts issues of etiquette, manners, morality, education and marriage in the society of the affluent classes during early 19th-century England.</p>\r\n<p align=\"left\">Elizabeth is the second of five daughters and part of a middle-class family that lives near the fictional English town just outside of London. The original title of this work was <em>First Impressions</em> but I am pleased that the title was changed to <em>Pride and Prejudice </em>[Shields]. The fictional story focuses on a myriad of prejudices that each of us acquire as we travel through our lives and how our pride can cloud our view of others. The storyline clearly shows how one’s decisions are influenced by unknown prejudices and stubborn haughtiness. The end result of this fictional work is a message that is timeless.</p>\r\n<p align=\"left\">Miss Bennet miserably suffers through the typical adventures of an early 19th-century middle-class woman with the constant shadow of societal expectations looming over her shoulder. Bennet and the other five eligible females in the story are counted upon to land well-established, wealthy and aristocratic husbands starting around their sixteenth birthday. These marriages were often the means by which families survived, plain and simple. Therefore, grooming their daughters in an effort to secure a rich son-in-law was paramount to all middle-class families. Daughters were generally compliant and actively participated in the delicate dance of snaring an eligible (and wealthy) husband. However, Miss Bennet differs greatly from her peers because she is highly self-reliant, well-read, assertive, independent and strong-willed. And, she is not so sure that a “good marriage” is actually possible for any woman.</p>\r\n\r\n\r\n[caption id=\"attachment_2014\" align=\"alignright\" width=\"300\" caption=\"The Five Bennet Sisters Source: http://tinyurl.com/3mr6t7y\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1.jpg\"><img class=\"size-medium wp-image-2014\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1-300x211.jpg\" alt=\"\" width=\"300\" height=\"211\" /></a>[/caption]\r\n<p align=\"left\">She is not mesmerized by the gentry (what the upper-middle-class were often called) or the aristocracy and does not fall prey to the typical aristocratic and societal expectations. Bennet is not the typical young woman of the early 1800s. She abhors arrogance and much to her frustration, finds it in abundance among aristocratic men. According to the tenets of society, Bennet, her four sisters and their family friend, Charlotte Lucas, <em>require</em> husbands. There was no other means available for a young woman to make her way in the world besides riding on the coattails of a husband. Men were the only ones allowed to own land and other property. Even if a woman inherited a fortune, it was rare that she was allowed to manage it or even touch any of it. Women were considered too delicate and unsophisticated to have financial or business minds. Bennet was hearing none of that and remained head-strong.</p>\r\n<p align=\"left\">Austen’s tale accompanies the six women through various garden parties, drawing rooms, ballrooms and dramatic performances on their way to finding their perfect match. Most of the interactions between the characters in the book are quite interesting including the possibility of cousins marrying each other, sex before marriage, social class rivalries and dramatic verbal altercations. Critics of Austen’s work have generally discounted the authenticity of her writing because she rarely mentions the undercurrent of real-world political events that were in existence at the time [Watt]. The plot of <em>Pride and Prejudice</em> does not introduce these women to the historical events swirling around them and some say that fact is a shortcoming of Austen’s writing. In the story, there are off-handed and miscellaneous references to the excitement surrounding soldiers visiting the quaint town, including the blackguard George Wickham, but the intricate details of the political upheaval in England are skillfully ignored by Austen. It appears to modern-day readers that Austen has tried to focus her novel on bringing to light the strict marital obligations placed upon young women of the day and she carves out a picture-perfect environment and does not allow the fears of revolution in Great Britain to encroach on her story.</p>\r\n<p align=\"left\">Austen has also been criticized for writing about what she knew, and that mundane topics were not scintillating enough for the newer and more discerning reader of  the early 1800\'s [Shields]. The world of 19<sup>th</sup> Century England and the pressures on women were the focus of all of her books. I don’t find this unusual or lacking at all. It was natural for Austen to write about being encumbered by society’s expectations because she experienced that in her own life. As a middle-class young woman the political disturbances of the time did not affect her much. Nor did it affect the characters she conceived in <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\">When Austen began laying the foundation for this novel, in 1796, the British government was still reeling after their devastating loss of thousands men in battle against the Colonists, and they had depleted their coffers to the tune of an estimated $100 million in the fight to maintain control over the thirteen colonies [Fiero]. The political climate in Great Britain was horrific when the remnants of that war were coupled with their four-year-long conflict with France. Toward the end of her writing <em>Pride and Prejudice</em>, in 1797, the British began the blockade of Spain and this move brought further political uproar. Great Britain had become a shadow of its former self and Austen may have intentionally ignored the political chaos and written the novel as an enormous distraction for the nation. In fact, she does not mention the Napoleonic wars a single time in any of her nine novels [Shields].</p>\r\nGenerally, popular literary work of the time was either romantically sentimental to the point of being sickening sweet and unrealistic or Gothic-related horror. This type of sensationalism repelled Austen and she refused to construct her novels in a similar fashion. For example, <em>The Castle of Otranto</em> (Horace Walpole, 1765) and <em>The Mysteries of Udolpho</em> (Ann Radcliffe, 1794) were set in far-off, unrealistic places and filled with princes, dukes, and counts. These two novels were also known for their “violent, horrific and often supernatural action,” states Marsh. Readers were so used to being taken on a fantasy ride while reading a novel that they considered Austen’s <em>Pride and Prejudice</em> boring when it was published. Her book was not typical of its era because it was written in a ironic style that showed that ordinary, real life in a familiar town could also be malicious and terribly cruel.\r\n\r\n[caption id=\"attachment_2015\" align=\"alignleft\" width=\"174\" caption=\"Colin Firth as Mr. Darcy Source: http://en.paperblog.com/talking-jane-austen-84059/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy.jpg\"><img class=\"size-medium wp-image-2015\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy-174x300.jpg\" alt=\"\" width=\"174\" height=\"300\" /></a>[/caption]\r\n\r\nAnother reason why Austen’s <em>Pride and Prejudice</em> was considered unusual for its time was because it was one of the first books that blatantly addressed society’s oppression of women. Her creation of a complex main character that was embarrassed by her own family’s etiquette and yet wanted to defend their right to be themselves (no matter what their habits may be) had never been seen in a main character before [Baker]. At one point in the story, Bennet refuses a marriage proposal from Mr. Darcy (the richest and most well bred aristocrat in all of England), she does so with such insolence, and audacity that the readers must have gasped, dropped their snuffboxes, and tossed the book across the room upon reading that section. Refusing a man such as Mr. Darcy was simply <em>not done</em>. Nor were stories of such ill-mannered behavior told in polite society. Miss Elizabeth Bennet was, indeed, a rebel and created a storm of controversy. Click here to watch the scene where Elizabeth rebuffs Mr. Darcy and his proposal of marriage:<a href=\"http://www.youtube.com/watch?v=BJX5_rj2lZg\">Elizabether refuses Mr. Darcy Source: http://www.youtube.com/watch?v=BJX5_rj2lZg</a>\r\n<p align=\"left\">Sadly, it was not until after her death in 1817, at the age of 42, that her writing managed to gain popularity with the English. <em>Pride and Prejudice</em>, in particular, has become one of the most popular novels in English literature, and receives considerable attention from literary scholars. Modern interest in the book has resulted in a large number of dramatic versions and a profusion of novels and tales imitating Austen\'s memorable characters and themes about strong-willed and independent women. <em>Pride and Persuasion</em> has sold more than 20 million copies worldwide, been made into several movies, mini-series dramas, and plays [Marsh].</p>\r\n<p align=\"left\">When researching the scholarly view of Austen’s work, I stumbled across an organization called the English Association. This body of work was created after the First World War (WWI) when many pieces of English Literature were lost during the skirmishes of war. The organization was founded by A.C. Bradley, a University professor and advocate for placing Austen’s work on the Association’s list of English Literature to be studied on the University level. In his 1911 lecture, A.C. Bradley stated, “I was meant to fall in love with her [Bennet], and I do.” The popularity of Austen’s work was greatly elevated in the years immediately following WWI, as shown in the mention of her work in Rudyard Kipling’s <em>The Janeites</em> (1922). Kipling speaks of soldiers reading Austen\'s books (<em>Pride and</em> <em>Prejudice</em> in particular) in the trenches of war to uplift their spirits. Baker states in his review of <em>Jane Austen Once More</em> that Austen’s work had a “class-less appeal that helped severely shell-shocked soldiers through the healing process” after WWI. The Jane Austen Society, created during the Blitz, was hell-bent on preserving and restoring Austen’s texts as if Jane Austen was a saint and her writings were prized relics. [Baker]</p>\r\n<p align=\"left\">This book has impacted my life in many ways. I know men and women that have entered into marriages for reasons other than love. It happens every single day, actually. I believe that people spend more time choosing a house than a life partner. I do not see that will change anytime in the future. One poignant moment in the book was when, speaking of her mother, Elizabeth Bennet\'s father says that he \"had married a woman whose weak understanding and illiberal mind had, very early in their marriage, put an end to all real affection for her.\" He admitted to his daughter that he had not thought things through when he married her mother. He further stated that he was, \"captivated by youth and beauty, and that appearance of good humour\" and then had tears in his eyes when he admitted he had not loved his wife in years [Austen]. This innocent and touching conversation in the father\'s library affected me deeply.  I have often wondered if my parents have felt the same way as Mr. Bennet after their 59 years of marriage.</p>\r\n<p align=\"left\"> I was also profoundly affected by the thread of prejudice that runs through the book. The prejudices spotlighted in this book are not the usual type of prejudice that we see and hear about today, but they run deep, occur on many levels and for many different reasons. Reading this book has caused me to inspect my own prejudices and see how they may be limiting the experiences in my own life. Sure, readers of this novel should be moved by the numerous events that occur. If nothing else, they should value the microscope that shines a light on all of our own prejudices that magically defy time and place. Today, we have some of the same prejudices that Jane Austen had back in 1796.</p>\r\n\r\n\r\n[caption id=\"attachment_2016\" align=\"alignright\" width=\"300\" caption=\"Five Bennet Daughters with Mother Source: http://tinyurl.com/69dbq5p\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters.jpg\"><img class=\"size-medium wp-image-2016\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters-300x213.jpg\" alt=\"\" width=\"300\" height=\"213\" /></a>[/caption]\r\n<p align=\"left\"> Marriages are not a means to climb the social ladder, become popular, or support your parents in their old age. Marriages are meant to be a joining of two people with the same goals, aspirations, and visions for their future. It is not enough for a woman to want to find “true love” before she marries. It is not enough for a man to heal his financial ills by obtaining an enormous dowry from his new wife. The back room political and financial wrangling that took place during the time Austen wrote this epic story was always slanted toward the absurd. This book shall stand as an example of what we do <em>not want</em> in marriages of today.</p>\r\n<p align=\"left\">I suppose I don\'t have to tell you that Simon Langton’s 1995 version of <em>Pride and Prejudice</em> (with Colin Firth) is the only DVD I own. I am thankful that times have changed for women and that the pressure of a \"good marriage\" is not placed squarely on the shoulders of young, naive women. If you are not married yet, read this book and then take time to find a partner that believes in mutual respect and honesty. This book must be preserved for numerous reasons; the very least of which is that it just might save you from entering a bad marriage!  Remember, don\'t judge a book (or a person) by its cover!</p>\r\n<p align=\"left\"></p>\r\n<p align=\"left\"><strong>WORKS CITED</strong></p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane. <em>Pride and Prejudice</em>. London: Penguin, 2003. Print. This is the original, reprinted version of the book that I used to quote Mr. Bennet when he was speaking of his own marriage.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em></em><em>Pride and Prejudice</em> / Jane Austen; edited with an introduction and notes by Vivien Jones; with the original Penguin Classics introduction by Tony Tanner. Imprint London; New York: Penguin Books, 2008. This is a Biography and I used the Introduction and Notes sections of this Biography, written by Vivian Jones, when referencing the original, reprinted text of <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em>The Complete Novels of Jane Austen.</em> Imprint New York, The Modern Library 1933  This is a compilation of Jane Austen\'s writing that I used to compare themes regarding strong-willed women characters.</p>\r\n<p align=\"left\"><strong>Baker</strong>, William.<strong> </strong><em>Jane Austen Once More</em>. Rev. of Jane Austen and The Enlightenment by Peter Knox-Shaw. Studies in the Novel, Fall 2007, Vol. 39 Issue 3, p357-367. Accessed online EBSCO Database on October 31, 2011. Website: http://tinyurl.com/4yfo2nq</p>\r\n<p align=\"left\"><strong>Fiero</strong>, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 24-26, 2011. This is a college-level course textbook that I used to learn about Jane Austen\'s literary piece called, <em>Pride and Prejudice</em>. I researched romantic stereotypes at the time <em>Pride and Prejudice</em> was written.</p>\r\n<p align=\"left\"><strong>Marsh</strong>, Nicholas. <em>Jane Austen: The Novels, Analyzing Texts</em>. New York: St. Martin\'s, 1998. Print. I used this analytical study of Jane Austen\'s writing to research how she created her characters from real-life examples, the general view of women in society at the time <em>Pride and Prejudice</em> was written and what the critics thought of this work when it was published.</p>\r\n<p align=\"left\"><strong>Shields</strong>, Carol. <em>Jane Austen.</em> New York: Viking Penguin, 2001. Print. I used this Biography to research Jane Austen\'s view of her family life and how it manifested itself in her writing. I used the facts of her broken engagement and her view of marriage to compare with the views of the characters she created.</p>\r\n<p align=\"left\"><strong>Watt</strong>, Ian P. <em>Jane Austen: A Collection of Critical Essays</em>. Englewood Cliffs, NJ: Prentice-Hall, 1963. Print. I used this book of criticisms and interpretations for research about how the book is viewed today.</p>','Don\'t Judge a Book by Its Cover!','','inherit','open','open','','2000-revision-3','','','2011-10-31 21:22:36','2011-11-01 03:22:36','',2000,'http://jeanatacc.com/2011/?p=2021',0,'revision','',0),(2022,44,'2011-10-31 21:24:23','2011-11-01 03:24:23','','gettysburg-address','http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg','inherit','open','open','','gettysburg-address','','','2011-10-31 21:24:23','2011-11-01 03:24:23','',2018,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/gettysburg-address.jpg',0,'attachment','image/jpeg',0),(2023,44,'2011-10-31 21:22:52','2011-11-01 03:22:52','<a href=\"http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg\">http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg</a>\r\n<p align=\"center\"><span style=\"text-decoration: underline\">“Four score and seven years ago”</span></p>\r\n               One of the most famous quotes in the country starts off with “Four score and seven years ago” it’s quoted in movies, said by our children when they are growing up, it was first said by President Abraham Lincoln back on November 19, 1863 at the Gettysburg Memorial Dedication. The speech was given in a ceremony by Abraham Lincoln that was over the graves of the men who fought in the battle of Gettysburg “four and half months before” (Roy P. Balser). I would like for you to get a better understanding behind the picture above by the time that you are done with reading; the picture above that was taken by Mathew Brady himself. This is the only photo that was taken at the time that had the current President Abraham Lincoln in it (that has shown up on the market). There are a lot of controversial things that were correlated to Mathew Brady with him taking photos during the Civil War and we will touch a bit on that as well. This photo is something that has an impact on history and is the photo of a piece of land that is this part of this countries historical landmark.<!--more-->\r\n\r\n               The picture at the top of this page was taken on November 19, 1863 at the Gettysburg Memorial Dedication. This, like I have already said the only photo that has ever shown up from that day with the Abraham Lincoln in it. President Lincoln only spoke at the dedication for “hardly more than two minutes in length” (Owen Edwards) but the speech (at least the start of it) has been stuck and embedded into the minds of the youth over and over again in each generation. There was another guy by the name of Edward Everett who at that time was a senator in the state of Massachusetts. Everett’s speech did not become as famous as President Lincoln’s did, nor was Everett’s speech short, it is said that Everett’s speech was just a bit longer than two hours long. “Harry Rubenstein who is on the board of politics with the Smithsonian was quoted saying “Everybody says the same thing about the ceremony: Lincoln gave a great speech and Everett spoke for two hours.\" (Own Edwards)\r\n\r\n               There are over 6,000 photos that have been stored in museums around this country about the Civil War. There are pictures of before and after battles, but there has not been one picture that has popped up of actual battlefield pictures; most of these pictures will have the name Mathew Brady to it as the photographer. He had helpers that also took photos for him too and those men will have their name on the photo, but not all of Mathew Brady’s men made it through the war alive, and back then there were no copyright laws on photos. So it is said that Mathew Brady stole photos from those were working for him or taking pictures after they had been killed in a battle and published them as his work; but no one can actually prove or disprove it. This photo though, at the Gettysburg Memorial Dedication is in fact a photo taken by Mathew Brady he was known to be there and there is no question that he would have past this up due to the war was in a stall and no large battles were being faught.\r\n\r\n               The photo as you can see above is a very dark photo. Even though it is in the summer it looks like it might have been a cold day, but personally think that is just due to the fact it is in black and white, and a little over hundred years old.  The picture is blurry and it is hard to make out at first if that is Abraham Lincoln in the middle but on a different website you can see it blown up and tell that it is Abraham Lincoln (<a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a>).\r\n\r\n               This photo was typical of the time due to that others were taking pictures of a speech given by a President Lincoln, or of a speech being given by someone. Something that is a good comparison from that time would have to be the photo of Lincolns 2<sup>nd</sup> Inaugural speech in 1864 shortly after he gave his speech in Gettysburg, West Virginia. In both instances they expected something meaningful to be said and there was a large group around to listen to him. If you look at a picture before this time they aren’t as clear and focused as these two photos are.\r\n\r\n               This helps make the photo more innovated for its time, because people were taking photos but the only good ones that came out clear were the ones that were standing put for a long period of time. Mathew Brady was an innovated person with thinking that someone should photographically document a war so people can actually be able to get pictures from the front lines of the battlefields. Showing pictures of men at camps on their free time, as men got ready for a fight, and the carnage that was left behind after the last shot of that battle was fired. The fact that he thought of hiring people to take photos for him so he could be able to get just about every single battle so nothing would be missed (unless his men had died during a battle).\r\n\r\n               This pictured could be compared to a photo now of one of our presidents or a famous person who has gone over seas to our troops in the Middle East to raise their spirits while they are away from their family and fighting for their country. But one photo that would be really well compared to this photo would be the one where President Bush had a conference talking to everyone letting them know what had happened on September 11, 2001. President Bush acted just like Abraham Lincoln and gave a short but meaningful speech to the public and didn’t try to do too much at one time.\r\n\r\n               The pictures at that time came across in a positive and negative way.  I know that people didn’t really like his photos because they weren’t a fan of him due to they had heard he took others who had died photos and developed them and published them as his. But this photo itself of Abraham Lincoln was mostly liked because of the fact it was of the Gettysburg Memorial Dedication and that everyone knew of how large the number of deaths on that battlefield and it was a speech by Lincoln and he didn’t do many speeches (The people also had pushed for Abraham Lincoln to do a speech trying to get the two sides to stop fighting since so many people were dying. Lincoln was too busy to give a speech until the day he gave this speech to the public. This is just another meaning that allows this photo to be so meaningful.).\r\n\r\n               I think that majority of the people today like this picture (if they are happy with the way the Civil War ended). It is something that has so much meaning. When the picture was found it was taken and stored in the Smithsonian so it would never be ruined, and we would have this meaningful piece of history for everyone to see. Mathew Brady has a lot of photos from the Civil War that are well loved and hated (due to the graphic of some of them), but the fact they are all a part of history and showing something that had never been seen before at that time unless you had been on the front lines fighting yourself wants to make you like them.\r\n\r\n               I love Mathew Brady’s work. Now do I honestly think he took all the pictures of the war that he has his name credited to? No, not at all do I think he might have taken a lot of them yes.  Without these photos then we would have no visual images of the war of what took place during the down time. His photo of the Gettysburg Address is something that I love because of the fact that, that one picture even though taken after the battle help change the mentality of people who had fought in the war. It is also the only photo that has Abraham Lincoln on the battlefield talking about what had taken place, motivating this country to come to a halt with the war. The most meaningful thing about this picture is probably something that is not going to be meaningful to someone else, but in the background (behind everyone) of where this picture is taken is where my family’s farm sat before the war.\r\n\r\n               This photo amongst other photos by Mathew Brady should be preserved for the fact that this is one if not the worst war in our country’s history. This photo alone is where one battle that took place killing thousands (actual number is still not known) of men in one battlefield. This photo is taken during a speech by the president at the time who was trying to convince the people of this country to stop fighting and just reside because the killing was becoming too high. This photo is also a reminder that this country was different and that slavery was wrong and that if we fall back that way the many more men and women would die just like they did on that field that day in July.\r\n\r\n&nbsp;\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Bibliography</span></p>\r\n\r\n<ol>\r\n	<li>Abraham Lincoln Online; by Roy P. Balser; October 17, 2011 <a href=\"http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm\">http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm</a></li>\r\n	<li>Abraham Lincoln and the Gettysburg Address Lincoln Mentions Government “Of the people, by the people, and For the People”; by Robert McNamara; About.com Guide; October 17<sup>th</sup>, 2011 <a href=\"http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm\">http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm</a></li>\r\n	<li>Gettysburg Address Displayed at Smithsonian; by Owen Edwards; Smithsonian Magazine, December 2008;   <a href=\"http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html\">http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html</a></li>\r\n	<li>Teaching With Documents: The Civil War as Photographed by Mathew Brady, by Douglas Perry, National Archives, October 31, 2011 <a href=\"http://www.archives.gov/education/lessons/brady-photos/\">http://www.archives.gov/education/lessons/brady-photos/</a></li>\r\n	<li>Types of Hauntings in Gettysburg, by: Natalie Lynn, 2006, October 31, 2011, <a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a></li>\r\n</ol>','\"Four Score and seven years ago\"','','inherit','open','open','','2018-revision-2','','','2011-10-31 21:22:52','2011-11-01 03:22:52','',2018,'http://jeanatacc.com/2011/?p=2023',0,'revision','',0),(2024,44,'2011-10-31 21:26:51','2011-11-01 03:26:51','<p style=\"text-align: center\"> </p>\r\n\r\n\r\n[caption id=\"attachment_2022\" align=\"aligncenter\" width=\"605\" caption=\"http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/gettysburg-address.jpg\"><img class=\"size-full wp-image-2022\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/gettysburg-address.jpg\" alt=\"\" width=\"605\" height=\"412\" /></a>[/caption]\r\n<p style=\"text-align: center\"><span style=\"text-decoration: underline\">“Four score and seven years ago”</span></p>\r\n               One of the most famous quotes in the country starts off with “Four score and seven years ago” it’s quoted in movies, said by our children when they are growing up, it was first said by President Abraham Lincoln back on November 19, 1863 at the Gettysburg Memorial Dedication. The speech was given in a ceremony by Abraham Lincoln that was over the graves of the men who fought in the battle of Gettysburg “four and half months before” (Roy P. Balser). I would like for you to get a better understanding behind the picture above by the time that you are done with reading; the picture above that was taken by Mathew Brady himself. This is the only photo that was taken at the time that had the current President Abraham Lincoln in it (that has shown up on the market). There are a lot of controversial things that were correlated to Mathew Brady with him taking photos during the Civil War and we will touch a bit on that as well. This photo is something that has an impact on history and is the photo of a piece of land that is this part of this countries historical landmark.<!--more-->\r\n\r\n               The picture at the top of this page was taken on November 19, 1863 at the Gettysburg Memorial Dedication. This, like I have already said the only photo that has ever shown up from that day with the Abraham Lincoln in it. President Lincoln only spoke at the dedication for “hardly more than two minutes in length” (Owen Edwards) but the speech (at least the start of it) has been stuck and embedded into the minds of the youth over and over again in each generation. There was another guy by the name of Edward Everett who at that time was a senator in the state of Massachusetts. Everett’s speech did not become as famous as President Lincoln’s did, nor was Everett’s speech short, it is said that Everett’s speech was just a bit longer than two hours long. “Harry Rubenstein who is on the board of politics with the Smithsonian was quoted saying “Everybody says the same thing about the ceremony: Lincoln gave a great speech and Everett spoke for two hours.\" (Own Edwards)\r\n\r\n               There are over 6,000 photos that have been stored in museums around this country about the Civil War. There are pictures of before and after battles, but there has not been one picture that has popped up of actual battlefield pictures; most of these pictures will have the name Mathew Brady to it as the photographer. He had helpers that also took photos for him too and those men will have their name on the photo, but not all of Mathew Brady’s men made it through the war alive, and back then there were no copyright laws on photos. So it is said that Mathew Brady stole photos from those were working for him or taking pictures after they had been killed in a battle and published them as his work; but no one can actually prove or disprove it. This photo though, at the Gettysburg Memorial Dedication is in fact a photo taken by Mathew Brady he was known to be there and there is no question that he would have past this up due to the war was in a stall and no large battles were being faught.\r\n\r\n               The photo as you can see above is a very dark photo. Even though it is in the summer it looks like it might have been a cold day, but personally think that is just due to the fact it is in black and white, and a little over hundred years old.  The picture is blurry and it is hard to make out at first if that is Abraham Lincoln in the middle but on a different website you can see it blown up and tell that it is Abraham Lincoln (<a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a>).\r\n\r\n               This photo was typical of the time due to that others were taking pictures of a speech given by a President Lincoln, or of a speech being given by someone. Something that is a good comparison from that time would have to be the photo of Lincolns 2<sup>nd</sup> Inaugural speech in 1864 shortly after he gave his speech in Gettysburg, West Virginia. In both instances they expected something meaningful to be said and there was a large group around to listen to him. If you look at a picture before this time they aren’t as clear and focused as these two photos are.\r\n\r\n               This helps make the photo more innovated for its time, because people were taking photos but the only good ones that came out clear were the ones that were standing put for a long period of time. Mathew Brady was an innovated person with thinking that someone should photographically document a war so people can actually be able to get pictures from the front lines of the battlefields. Showing pictures of men at camps on their free time, as men got ready for a fight, and the carnage that was left behind after the last shot of that battle was fired. The fact that he thought of hiring people to take photos for him so he could be able to get just about every single battle so nothing would be missed (unless his men had died during a battle).\r\n\r\n               This pictured could be compared to a photo now of one of our presidents or a famous person who has gone over seas to our troops in the Middle East to raise their spirits while they are away from their family and fighting for their country. But one photo that would be really well compared to this photo would be the one where President Bush had a conference talking to everyone letting them know what had happened on September 11, 2001. President Bush acted just like Abraham Lincoln and gave a short but meaningful speech to the public and didn’t try to do too much at one time.\r\n\r\n               The pictures at that time came across in a positive and negative way.  I know that people didn’t really like his photos because they weren’t a fan of him due to they had heard he took others who had died photos and developed them and published them as his. But this photo itself of Abraham Lincoln was mostly liked because of the fact it was of the Gettysburg Memorial Dedication and that everyone knew of how large the number of deaths on that battlefield and it was a speech by Lincoln and he didn’t do many speeches (The people also had pushed for Abraham Lincoln to do a speech trying to get the two sides to stop fighting since so many people were dying. Lincoln was too busy to give a speech until the day he gave this speech to the public. This is just another meaning that allows this photo to be so meaningful.).\r\n\r\n               I think that majority of the people today like this picture (if they are happy with the way the Civil War ended). It is something that has so much meaning. When the picture was found it was taken and stored in the Smithsonian so it would never be ruined, and we would have this meaningful piece of history for everyone to see. Mathew Brady has a lot of photos from the Civil War that are well loved and hated (due to the graphic of some of them), but the fact they are all a part of history and showing something that had never been seen before at that time unless you had been on the front lines fighting yourself wants to make you like them.\r\n\r\n               I love Mathew Brady’s work. Now do I honestly think he took all the pictures of the war that he has his name credited to? No, not at all do I think he might have taken a lot of them yes.  Without these photos then we would have no visual images of the war of what took place during the down time. His photo of the Gettysburg Address is something that I love because of the fact that, that one picture even though taken after the battle help change the mentality of people who had fought in the war. It is also the only photo that has Abraham Lincoln on the battlefield talking about what had taken place, motivating this country to come to a halt with the war. The most meaningful thing about this picture is probably something that is not going to be meaningful to someone else, but in the background (behind everyone) of where this picture is taken is where my family’s farm sat before the war.\r\n\r\n               This photo amongst other photos by Mathew Brady should be preserved for the fact that this is one if not the worst war in our country’s history. This photo alone is where one battle that took place killing thousands (actual number is still not known) of men in one battlefield. This photo is taken during a speech by the president at the time who was trying to convince the people of this country to stop fighting and just reside because the killing was becoming too high. This photo is also a reminder that this country was different and that slavery was wrong and that if we fall back that way the many more men and women would die just like they did on that field that day in July.\r\n\r\n&nbsp;\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Bibliography</span></p>\r\n\r\n<ol>\r\n	<li>Abraham Lincoln Online; by Roy P. Balser; October 17, 2011 <a href=\"http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm\">http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm</a></li>\r\n	<li>Abraham Lincoln and the Gettysburg Address Lincoln Mentions Government “Of the people, by the people, and For the People”; by Robert McNamara; About.com Guide; October 17<sup>th</sup>, 2011 <a href=\"http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm\">http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm</a></li>\r\n	<li>Gettysburg Address Displayed at Smithsonian; by Owen Edwards; Smithsonian Magazine, December 2008;   <a href=\"http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html\">http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html</a></li>\r\n	<li>Teaching With Documents: The Civil War as Photographed by Mathew Brady, by Douglas Perry, National Archives, October 31, 2011 <a href=\"http://www.archives.gov/education/lessons/brady-photos/\">http://www.archives.gov/education/lessons/brady-photos/</a></li>\r\n	<li>Types of Hauntings in Gettysburg, by: Natalie Lynn, 2006, October 31, 2011, <a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a></li>\r\n</ol>','\"Four Score and seven years ago\"','','inherit','open','open','','2018-autosave','','','2011-10-31 21:26:51','2011-11-01 03:26:51','',2018,'http://jeanatacc.com/2011/?p=2024',0,'revision','',0),(2025,44,'2011-10-31 21:24:45','2011-11-01 03:24:45','<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\"><a href=\"http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg\">http://www.history.com/images/media/slideshow/civil-war-gettysburg/gettysburg-address.jpg</a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline\">“Four score and seven years ago”</span></p>\r\n               One of the most famous quotes in the country starts off with “Four score and seven years ago” it’s quoted in movies, said by our children when they are growing up, it was first said by President Abraham Lincoln back on November 19, 1863 at the Gettysburg Memorial Dedication. The speech was given in a ceremony by Abraham Lincoln that was over the graves of the men who fought in the battle of Gettysburg “four and half months before” (Roy P. Balser). I would like for you to get a better understanding behind the picture above by the time that you are done with reading; the picture above that was taken by Mathew Brady himself. This is the only photo that was taken at the time that had the current President Abraham Lincoln in it (that has shown up on the market). There are a lot of controversial things that were correlated to Mathew Brady with him taking photos during the Civil War and we will touch a bit on that as well. This photo is something that has an impact on history and is the photo of a piece of land that is this part of this countries historical landmark.<!--more-->\r\n\r\n               The picture at the top of this page was taken on November 19, 1863 at the Gettysburg Memorial Dedication. This, like I have already said the only photo that has ever shown up from that day with the Abraham Lincoln in it. President Lincoln only spoke at the dedication for “hardly more than two minutes in length” (Owen Edwards) but the speech (at least the start of it) has been stuck and embedded into the minds of the youth over and over again in each generation. There was another guy by the name of Edward Everett who at that time was a senator in the state of Massachusetts. Everett’s speech did not become as famous as President Lincoln’s did, nor was Everett’s speech short, it is said that Everett’s speech was just a bit longer than two hours long. “Harry Rubenstein who is on the board of politics with the Smithsonian was quoted saying “Everybody says the same thing about the ceremony: Lincoln gave a great speech and Everett spoke for two hours.\" (Own Edwards)\r\n\r\n               There are over 6,000 photos that have been stored in museums around this country about the Civil War. There are pictures of before and after battles, but there has not been one picture that has popped up of actual battlefield pictures; most of these pictures will have the name Mathew Brady to it as the photographer. He had helpers that also took photos for him too and those men will have their name on the photo, but not all of Mathew Brady’s men made it through the war alive, and back then there were no copyright laws on photos. So it is said that Mathew Brady stole photos from those were working for him or taking pictures after they had been killed in a battle and published them as his work; but no one can actually prove or disprove it. This photo though, at the Gettysburg Memorial Dedication is in fact a photo taken by Mathew Brady he was known to be there and there is no question that he would have past this up due to the war was in a stall and no large battles were being faught.\r\n\r\n               The photo as you can see above is a very dark photo. Even though it is in the summer it looks like it might have been a cold day, but personally think that is just due to the fact it is in black and white, and a little over hundred years old.  The picture is blurry and it is hard to make out at first if that is Abraham Lincoln in the middle but on a different website you can see it blown up and tell that it is Abraham Lincoln (<a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a>).\r\n\r\n               This photo was typical of the time due to that others were taking pictures of a speech given by a President Lincoln, or of a speech being given by someone. Something that is a good comparison from that time would have to be the photo of Lincolns 2<sup>nd</sup> Inaugural speech in 1864 shortly after he gave his speech in Gettysburg, West Virginia. In both instances they expected something meaningful to be said and there was a large group around to listen to him. If you look at a picture before this time they aren’t as clear and focused as these two photos are.\r\n\r\n               This helps make the photo more innovated for its time, because people were taking photos but the only good ones that came out clear were the ones that were standing put for a long period of time. Mathew Brady was an innovated person with thinking that someone should photographically document a war so people can actually be able to get pictures from the front lines of the battlefields. Showing pictures of men at camps on their free time, as men got ready for a fight, and the carnage that was left behind after the last shot of that battle was fired. The fact that he thought of hiring people to take photos for him so he could be able to get just about every single battle so nothing would be missed (unless his men had died during a battle).\r\n\r\n               This pictured could be compared to a photo now of one of our presidents or a famous person who has gone over seas to our troops in the Middle East to raise their spirits while they are away from their family and fighting for their country. But one photo that would be really well compared to this photo would be the one where President Bush had a conference talking to everyone letting them know what had happened on September 11, 2001. President Bush acted just like Abraham Lincoln and gave a short but meaningful speech to the public and didn’t try to do too much at one time.\r\n\r\n               The pictures at that time came across in a positive and negative way.  I know that people didn’t really like his photos because they weren’t a fan of him due to they had heard he took others who had died photos and developed them and published them as his. But this photo itself of Abraham Lincoln was mostly liked because of the fact it was of the Gettysburg Memorial Dedication and that everyone knew of how large the number of deaths on that battlefield and it was a speech by Lincoln and he didn’t do many speeches (The people also had pushed for Abraham Lincoln to do a speech trying to get the two sides to stop fighting since so many people were dying. Lincoln was too busy to give a speech until the day he gave this speech to the public. This is just another meaning that allows this photo to be so meaningful.).\r\n\r\n               I think that majority of the people today like this picture (if they are happy with the way the Civil War ended). It is something that has so much meaning. When the picture was found it was taken and stored in the Smithsonian so it would never be ruined, and we would have this meaningful piece of history for everyone to see. Mathew Brady has a lot of photos from the Civil War that are well loved and hated (due to the graphic of some of them), but the fact they are all a part of history and showing something that had never been seen before at that time unless you had been on the front lines fighting yourself wants to make you like them.\r\n\r\n               I love Mathew Brady’s work. Now do I honestly think he took all the pictures of the war that he has his name credited to? No, not at all do I think he might have taken a lot of them yes.  Without these photos then we would have no visual images of the war of what took place during the down time. His photo of the Gettysburg Address is something that I love because of the fact that, that one picture even though taken after the battle help change the mentality of people who had fought in the war. It is also the only photo that has Abraham Lincoln on the battlefield talking about what had taken place, motivating this country to come to a halt with the war. The most meaningful thing about this picture is probably something that is not going to be meaningful to someone else, but in the background (behind everyone) of where this picture is taken is where my family’s farm sat before the war.\r\n\r\n               This photo amongst other photos by Mathew Brady should be preserved for the fact that this is one if not the worst war in our country’s history. This photo alone is where one battle that took place killing thousands (actual number is still not known) of men in one battlefield. This photo is taken during a speech by the president at the time who was trying to convince the people of this country to stop fighting and just reside because the killing was becoming too high. This photo is also a reminder that this country was different and that slavery was wrong and that if we fall back that way the many more men and women would die just like they did on that field that day in July.\r\n\r\n&nbsp;\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Bibliography</span></p>\r\n\r\n<ol>\r\n	<li>Abraham Lincoln Online; by Roy P. Balser; October 17, 2011 <a href=\"http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm\">http://showcase.netins.net/web/creative/lincoln/speeches/gettysburg.htm</a></li>\r\n	<li>Abraham Lincoln and the Gettysburg Address Lincoln Mentions Government “Of the people, by the people, and For the People”; by Robert McNamara; About.com Guide; October 17<sup>th</sup>, 2011 <a href=\"http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm\">http://history1800s.about.com/od/abrahamlincoln/a/gettysburgadd01.htm</a></li>\r\n	<li>Gettysburg Address Displayed at Smithsonian; by Owen Edwards; Smithsonian Magazine, December 2008;   <a href=\"http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html\">http://www.smithsonianmag.com/arts-culture/Object-at-Hand-Gettysburg-Address-200812.html</a></li>\r\n	<li>Teaching With Documents: The Civil War as Photographed by Mathew Brady, by Douglas Perry, National Archives, October 31, 2011 <a href=\"http://www.archives.gov/education/lessons/brady-photos/\">http://www.archives.gov/education/lessons/brady-photos/</a></li>\r\n	<li>Types of Hauntings in Gettysburg, by: Natalie Lynn, 2006, October 31, 2011, <a href=\"http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html\">http://www.traversecityparanormal.com/Types_of_Hauntings_in_Gettysburg.html</a></li>\r\n</ol>','\"Four Score and seven years ago\"','','inherit','open','open','','2018-revision-3','','','2011-10-31 21:24:45','2011-11-01 03:24:45','',2018,'http://jeanatacc.com/2011/?p=2025',0,'revision','',0),(2026,41,'2011-10-31 21:23:14','2011-11-01 03:23:14','[caption id=\"attachment_2013\" align=\"alignleft\" width=\"292\" caption=\"Portrait of Jane Austen Source: http://www.janeaustenfestival.org/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\"><img class=\"size-full wp-image-2013 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\" alt=\"\" width=\"292\" height=\"224\" /></a>[/caption]\r\n<p align=\"left\"><em>Pride and Prejudice</em> was completed in August of 1797 by Jane Austen and is an epic and cautionary tale about marriage.  Don’t let that fact discourage you from enjoying this piece of literary excellence. It is a book about how personal pride and unknown prejudices can ruin lives, devastate families, divide generations and drive life-long wedges between people. Fortunately, it is also a book about overcoming obstacles, healing personal flaws, avoiding catastrophes and forming a love-filled marriage based on mutual respect. This iconic piece of literature must be preserved for all future generations because <em>Pride and Prejudice</em> changed the world by offering insight into how married life could be both disastrous and wonderful.<!--more--></p>\r\n<p align=\"left\">The protagonist of the story is Miss Elizabeth Bennet. She is considered Jane Austen’s most memorable feminine heroine, and her intelligent and strong-willed character single-handedly effects a monumental change in societal views that is still heralded, discussed, debated and agonized over today, some 214 years after the novel was completed [Marsh].  The classic and well-loved story was published in 1813 and details the life of Elizabeth Bennet, as she confronts issues of etiquette, manners, morality, education and marriage in the society of the affluent classes during early 19th-century England.</p>\r\n<p align=\"left\">Elizabeth is the second of five daughters and part of a middle-class family that lives near the fictional English town just outside of London. The original title of this work was <em>First Impressions</em> but I am pleased that the title was changed to <em>Pride and Prejudice </em>[Shields]. The fictional story focuses on a myriad of prejudices that each of us acquire as we travel through our lives and how our pride can cloud our view of others. The storyline clearly shows how one’s decisions are influenced by unknown prejudices and stubborn haughtiness. The end result of this fictional work is a message that is timeless.</p>\r\n<p align=\"left\">Miss Bennet miserably suffers through the typical adventures of an early 19th-century middle-class woman with the constant shadow of societal expectations looming over her shoulder. Bennet and the other five eligible females in the story are counted upon to land well-established, wealthy and aristocratic husbands starting around their sixteenth birthday. These marriages were often the means by which families survived, plain and simple. Therefore, grooming their daughters in an effort to secure a rich son-in-law was paramount to all middle-class families. Daughters were generally compliant and actively participated in the delicate dance of snaring an eligible (and wealthy) husband. However, Miss Bennet differs greatly from her peers because she is highly self-reliant, well-read, assertive, independent and strong-willed. And, she is not so sure that a “good marriage” is actually possible for any woman.</p>\r\n\r\n\r\n[caption id=\"attachment_2014\" align=\"alignright\" width=\"300\" caption=\"The Five Bennet Sisters Source: http://tinyurl.com/3mr6t7y\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1.jpg\"><img class=\"size-medium wp-image-2014\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1-300x211.jpg\" alt=\"\" width=\"300\" height=\"211\" /></a>[/caption]\r\n<p align=\"left\">She is not mesmerized by the gentry (what the upper-middle-class were often called) or the aristocracy and does not fall prey to the typical aristocratic and societal expectations. Bennet is not the typical young woman of the early 1800s. She abhors arrogance and much to her frustration, finds it in abundance among aristocratic men. According to the tenets of society, Bennet, her four sisters and their family friend, Charlotte Lucas, <em>require</em> husbands. There was no other means available for a young woman to make her way in the world besides riding on the coattails of a husband. Men were the only ones allowed to own land and other property. Even if a woman inherited a fortune, it was rare that she was allowed to manage it or even touch any of it. Women were considered too delicate and unsophisticated to have financial or business minds. Bennet was hearing none of that and remained head-strong.</p>\r\n<p align=\"left\">Austen’s tale accompanies the six women through various garden parties, drawing rooms, ballrooms and dramatic performances on their way to finding their perfect match. Most of the interactions between the characters in the book are quite interesting including the possibility of cousins marrying each other, sex before marriage, social class rivalries and dramatic verbal altercations. Critics of Austen’s work have generally discounted the authenticity of her writing because she rarely mentions the undercurrent of real-world political events that were in existence at the time [Watt]. The plot of <em>Pride and Prejudice</em> does not introduce these women to the historical events swirling around them and some say that fact is a shortcoming of Austen’s writing. In the story, there are off-handed and miscellaneous references to the excitement surrounding soldiers visiting the quaint town, including the blackguard George Wickham, but the intricate details of the political upheaval in England are skillfully ignored by Austen. It appears to modern-day readers that Austen has tried to focus her novel on bringing to light the strict marital obligations placed upon young women of the day and she carves out a picture-perfect environment and does not allow the fears of revolution in Great Britain to encroach on her story.</p>\r\n<p align=\"left\">Austen has also been criticized for writing about what she knew, and that mundane topics were not scintillating enough for the newer and more discerning reader of  the early 1800\'s [Shields]. The world of 19<sup>th</sup> Century England and the pressures on women were the focus of all of her books. I don’t find this unusual or lacking at all. It was natural for Austen to write about being encumbered by society’s expectations because she experienced that in her own life. As a middle-class young woman the political disturbances of the time did not affect her much. Nor did it affect the characters she conceived in <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\">When Austen began laying the foundation for this novel, in 1796, the British government was still reeling after their devastating loss of thousands men in battle against the Colonists, and they had depleted their coffers to the tune of an estimated $100 million in the fight to maintain control over the thirteen colonies [Fiero]. The political climate in Great Britain was horrific when the remnants of that war were coupled with their four-year-long conflict with France. Toward the end of her writing <em>Pride and Prejudice</em>, in 1797, the British began the blockade of Spain and this move brought further political uproar. Great Britain had become a shadow of its former self and Austen may have intentionally ignored the political chaos and written the novel as an enormous distraction for the nation. In fact, she does not mention the Napoleonic wars a single time in any of her nine novels [Shields].</p>\r\nGenerally, popular literary work of the time was either romantically sentimental to the point of being sickening sweet and unrealistic or Gothic-related horror. This type of sensationalism repelled Austen and she refused to construct her novels in a similar fashion. For example, <em>The Castle of Otranto</em> (Horace Walpole, 1765) and <em>The Mysteries of Udolpho</em> (Ann Radcliffe, 1794) were set in far-off, unrealistic places and filled with princes, dukes, and counts. These two novels were also known for their “violent, horrific and often supernatural action,” states Marsh. Readers were so used to being taken on a fantasy ride while reading a novel that they considered Austen’s <em>Pride and Prejudice</em> boring when it was published. Her book was not typical of its era because it was written in a ironic style that showed that ordinary, real life in a familiar town could also be malicious and terribly cruel.\r\n\r\n[caption id=\"attachment_2015\" align=\"alignleft\" width=\"174\" caption=\"Colin Firth as Mr. Darcy Source: http://en.paperblog.com/talking-jane-austen-84059/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy.jpg\"><img class=\"size-medium wp-image-2015\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy-174x300.jpg\" alt=\"\" width=\"174\" height=\"300\" /></a>[/caption]\r\n\r\nAnother reason why Austen’s <em>Pride and Prejudice</em> was considered unusual for its time was because it was one of the first books that blatantly addressed society’s oppression of women. Her creation of a complex main character that was embarrassed by her own family’s etiquette and yet wanted to defend their right to be themselves (no matter what their habits may be) had never been seen in a main character before [Baker]. At one point in the story, Bennet refuses a marriage proposal from Mr. Darcy (the richest and most well bred aristocrat in all of England), she does so with such insolence, and audacity that the readers must have gasped, dropped their snuffboxes, and tossed the book across the room upon reading that section. Refusing a man such as Mr. Darcy was simply <em>not done</em>. Nor were stories of such ill-mannered behavior told in polite society. Miss Elizabeth Bennet was, indeed, a rebel and created a storm of controversy. Click here to watch the scene where Elizabeth rebuffs Mr. Darcy and his proposal of marriage: <a href=\"http://www.youtube.com/watch?v=BJX5_rj2lZg\">Elizabethe refuses Mr. Darcy Source: http://www.youtube.com/watch?v=BJX5_rj2lZg</a>\r\n<p align=\"left\">Sadly, it was not until after her death in 1817, at the age of 42, that her writing managed to gain popularity with the English. <em>Pride and Prejudice</em>, in particular, has become one of the most popular novels in English literature, and receives considerable attention from literary scholars. Modern interest in the book has resulted in a large number of dramatic versions and a profusion of novels and tales imitating Austen\'s memorable characters and themes about strong-willed and independent women. <em>Pride and Persuasion</em> has sold more than 20 million copies worldwide, been made into several movies, mini-series dramas, and plays [Marsh].</p>\r\n<p align=\"left\">When researching the scholarly view of Austen’s work, I stumbled across an organization called the English Association. This body of work was created after the First World War (WWI) when many pieces of English Literature were lost during the skirmishes of war. The organization was founded by A.C. Bradley, a University professor and advocate for placing Austen’s work on the Association’s list of English Literature to be studied on the University level. In his 1911 lecture, A.C. Bradley stated, “I was meant to fall in love with her [Bennet], and I do.” The popularity of Austen’s work was greatly elevated in the years immediately following WWI, as shown in the mention of her work in Rudyard Kipling’s <em>The Janeites</em> (1922). Kipling speaks of soldiers reading Austen\'s books (<em>Pride and</em> <em>Prejudice</em> in particular) in the trenches of war to uplift their spirits. Baker states in his review of <em>Jane Austen Once More</em> that Austen’s work had a “class-less appeal that helped severely shell-shocked soldiers through the healing process” after WWI. The Jane Austen Society, created during the Blitz, was hell-bent on preserving and restoring Austen’s texts as if Jane Austen was a saint and her writings were prized relics. [Baker]</p>\r\n<p align=\"left\">This book has impacted my life in many ways. I know men and women that have entered into marriages for reasons other than love. It happens every single day, actually. I believe that people spend more time choosing a house than a life partner. I do not see that will change anytime in the future. One poignant moment in the book was when, speaking of her mother, Elizabeth Bennet\'s father says that he \"had married a woman whose weak understanding and illiberal mind had, very early in their marriage, put an end to all real affection for her.\" He admitted to his daughter that he had not thought things through when he married her mother. He further stated that he was, \"captivated by youth and beauty, and that appearance of good humour\" and then had tears in his eyes when he admitted he had not loved his wife in years [Austen]. This innocent and touching conversation in the father\'s library affected me deeply.  I have often wondered if my parents have felt the same way as Mr. Bennet after their 59 years of marriage.</p>\r\n<p align=\"left\"> I was also profoundly affected by the thread of prejudice that runs through the book. The prejudices spotlighted in this book are not the usual type of prejudice that we see and hear about today, but they run deep, occur on many levels and for many different reasons. Reading this book has caused me to inspect my own prejudices and see how they may be limiting the experiences in my own life. Sure, readers of this novel should be moved by the numerous events that occur. If nothing else, they should value the microscope that shines a light on all of our own prejudices that magically defy time and place. Today, we have some of the same prejudices that Jane Austen had back in 1796.</p>\r\n\r\n\r\n[caption id=\"attachment_2016\" align=\"alignright\" width=\"300\" caption=\"Five Bennet Daughters with Mother Source: http://tinyurl.com/69dbq5p\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters.jpg\"><img class=\"size-medium wp-image-2016\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters-300x213.jpg\" alt=\"\" width=\"300\" height=\"213\" /></a>[/caption]\r\n<p align=\"left\"> Marriages are not a means to climb the social ladder, become popular, or support your parents in their old age. Marriages are meant to be a joining of two people with the same goals, aspirations, and visions for their future. It is not enough for a woman to want to find “true love” before she marries. It is not enough for a man to heal his financial ills by obtaining an enormous dowry from his new wife. The back room political and financial wrangling that took place during the time Austen wrote this epic story was always slanted toward the absurd. This book shall stand as an example of what we do <em>not want</em> in marriages of today.</p>\r\n<p align=\"left\">I suppose I don\'t have to tell you that Simon Langton’s 1995 version of <em>Pride and Prejudice</em> (with Colin Firth) is the only DVD I own. I am thankful that times have changed for women and that the pressure of a \"good marriage\" is not placed squarely on the shoulders of young, naive women. If you are not married yet, read this book and then take time to find a partner that believes in mutual respect and honesty. This book must be preserved for numerous reasons; the very least of which is that it just might save you from entering a bad marriage!  Remember, don\'t judge a book (or a person) by its cover!</p>\r\n<p align=\"left\"><strong>WORKS CITED</strong></p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane. <em>Pride and Prejudice</em>. London: Penguin, 2003. Print. This is the original, reprinted version of the book that I used to quote Mr. Bennet when he was speaking of his own marriage.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em></em><em>Pride and Prejudice</em> / Jane Austen; edited with an introduction and notes by Vivien Jones; with the original Penguin Classics introduction by Tony Tanner. Imprint London; New York: Penguin Books, 2008. This is a Biography and I used the Introduction and Notes sections of this Biography, written by Vivian Jones, when referencing the original, reprinted text of <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em>The Complete Novels of Jane Austen.</em> Imprint New York, The Modern Library 1933  This is a compilation of Jane Austen\'s writing that I used to compare themes regarding strong-willed women characters.</p>\r\n<p align=\"left\"><strong>Baker</strong>, William.<strong> </strong><em>Jane Austen Once More</em>. Rev. of Jane Austen and The Enlightenment by Peter Knox-Shaw. Studies in the Novel, Fall 2007, Vol. 39 Issue 3, p357-367. Accessed online EBSCO Database on October 31, 2011. Website: http://tinyurl.com/4yfo2nq</p>\r\n<p align=\"left\"><strong>Fiero</strong>, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 24-26, 2011. This is a college-level course textbook that I used to learn about Jane Austen\'s literary piece called, <em>Pride and Prejudice</em>. I researched romantic stereotypes at the time <em>Pride and Prejudice</em> was written.</p>\r\n<p align=\"left\"><strong>Marsh</strong>, Nicholas. <em>Jane Austen: The Novels, Analyzing Texts</em>. New York: St. Martin\'s, 1998. Print. I used this analytical study of Jane Austen\'s writing to research how she created her characters from real-life examples, the general view of women in society at the time <em>Pride and Prejudice</em> was written and what the critics thought of this work when it was published.</p>\r\n<p align=\"left\"><strong>Shields</strong>, Carol. <em>Jane Austen.</em> New York: Viking Penguin, 2001. Print. I used this Biography to research Jane Austen\'s view of her family life and how it manifested itself in her writing. I used the facts of her broken engagement and her view of marriage to compare with the views of the characters she created.</p>\r\n<p align=\"left\"><strong>Watt</strong>, Ian P. <em>Jane Austen: A Collection of Critical Essays</em>. Englewood Cliffs, NJ: Prentice-Hall, 1963. Print. I used this book of criticisms and interpretations for research about how the book is viewed today.</p>','Don\'t Judge a Book by Its Cover!','','inherit','open','open','','2000-revision-4','','','2011-10-31 21:23:14','2011-11-01 03:23:14','',2000,'http://jeanatacc.com/2011/?p=2026',0,'revision','',0),(2028,45,'2011-11-01 00:12:10','2011-11-01 06:12:10','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\n<p style=\"text-align: center\">http://www.musee-rodin.fr/en/collections/sculptures/gates-hell</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.<!--more-->\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion and corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and the addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw feeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his vision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','publish','open','open','','rodins-the-gates-of-hell','','','2011-11-13 21:19:34','2011-11-14 03:19:34','',0,'http://jeanatacc.com/2011/?p=2028',0,'post','',16),(2029,45,'2011-10-31 23:58:27','2011-11-01 05:58:27','','Auto Draft','','inherit','open','open','','2028-revision','','','2011-10-31 23:58:27','2011-11-01 05:58:27','',2028,'http://jeanatacc.com/2011/?p=2029',0,'revision','',0),(2030,45,'2011-11-01 00:00:47','2011-11-01 06:00:47','','Rodin\'s Gates of Hell 2','','inherit','open','open','','rodins-gates-of-hell-2','','','2011-11-01 00:00:47','2011-11-01 06:00:47','',2028,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg',0,'attachment','image/jpeg',0),(2031,45,'2011-11-01 00:08:41','2011-11-01 06:08:41','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\n\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris\nin 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\n\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion\nand corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\n\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\n\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and\nthe addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\n\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\n\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\n\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\n\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\n\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\n\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\n\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\n\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\n\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\n\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw\nfeeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his\nvision.\n\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-2','','','2011-11-01 00:08:41','2011-11-01 06:08:41','',2028,'http://jeanatacc.com/2011/?p=2031',0,'revision','',0),(2033,45,'2011-11-01 00:09:42','2011-11-01 06:09:42','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\n\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris\nin 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\n\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion\nand corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\n\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\n\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and\nthe addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\n\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\n\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\n\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\n\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\n\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\n\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\n\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\n\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\n\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\n\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw\nfeeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his\nvision.\n\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\n\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\n<ul>\n	<li>Brucker,\nJulia. “<strong>Francois-Auguste-Rene\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\n2011.</li>\n</ul>\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Elsen,\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\n2011.</li>\n</ul>\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\n\n&nbsp;\n<ul>\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\nWeb. 01 Nov. 2011.</li>\n</ul>\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\n\n&nbsp;\n<ul>\n	<li>Facos,\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\n</ul>\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\n\n&nbsp;\n<ul>\n	<li>Gray,\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\nof Art (1983).</strong>” jessieevans-dongray.com.\n1983. Web. Accessed: October 23, 2011.</li>\n</ul>\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\n\n&nbsp;\n<ul>\n	<li>Haber,\nJohn. “<strong>The Gates to the City</strong>.”\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\n</ul>\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Richard,\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\n</ul>\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\n\n&nbsp;\n<ul>\n	<li>Roos,\nHans. “<strong>Rodin Works: The Gates of\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\n2011.</li>\n</ul>\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Unknown.\n“<strong>Auguste Rodin: His Life and Art</strong>.”\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\n</ul>\n&lt;http://www.rodin-art.com/artist.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Unknown.\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\n2011. Web. Accessed: October 25, 2011.</li>\n</ul>\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-4','','','2011-11-01 00:09:42','2011-11-01 06:09:42','',2028,'http://jeanatacc.com/2011/?p=2033',0,'revision','',0),(2032,45,'2011-11-01 00:09:03','2011-11-01 06:09:03','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris\r\nin 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion\r\nand corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and\r\nthe addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw\r\nfeeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his\r\nvision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-3','','','2011-11-01 00:09:03','2011-11-01 06:09:03','',2028,'http://jeanatacc.com/2011/?p=2032',0,'revision','',0),(2034,45,'2011-11-01 00:09:55','2011-11-01 06:09:55','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion\r\nand corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and\r\nthe addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw\r\nfeeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his\r\nvision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-5','','','2011-11-01 00:09:55','2011-11-01 06:09:55','',2028,'http://jeanatacc.com/2011/?p=2034',0,'revision','',0),(2035,45,'2011-11-01 00:10:14','2011-11-01 06:10:14','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion\r\nand corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and\r\nthe addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw\r\nfeeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his\r\nvision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-6','','','2011-11-01 00:10:14','2011-11-01 06:10:14','',2028,'http://jeanatacc.com/2011/?p=2035',0,'revision','',0),(2036,45,'2011-11-01 00:10:42','2011-11-01 06:10:42','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion and corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and\r\nthe addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw\r\nfeeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his\r\nvision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-7','','','2011-11-01 00:10:42','2011-11-01 06:10:42','',2028,'http://jeanatacc.com/2011/?p=2036',0,'revision','',0),(2037,45,'2011-11-01 00:11:10','2011-11-01 06:11:10','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion and corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and the addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw\r\nfeeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his\r\nvision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-8','','','2011-11-01 00:11:10','2011-11-01 06:11:10','',2028,'http://jeanatacc.com/2011/?p=2037',0,'revision','',0),(2038,45,'2011-11-01 00:11:55','2011-11-01 06:11:55','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion and corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and the addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw feeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his vision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-9','','','2011-11-01 00:11:55','2011-11-01 06:11:55','',2028,'http://jeanatacc.com/2011/?p=2038',0,'revision','',0),(2039,1,'2011-10-31 11:33:34','2011-10-31 17:33:34','<a href=\"http://cinefantastiqueonline.com/wp-content/uploads/munsters_1.jpg\"><img class=\"aligncenter size-medium wp-image-1977\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/munsters_1-201x300.jpg\" alt=\"\" width=\"201\" height=\"300\" /></a>\r\n\r\n&nbsp;\r\n\r\nPublished anonymously in 1818, Mary Shelley\'s work, Frankenstein, was\r\noriginally written as part of a wager. Mary Shelley was a young woman,\r\nstill in her teens, when she published this work. Later, in 1823, a\r\nrefined edition was published with Shelley\'s name actually on it.\r\nFrankenstein is a story about a doctor who wishes to create life, and\r\nhis creation, the monster. Shelley\'s book raises questions about the\r\nmorality of science and the nature of good and evil in general.\r\nAlthough Frankenstein\'s monster seeks to be accepted by society, he is\r\nultimately rejected because of his hideous appearance. Seeking revenge\r\non his creator, the monster kills Frankenstein\'s younger brother and\r\nthen his young bride before ultimately tracking down and destroying\r\nthe man who created him. Both Romanticism and the gothic novel were\r\npopular at the time this work was published, and the Industrial\r\nRevolution was gearing up, leading people to ask questions about the\r\neffects of science and industrialization on society. At this same time\r\nthe Enlightenment was in full swing, and Mary Shelley\'s own father was\r\npart of the movement. Enlightenment -- or the Age of Enlightenment --\r\nwas a school of intellectual recourse that involved higher society\r\nduring the eighteenth and nineteenth centuries. It promoted the\r\nvirtues of higher thought and philosophy and railed against the\r\nintolerance of the church and abuses of power by both church and\r\nstate.\r\nDuring the late seventeen hundreds and the early eighteen hundreds,\r\nthe gothic novel experienced its hayday, and had a great deal of\r\ninfluence on the Romantic movement of art and writing. \"The\r\ntraditional setting, beginning with Hugh Walpole\'s The Castle of\r\nOtranto (1764), is a medieval (hence, \"gothic\") castle, replete with\r\nsecret passages, torchlit dungeons, and an occasional bat. The\r\ntraditional plot, as in Anne Radcliffe\'s The Mysteries of Udolpho\r\n(1794), involves a beautiful heroine beset by dark shadows, strange\r\nnoises, and a candle that keeps blowing out. These early gothic novels\r\naimed at instilling terror. Later examples of the form, such as\r\nMatthew Lewis\'s The Monk (1796), moved beyond terror to horror,\r\ninvoking demons, ghosts, and other supernatural paraphernalia in gory\r\nand subliminally erotic detail, (Quinn)\". Mary Shelley\'s work was\r\nperhaps one of the best known examples of the gothic novel, and is\r\nalso considered one of the earliest works of science fiction. Shelley\r\ndeals with themes that were at the time unique to gothic literature,\r\nusing elements of the \'supernatural\' and building her story so as to\r\nincite horror in the reader. At the time it was considered highly\r\ncontroversial, and part of what led up to the second edition of the\r\nbook with Shelley\'s real name on the cover was the need to edit and\r\nrefine the writing due to some of the public\'s reaction to the\r\ncontent. Frankenstein is also somewhat typical of the Romantic era\r\nwriter\'s use of the wayward hero, and a similarity can be found in the\r\nstory of Prometheus, by Johann Gothe. \"Victor and the monster are not\r\nso much villains as they are typically ambiguous Romantic heroes:\r\nVictor fails miserably, but his quest is inspiring; and the monster,\r\nthough a murderer, is also a victim, and an eloquent and sympathetic\r\nrebel against forces that violate his basic rights, (Classics\r\nReviewed)\".\r\nWhat truely sets Mary Shelley\'s tale apart from other writing of the\r\ntime is that it is one of the original instances where a story focuses\r\non the laboratory and what takes place there. \"Often called the first\r\nof its kind, Frankenstein paved the way for science fiction writing.\r\nIts depiction of a then impossible scientific feat has in our time\r\nbecome possible and is essentially recognizable in what we now refer\r\nto as bioengineering, biomedicine, or biotechnology...Victor\r\nFrankenstein, has come to serve as the poster child and whipping boy\r\nfor all scientific and technological irresponsibility, so much so that\r\nthanks to him we are able to free ourselves and our scientists from\r\nany real responsibility, since none of us ever would or could be as\r\nmonstrous as Frankenstein,  (van der Laan)\". There can be no doubt\r\nthat Frankenstein has an iconic place in culture, which it would not\r\nhave earned if it were not a revolutionary piece of work. At the time\r\nit was published no mere human could conceive of doing what Victor\r\nFrankenstein had done. Creating life was out of the question, and with\r\nthe primitive conditions that most scientists were forced to function\r\nunder due to the church, even saving lives with improvements to modern\r\nmedicine was difficult. Mary Shelley touches on the back-alley secrecy\r\nthat surrounded the act of acquiring body parts for research, which\r\nwas made practically impossible by the religious attitudes of the\r\ntime. \"From the thirteenth to the early seventeenth century, the\r\nbodies of the executed were the only legal source of bodies for\r\ndissection. Starting in the late seventeenth century, the bodies of\r\nunclaimed persons were also made legally available, (Hildebrandt)\".\r\nMary Shelley\'s work was also unusual and unique because of the author,\r\nsince even during the Age of Enlightenment it was still more common\r\nfor men to be published authors than women, and Shelley wrote\r\nFrankenstein while she was still a mere teenager.\r\nAlthough response to the initial publishing of Frankenstein was mixed,\r\nit seems to be the overall concensus that for better or worse, this\r\nnovel has firmly earned its place in history. Helen Moore wrote in\r\n1886 that,\"Of Mrs. Shelley\'s writings, Frankenstein is without\r\nquestion the most noteworthy. From the day of its first appearance in\r\nprint down to the present, it has had accorded to it a position as a\r\nunique and remarkable production.\" Although Frankenstein presented\r\nshocking and grotesque new concepts to the public, it also took off as\r\nan allegory for science without morality. The word \'Frankenstein\' has\r\nbecome almost synonymous with \'monster\', even though Frankenstein was\r\nthe monster\'s creator, and the monster himself remained nameless.\r\nFrankenstein was parodied in pictures as early as 1843.\r\n\r\n[caption id=\"attachment_1976\" align=\"aligncenter\" width=\"223\" caption=\"Frankenstein as Propoganda\"]<a href=\"http://en.wikipedia.org/wiki/File:Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\"><img class=\"size-medium wp-image-1976\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein-223x300.jpg\" alt=\"\" width=\"223\" height=\"300\" /></a>[/caption]\r\n\r\nCurrent day opinion of Frankenstein does not seem to have changed much\r\nfrom the attitudes of the time towards the work. In fact, there is an\r\neerie similarity between what critics at the time were saying and what\r\nthe modern day critics seem to feel about Shelley\'s masterpiece. \"Mary\r\nWollstonecraft Shelley is responsible for a creative transformation\r\nworthy of her prototypical mad scientist, Victor Frankenstein: she\r\nreconfigures, recontextualizes, and thus modernizes the myth of\r\nPrometheus by means of a tiresome, unlucky ghost story, (Hustis)\". It\r\nmay very well be that Mary Shelley managed, without entirely meaning\r\nto, to create a story that touches so many people so deeply and\r\neffectively that she has broken the proverbial mold of writing.\r\nWhatever the case may be, there seems to be almost unilateral\r\nagreement that this particular piece of work is well deserving of its\r\nplace in the annals of history.\r\nMy personal reaction to this work has always been very strong. Whether\r\nreading the book or watching any of the myriad of movies that were\r\ninspired by Frankenstein, it is impossible to resist the allure of the\r\ntale. Victor Frankenstein takes the role of God in his hands and sets\r\nabout to defy death by creating life through the use of science. In\r\nsome ways there lies the majority of the allure. Everyone fears death,\r\nand humankind as a whole has an obsession with defeating it, whether\r\nlooking back to ancient tales of the fountain of youth, or going\r\nforward to the more modern age, where life and death are now\r\ncontrolled in the pristine setting of a laboratory or hospital.\r\nSecondary but not lesser by any means are the themes of revenge and\r\nbetrayal that come with following Frankenstein\'s creation through his\r\njourney as a misfit of society. Desperately seeking to be accepted and\r\nloved, the monster instead becomes a killer, giving up on attaining\r\nhis dream and instead attempting to get even with the person who\r\ncreated him without thought for what misery might result.\r\nAlthough it was written much later at the closing of the century,\r\nperhaps the best story to compare with Frankenstein is that of Brahm\r\nStoker\'s Dracula. A similar tale of supernatural horror and foiled\r\nromance, Dracula focuses on some of the similar themes that\r\nFrankenstein does, and has also easily become as famous as Shelley\'s\r\nnovel. Both Dracula and Frankenstein have a monsterous main character,\r\nand both Dracula and the monster created by Victor Frankenstein\r\nstruggle to have something resembling a \'human\' existance, even though\r\nsuch a thing is clearly impossible. While Frankenstein is wrought with\r\nanguish at his inability to join society, Dracula seems almost\r\nunbothered by it. Instead, Dracula rejoices in the powers that he has\r\ngained, which may be because of how much easier it is for Dracula to\r\nmove about among the \'normal\' population due to his more human\r\nappearance. Dracula and Frankenstein both rely on gothic themes and\r\nisolated landscapes to enhance the \'horrific\' aspect of the narrative,\r\nand in both stories there are a number of innocent people who suffer\r\nbecause of being involved with the monster in some tenebrous way. The\r\ncarefree Lucy in Brahm Stoker\'s tale is killed for no reason other\r\nthan being friends with the family that Dracula is tormenting.\r\nVictor\'s bride Emily falls victim to the monster that her fiancee --\r\nand later husband -- created. Both stories share aspects of\r\nRomanticism and have love stories contained within that are less\r\ncentral to the plot than the monster, which remains the focal point of\r\nthe story-telling.\r\nFor future generations there are several things to be aware of,\r\nincluding the age at which Mary Shelley authored Frankenstein, the\r\nmoral of the story, which is one cautioning against the development of\r\nscience without a counter-check of morality. To know that a teenage\r\ngirl was capable of creating such a timeless classic should inspire\r\neveryone who reads it to make the best use of their talents and aspire\r\nto do whatever it is that they love. Creativity knows no bounds, and a\r\nwork of genius can be recognized as such no matter who is the creator.\r\nAt the same time, there is also much to be gleaned from the work\r\nitself, not just about being moderate and careful when approaching new\r\nscientific and technological advances, but also about being more\r\naccepting as a society.\r\n<p style=\"text-align: center\">\r\n_______________Works Cited_______________</p>\r\n<p style=\"text-align: left\">\r\nQuinn, Edward. \"gothic literature.\" A Dictionary of Literary and\r\nThematic Terms, Second Edition. New York: Facts On File, Inc., 2006.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.\r\n\"Frankenstein.\" Recommended Reading: 500 Classics Reviewed (1995): 1.\r\nMagillOnLiterature Plus. EBSCO. Web. 30 Oct. 2011.\r\nvan der Laan, J. M. \"Frankenstein as Science Fiction and Fact.\"\r\nBulletin of Science, Technology &amp; Society 30.4 (2010): 298-304.\r\nVocational and Career Collection. EBSCO. Web. 30 Oct. 2011.\r\nHildebrandt, S. \"Capital punishment and anatomy: history and ethics of\r\nan ongoing association.\" Clinical Anatomy (New York, N.Y.) 21.1\r\n(2008): 5-14. MEDLINE. EBSCO. Web. 30 Oct. 2011.\r\nMoore, Helen. From \"Frankenstein, and Other Writings.\" In Mary\r\nWollstonecraft Shelley: 244–264. 1886. Quoted as \"Frankenstein, and\r\nOther Writings\" in Bloom, Harold, ed. Mary Shelley, Bloom\'s Classic\r\nCritical Views. New York: Chelsea House Publishing, 2008. Bloom\'s\r\nLiterary Reference Online. Facts On File, Inc.\r\nHustis, Harriet. \"Responsible Creativity and the \"Modernity\" of Mary\r\nShelley\'s Prometheus.\" SEL: Studies in English Literature, 1500–1900,\r\n43, no. 4 (Autumn 2003): 845–858. Quoted as \"Responsible Creativity\r\nand the \"Modernity\" of Mary Shelley\'s Prometheus\" in Bloom, Harold,\r\ned. Mary Wollstonecraft Shelley, New Edition, Bloom\'s Modern Critical\r\nViews. New York: Chelsea House Publishing, 2009. Bloom\'s Literary\r\nReference Online. Facts On File, Inc</p>','Frankenstein - The Man and the Monster','','inherit','open','open','','1975-revision-3','','','2011-10-31 11:33:34','2011-10-31 17:33:34','',1975,'http://jeanatacc.com/2011/?p=2039',0,'revision','',0),(2040,48,'2011-11-21 12:46:22','2011-11-21 18:46:22','<a href=\"http://cinefantastiqueonline.com/wp-content/uploads/munsters_1.jpg\"><img class=\"aligncenter size-medium wp-image-1977\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/munsters_1-201x300.jpg\" alt=\"\" width=\"201\" height=\"300\" /></a>\r\n\r\n<a href=\"http://api.ning.com/files/sIlJ2SN8LKQZ6x073U0Mmib5wxcqXyuI3-AJS4j6GtKzjJofJhQ3tUhG0*3e-tAixstSTPoC*N5TjNT5hEWWwteDGJW-*IYOhPChhVdycys_/munsters.jpg\">http://api.ning.com/files/sIlJ2SN8LKQZ6x073U0Mmib5wxcqXyuI3-AJS4j6GtKzjJofJhQ3tUhG0*3e-tAixstSTPoC*N5TjNT5hEWWwteDGJW-*IYOhPChhVdycys_/munsters.jpg</a>\r\n\r\n&nbsp;\r\n\r\nPublished anonymously in 1818, Mary Shelley\'s work, Frankenstein, was\r\noriginally written as part of a wager. Mary Shelley was a young woman,\r\nstill in her teens, when she published this work. Later, in 1823, a\r\nrefined edition was published with Shelley\'s name actually on it.\r\nFrankenstein is a story about a doctor who wishes to create life, and\r\nhis creation, the monster. Shelley\'s book raises questions about the\r\nmorality of science and the nature of good and evil in general.<!--more-->\r\nAlthough Frankenstein\'s monster seeks to be accepted by society, he is\r\nultimately rejected because of his hideous appearance. Seeking revenge\r\non his creator, the monster kills Frankenstein\'s younger brother and\r\nthen his young bride before ultimately tracking down and destroying\r\nthe man who created him. Both Romanticism and the gothic novel were\r\npopular at the time this work was published, and the Industrial\r\nRevolution was gearing up, leading people to ask questions about the\r\neffects of science and industrialization on society. At this same time\r\nthe Enlightenment was in full swing, and Mary Shelley\'s own father was\r\npart of the movement. Enlightenment -- or the Age of Enlightenment --\r\nwas a school of intellectual recourse that involved higher society\r\nduring the eighteenth and nineteenth centuries. It promoted the\r\nvirtues of higher thought and philosophy and railed against the\r\nintolerance of the church and abuses of power by both church and\r\nstate.\r\n\r\nDuring the late seventeen hundreds and the early eighteen hundreds,\r\nthe gothic novel experienced its hayday, and had a great deal of\r\ninfluence on the Romantic movement of art and writing. \"The\r\ntraditional setting, beginning with Hugh Walpole\'s The Castle of\r\nOtranto (1764), is a medieval (hence, \"gothic\") castle, replete with\r\nsecret passages, torchlit dungeons, and an occasional bat. The\r\ntraditional plot, as in Anne Radcliffe\'s The Mysteries of Udolpho\r\n(1794), involves a beautiful heroine beset by dark shadows, strange\r\nnoises, and a candle that keeps blowing out. These early gothic novels\r\naimed at instilling terror. Later examples of the form, such as\r\nMatthew Lewis\'s The Monk (1796), moved beyond terror to horror,\r\ninvoking demons, ghosts, and other supernatural paraphernalia in gory\r\nand subliminally erotic detail, (Quinn)\". Mary Shelley\'s work was\r\nperhaps one of the best known examples of the gothic novel, and is\r\nalso considered one of the earliest works of science fiction. Shelley\r\ndeals with themes that were at the time unique to gothic literature,\r\nusing elements of the \'supernatural\' and building her story so as to\r\nincite horror in the reader. At the time it was considered highly\r\ncontroversial, and part of what led up to the second edition of the\r\nbook with Shelley\'s real name on the cover was the need to edit and\r\nrefine the writing due to some of the public\'s reaction to the\r\ncontent. Frankenstein is also somewhat typical of the Romantic era\r\nwriter\'s use of the wayward hero, and a similarity can be found in the\r\nstory of Prometheus, by Johann Gothe. \"Victor and the monster are not\r\nso much villains as they are typically ambiguous Romantic heroes:\r\nVictor fails miserably, but his quest is inspiring; and the monster,\r\nthough a murderer, is also a victim, and an eloquent and sympathetic\r\nrebel against forces that violate his basic rights, (Classics\r\nReviewed)\".\r\n\r\nWhat truely sets Mary Shelley\'s tale apart from other writing of the\r\ntime is that it is one of the original instances where a story focuses\r\non the laboratory and what takes place there. \"Often called the first\r\nof its kind, Frankenstein paved the way for science fiction writing.\r\nIts depiction of a then impossible scientific feat has in our time\r\nbecome possible and is essentially recognizable in what we now refer\r\nto as bioengineering, biomedicine, or biotechnology...Victor\r\nFrankenstein, has come to serve as the poster child and whipping boy\r\nfor all scientific and technological irresponsibility, so much so that\r\nthanks to him we are able to free ourselves and our scientists from\r\nany real responsibility, since none of us ever would or could be as\r\nmonstrous as Frankenstein,  (van der Laan)\". There can be no doubt\r\nthat Frankenstein has an iconic place in culture, which it would not\r\nhave earned if it were not a revolutionary piece of work. At the time\r\nit was published no mere human could conceive of doing what Victor\r\nFrankenstein had done. Creating life was out of the question, and with\r\nthe primitive conditions that most scientists were forced to function\r\nunder due to the church, even saving lives with improvements to modern\r\nmedicine was difficult. Mary Shelley touches on the back-alley secrecy\r\nthat surrounded the act of acquiring body parts for research, which\r\nwas made practically impossible by the religious attitudes of the\r\ntime. \"From the thirteenth to the early seventeenth century, the\r\nbodies of the executed were the only legal source of bodies for\r\ndissection. Starting in the late seventeenth century, the bodies of\r\nunclaimed persons were also made legally available, (Hildebrandt)\".\r\nMary Shelley\'s work was also unusual and unique because of the author,\r\nsince even during the Age of Enlightenment it was still more common\r\nfor men to be published authors than women, and Shelley wrote\r\nFrankenstein while she was still a mere teenager.\r\n\r\nAlthough response to the initial publishing of Frankenstein was mixed,\r\nit seems to be the overall concensus that for better or worse, this\r\nnovel has firmly earned its place in history. Helen Moore wrote in\r\n1886 that,\"Of Mrs. Shelley\'s writings, Frankenstein is without\r\nquestion the most noteworthy. From the day of its first appearance in\r\nprint down to the present, it has had accorded to it a position as a\r\nunique and remarkable production.\" Although Frankenstein presented\r\nshocking and grotesque new concepts to the public, it also took off as\r\nan allegory for science without morality. The word \'Frankenstein\' has\r\nbecome almost synonymous with \'monster\', even though Frankenstein was\r\nthe monster\'s creator, and the monster himself remained nameless.\r\nFrankenstein was parodied in pictures as early as 1843.\r\n<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://en.wikipedia.org/wiki/File:Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\"><img class=\"size-medium wp-image-1976\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein-223x300.jpg\" alt=\"\" width=\"223\" height=\"300\" /></a></dt><dd>Frankenstein as Propoganda</dd></dl><a href=\"http://upload.wikimedia.org/wikipedia/commons/3/38/Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\">http://upload.wikimedia.org/wikipedia/commons/3/38/Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg</a>\r\n\r\n</div>\r\nCurrent day opinion of Frankenstein does not seem to have changed much\r\nfrom the attitudes of the time towards the work. In fact, there is an\r\neerie similarity between what critics at the time were saying and what\r\nthe modern day critics seem to feel about Shelley\'s masterpiece. \"Mary\r\nWollstonecraft Shelley is responsible for a creative transformation\r\nworthy of her prototypical mad scientist, Victor Frankenstein: she\r\nreconfigures, recontextualizes, and thus modernizes the myth of\r\nPrometheus by means of a tiresome, unlucky ghost story, (Hustis)\". It\r\nmay very well be that Mary Shelley managed, without entirely meaning\r\nto, to create a story that touches so many people so deeply and\r\neffectively that she has broken the proverbial mold of writing.\r\nWhatever the case may be, there seems to be almost unilateral\r\nagreement that this particular piece of work is well deserving of its\r\nplace in the annals of history.\r\n\r\nMy personal reaction to this work has always been very strong. Whether\r\nreading the book or watching any of the myriad of movies that were\r\ninspired by Frankenstein, it is impossible to resist the allure of the\r\ntale. Victor Frankenstein takes the role of God in his hands and sets\r\nabout to defy death by creating life through the use of science. In\r\nsome ways there lies the majority of the allure. Everyone fears death,\r\nand humankind as a whole has an obsession with defeating it, whether\r\nlooking back to ancient tales of the fountain of youth, or going\r\nforward to the more modern age, where life and death are now\r\ncontrolled in the pristine setting of a laboratory or hospital.\r\n\r\nSecondary but not lesser by any means are the themes of revenge and\r\nbetrayal that come with following Frankenstein\'s creation through his\r\njourney as a misfit of society. Desperately seeking to be accepted and\r\nloved, the monster instead becomes a killer, giving up on attaining\r\nhis dream and instead attempting to get even with the person who\r\ncreated him without thought for what misery might result.\r\nAlthough it was written much later at the closing of the century,\r\nperhaps the best story to compare with Frankenstein is that of Brahm\r\nStoker\'s Dracula. A similar tale of supernatural horror and foiled\r\nromance, Dracula focuses on some of the similar themes that\r\nFrankenstein does, and has also easily become as famous as Shelley\'s\r\nnovel. Both Dracula and Frankenstein have a monsterous main character,\r\nand both Dracula and the monster created by Victor Frankenstein\r\nstruggle to have something resembling a \'human\' existance, even though\r\nsuch a thing is clearly impossible. While Frankenstein is wrought with\r\nanguish at his inability to join society, Dracula seems almost\r\nunbothered by it. Instead, Dracula rejoices in the powers that he has\r\ngained, which may be because of how much easier it is for Dracula to\r\nmove about among the \'normal\' population due to his more human\r\nappearance. Dracula and Frankenstein both rely on gothic themes and\r\nisolated landscapes to enhance the \'horrific\' aspect of the narrative,\r\nand in both stories there are a number of innocent people who suffer\r\nbecause of being involved with the monster in some tenebrous way. The\r\ncarefree Lucy in Brahm Stoker\'s tale is killed for no reason other\r\nthan being friends with the family that Dracula is tormenting.\r\nVictor\'s bride Emily falls victim to the monster that her fiancee --\r\nand later husband -- created. Both stories share aspects of\r\nRomanticism and have love stories contained within that are less\r\ncentral to the plot than the monster, which remains the focal point of\r\nthe story-telling.\r\n\r\nFor future generations there are several things to be aware of,\r\nincluding the age at which Mary Shelley authored Frankenstein, the\r\nmoral of the story, which is one cautioning against the development of\r\nscience without a counter-check of morality. To know that a teenage\r\ngirl was capable of creating such a timeless classic should inspire\r\neveryone who reads it to make the best use of their talents and aspire\r\nto do whatever it is that they love. Creativity knows no bounds, and a\r\nwork of genius can be recognized as such no matter who is the creator.\r\nAt the same time, there is also much to be gleaned from the work\r\nitself, not just about being moderate and careful when approaching new\r\nscientific and technological advances, but also about being more\r\naccepting as a society.\r\n<p style=\"text-align: center\">_______________Works Cited_______________</p>\r\n<p style=\"text-align: left\">Quinn, Edward. \"gothic literature.\" A Dictionary of Literary and\r\nThematic Terms, Second Edition. New York: Facts On File, Inc., 2006.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left\">\"Frankenstein.\" Recommended Reading: 500 Classics Reviewed (1995): 1.\r\nMagillOnLiterature Plus. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left\">van der Laan, J. M. \"Frankenstein as Science Fiction and Fact.\"\r\nBulletin of Science, Technology &amp; Society 30.4 (2010): 298-304.\r\nVocational and Career Collection. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left\">Hildebrandt, S. \"Capital punishment and anatomy: history and ethics of\r\nan ongoing association.\" Clinical Anatomy (New York, N.Y.) 21.1\r\n(2008): 5-14. MEDLINE. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left\">Moore, Helen. From \"Frankenstein, and Other Writings.\" In Mary\r\nWollstonecraft Shelley: 244–264. 1886. Quoted as \"Frankenstein, and\r\nOther Writings\" in Bloom, Harold, ed. Mary Shelley, Bloom\'s Classic\r\nCritical Views. New York: Chelsea House Publishing, 2008. Bloom\'s\r\nLiterary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left\">Hustis, Harriet. \"Responsible Creativity and the \"Modernity\" of Mary\r\nShelley\'s Prometheus.\" SEL: Studies in English Literature, 1500–1900,\r\n43, no. 4 (Autumn 2003): 845–858. Quoted as \"Responsible Creativity\r\nand the \"Modernity\" of Mary Shelley\'s Prometheus\" in Bloom, Harold,\r\ned. Mary Wollstonecraft Shelley, New Edition, Bloom\'s Modern Critical\r\nViews. New York: Chelsea House Publishing, 2009. Bloom\'s Literary\r\nReference Online. Facts On File, Inc</p>','Frankenstein - The Man and the Monster','','inherit','open','open','','1975-autosave','','','2011-11-21 12:46:22','2011-11-21 18:46:22','',1975,'http://jeanatacc.com/2011/?p=2040',0,'revision','',0),(2041,1,'2011-11-01 17:24:05','2011-11-01 23:24:05','<a href=\"http://cinefantastiqueonline.com/wp-content/uploads/munsters_1.jpg\"><img class=\"aligncenter size-medium wp-image-1977\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/munsters_1-201x300.jpg\" alt=\"\" width=\"201\" height=\"300\" /></a>\r\n\r\n&nbsp;\r\n\r\nPublished anonymously in 1818, Mary Shelley\'s work, Frankenstein, was\r\noriginally written as part of a wager. Mary Shelley was a young woman,\r\nstill in her teens, when she published this work. Later, in 1823, a\r\nrefined edition was published with Shelley\'s name actually on it.\r\nFrankenstein is a story about a doctor who wishes to create life, and\r\nhis creation, the monster. Shelley\'s book raises questions about the\r\nmorality of science and the nature of good and evil in general.\r\nAlthough Frankenstein\'s monster seeks to be accepted by society, he is\r\nultimately rejected because of his hideous appearance. Seeking revenge\r\non his creator, the monster kills Frankenstein\'s younger brother and\r\nthen his young bride before ultimately tracking down and destroying\r\nthe man who created him. Both Romanticism and the gothic novel were\r\npopular at the time this work was published, and the Industrial\r\nRevolution was gearing up, leading people to ask questions about the\r\neffects of science and industrialization on society. At this same time\r\nthe Enlightenment was in full swing, and Mary Shelley\'s own father was\r\npart of the movement. Enlightenment -- or the Age of Enlightenment --\r\nwas a school of intellectual recourse that involved higher society\r\nduring the eighteenth and nineteenth centuries. It promoted the\r\nvirtues of higher thought and philosophy and railed against the\r\nintolerance of the church and abuses of power by both church and\r\nstate.\r\nDuring the late seventeen hundreds and the early eighteen hundreds,\r\nthe gothic novel experienced its hayday, and had a great deal of\r\ninfluence on the Romantic movement of art and writing. \"The\r\ntraditional setting, beginning with Hugh Walpole\'s The Castle of\r\nOtranto (1764), is a medieval (hence, \"gothic\") castle, replete with\r\nsecret passages, torchlit dungeons, and an occasional bat. The\r\ntraditional plot, as in Anne Radcliffe\'s The Mysteries of Udolpho\r\n(1794), involves a beautiful heroine beset by dark shadows, strange\r\nnoises, and a candle that keeps blowing out. These early gothic novels\r\naimed at instilling terror. Later examples of the form, such as\r\nMatthew Lewis\'s The Monk (1796), moved beyond terror to horror,\r\ninvoking demons, ghosts, and other supernatural paraphernalia in gory\r\nand subliminally erotic detail, (Quinn)\". Mary Shelley\'s work was\r\nperhaps one of the best known examples of the gothic novel, and is\r\nalso considered one of the earliest works of science fiction. Shelley\r\ndeals with themes that were at the time unique to gothic literature,\r\nusing elements of the \'supernatural\' and building her story so as to\r\nincite horror in the reader. At the time it was considered highly\r\ncontroversial, and part of what led up to the second edition of the\r\nbook with Shelley\'s real name on the cover was the need to edit and\r\nrefine the writing due to some of the public\'s reaction to the\r\ncontent. Frankenstein is also somewhat typical of the Romantic era\r\nwriter\'s use of the wayward hero, and a similarity can be found in the\r\nstory of Prometheus, by Johann Gothe. \"Victor and the monster are not\r\nso much villains as they are typically ambiguous Romantic heroes:\r\nVictor fails miserably, but his quest is inspiring; and the monster,\r\nthough a murderer, is also a victim, and an eloquent and sympathetic\r\nrebel against forces that violate his basic rights, (Classics\r\nReviewed)\".\r\nWhat truely sets Mary Shelley\'s tale apart from other writing of the\r\ntime is that it is one of the original instances where a story focuses\r\non the laboratory and what takes place there. \"Often called the first\r\nof its kind, Frankenstein paved the way for science fiction writing.\r\nIts depiction of a then impossible scientific feat has in our time\r\nbecome possible and is essentially recognizable in what we now refer\r\nto as bioengineering, biomedicine, or biotechnology...Victor\r\nFrankenstein, has come to serve as the poster child and whipping boy\r\nfor all scientific and technological irresponsibility, so much so that\r\nthanks to him we are able to free ourselves and our scientists from\r\nany real responsibility, since none of us ever would or could be as\r\nmonstrous as Frankenstein,  (van der Laan)\". There can be no doubt\r\nthat Frankenstein has an iconic place in culture, which it would not\r\nhave earned if it were not a revolutionary piece of work. At the time\r\nit was published no mere human could conceive of doing what Victor\r\nFrankenstein had done. Creating life was out of the question, and with\r\nthe primitive conditions that most scientists were forced to function\r\nunder due to the church, even saving lives with improvements to modern\r\nmedicine was difficult. Mary Shelley touches on the back-alley secrecy\r\nthat surrounded the act of acquiring body parts for research, which\r\nwas made practically impossible by the religious attitudes of the\r\ntime. \"From the thirteenth to the early seventeenth century, the\r\nbodies of the executed were the only legal source of bodies for\r\ndissection. Starting in the late seventeenth century, the bodies of\r\nunclaimed persons were also made legally available, (Hildebrandt)\".\r\nMary Shelley\'s work was also unusual and unique because of the author,\r\nsince even during the Age of Enlightenment it was still more common\r\nfor men to be published authors than women, and Shelley wrote\r\nFrankenstein while she was still a mere teenager.\r\nAlthough response to the initial publishing of Frankenstein was mixed,\r\nit seems to be the overall concensus that for better or worse, this\r\nnovel has firmly earned its place in history. Helen Moore wrote in\r\n1886 that,\"Of Mrs. Shelley\'s writings, Frankenstein is without\r\nquestion the most noteworthy. From the day of its first appearance in\r\nprint down to the present, it has had accorded to it a position as a\r\nunique and remarkable production.\" Although Frankenstein presented\r\nshocking and grotesque new concepts to the public, it also took off as\r\nan allegory for science without morality. The word \'Frankenstein\' has\r\nbecome almost synonymous with \'monster\', even though Frankenstein was\r\nthe monster\'s creator, and the monster himself remained nameless.\r\nFrankenstein was parodied in pictures as early as 1843.\r\n\r\n[caption id=\"attachment_1976\" align=\"aligncenter\" width=\"223\" caption=\"Frankenstein as Propoganda\"]<a href=\"http://en.wikipedia.org/wiki/File:Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\"><img class=\"size-medium wp-image-1976\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein-223x300.jpg\" alt=\"\" width=\"223\" height=\"300\" /></a>[/caption]\r\n\r\nCurrent day opinion of Frankenstein does not seem to have changed much\r\nfrom the attitudes of the time towards the work. In fact, there is an\r\neerie similarity between what critics at the time were saying and what\r\nthe modern day critics seem to feel about Shelley\'s masterpiece. \"Mary\r\nWollstonecraft Shelley is responsible for a creative transformation\r\nworthy of her prototypical mad scientist, Victor Frankenstein: she\r\nreconfigures, recontextualizes, and thus modernizes the myth of\r\nPrometheus by means of a tiresome, unlucky ghost story, (Hustis)\". It\r\nmay very well be that Mary Shelley managed, without entirely meaning\r\nto, to create a story that touches so many people so deeply and\r\neffectively that she has broken the proverbial mold of writing.\r\nWhatever the case may be, there seems to be almost unilateral\r\nagreement that this particular piece of work is well deserving of its\r\nplace in the annals of history.\r\nMy personal reaction to this work has always been very strong. Whether\r\nreading the book or watching any of the myriad of movies that were\r\ninspired by Frankenstein, it is impossible to resist the allure of the\r\ntale. Victor Frankenstein takes the role of God in his hands and sets\r\nabout to defy death by creating life through the use of science. In\r\nsome ways there lies the majority of the allure. Everyone fears death,\r\nand humankind as a whole has an obsession with defeating it, whether\r\nlooking back to ancient tales of the fountain of youth, or going\r\nforward to the more modern age, where life and death are now\r\ncontrolled in the pristine setting of a laboratory or hospital.\r\nSecondary but not lesser by any means are the themes of revenge and\r\nbetrayal that come with following Frankenstein\'s creation through his\r\njourney as a misfit of society. Desperately seeking to be accepted and\r\nloved, the monster instead becomes a killer, giving up on attaining\r\nhis dream and instead attempting to get even with the person who\r\ncreated him without thought for what misery might result.\r\nAlthough it was written much later at the closing of the century,\r\nperhaps the best story to compare with Frankenstein is that of Brahm\r\nStoker\'s Dracula. A similar tale of supernatural horror and foiled\r\nromance, Dracula focuses on some of the similar themes that\r\nFrankenstein does, and has also easily become as famous as Shelley\'s\r\nnovel. Both Dracula and Frankenstein have a monsterous main character,\r\nand both Dracula and the monster created by Victor Frankenstein\r\nstruggle to have something resembling a \'human\' existance, even though\r\nsuch a thing is clearly impossible. While Frankenstein is wrought with\r\nanguish at his inability to join society, Dracula seems almost\r\nunbothered by it. Instead, Dracula rejoices in the powers that he has\r\ngained, which may be because of how much easier it is for Dracula to\r\nmove about among the \'normal\' population due to his more human\r\nappearance. Dracula and Frankenstein both rely on gothic themes and\r\nisolated landscapes to enhance the \'horrific\' aspect of the narrative,\r\nand in both stories there are a number of innocent people who suffer\r\nbecause of being involved with the monster in some tenebrous way. The\r\ncarefree Lucy in Brahm Stoker\'s tale is killed for no reason other\r\nthan being friends with the family that Dracula is tormenting.\r\nVictor\'s bride Emily falls victim to the monster that her fiancee --\r\nand later husband -- created. Both stories share aspects of\r\nRomanticism and have love stories contained within that are less\r\ncentral to the plot than the monster, which remains the focal point of\r\nthe story-telling.\r\nFor future generations there are several things to be aware of,\r\nincluding the age at which Mary Shelley authored Frankenstein, the\r\nmoral of the story, which is one cautioning against the development of\r\nscience without a counter-check of morality. To know that a teenage\r\ngirl was capable of creating such a timeless classic should inspire\r\neveryone who reads it to make the best use of their talents and aspire\r\nto do whatever it is that they love. Creativity knows no bounds, and a\r\nwork of genius can be recognized as such no matter who is the creator.\r\nAt the same time, there is also much to be gleaned from the work\r\nitself, not just about being moderate and careful when approaching new\r\nscientific and technological advances, but also about being more\r\naccepting as a society.\r\n<p style=\"text-align: center;\">_______________Works Cited_______________</p>\r\n<p style=\"text-align: left;\">Quinn, Edward. \"gothic literature.\" A Dictionary of Literary and\r\nThematic Terms, Second Edition. New York: Facts On File, Inc., 2006.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left;\">\"Frankenstein.\" Recommended Reading: 500 Classics Reviewed (1995): 1.\r\nMagillOnLiterature Plus. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left;\">van der Laan, J. M. \"Frankenstein as Science Fiction and Fact.\"\r\nBulletin of Science, Technology &amp; Society 30.4 (2010): 298-304.\r\nVocational and Career Collection. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left;\">Hildebrandt, S. \"Capital punishment and anatomy: history and ethics of\r\nan ongoing association.\" Clinical Anatomy (New York, N.Y.) 21.1\r\n(2008): 5-14. MEDLINE. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left;\">Moore, Helen. From \"Frankenstein, and Other Writings.\" In Mary\r\nWollstonecraft Shelley: 244–264. 1886. Quoted as \"Frankenstein, and\r\nOther Writings\" in Bloom, Harold, ed. Mary Shelley, Bloom\'s Classic\r\nCritical Views. New York: Chelsea House Publishing, 2008. Bloom\'s\r\nLiterary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left;\">Hustis, Harriet. \"Responsible Creativity and the \"Modernity\" of Mary\r\nShelley\'s Prometheus.\" SEL: Studies in English Literature, 1500–1900,\r\n43, no. 4 (Autumn 2003): 845–858. Quoted as \"Responsible Creativity\r\nand the \"Modernity\" of Mary Shelley\'s Prometheus\" in Bloom, Harold,\r\ned. Mary Wollstonecraft Shelley, New Edition, Bloom\'s Modern Critical\r\nViews. New York: Chelsea House Publishing, 2009. Bloom\'s Literary\r\nReference Online. Facts On File, Inc</p>','Frankenstein - The Man and the Monster','','inherit','open','open','','1975-revision-4','','','2011-11-01 17:24:05','2011-11-01 23:24:05','',1975,'http://jeanatacc.com/2011/?p=2041',0,'revision','',0),(2042,1,'2011-11-01 17:25:37','2011-11-01 23:25:37','<a href=\"http://cinefantastiqueonline.com/wp-content/uploads/munsters_1.jpg\"><img class=\"aligncenter size-medium wp-image-1977\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/munsters_1-201x300.jpg\" alt=\"\" width=\"201\" height=\"300\" /></a>\r\n\r\n&nbsp;\r\n\r\nPublished anonymously in 1818, Mary Shelley\'s work, Frankenstein, was\r\noriginally written as part of a wager. Mary Shelley was a young woman,\r\nstill in her teens, when she published this work. Later, in 1823, a\r\nrefined edition was published with Shelley\'s name actually on it.\r\nFrankenstein is a story about a doctor who wishes to create life, and\r\nhis creation, the monster. Shelley\'s book raises questions about the\r\nmorality of science and the nature of good and evil in general.\r\nAlthough Frankenstein\'s monster seeks to be accepted by society, he is\r\nultimately rejected because of his hideous appearance. Seeking revenge\r\non his creator, the monster kills Frankenstein\'s younger brother and\r\nthen his young bride before ultimately tracking down and destroying\r\nthe man who created him. Both Romanticism and the gothic novel were\r\npopular at the time this work was published, and the Industrial\r\nRevolution was gearing up, leading people to ask questions about the\r\neffects of science and industrialization on society. At this same time\r\nthe Enlightenment was in full swing, and Mary Shelley\'s own father was\r\npart of the movement. Enlightenment -- or the Age of Enlightenment --\r\nwas a school of intellectual recourse that involved higher society\r\nduring the eighteenth and nineteenth centuries. It promoted the\r\nvirtues of higher thought and philosophy and railed against the\r\nintolerance of the church and abuses of power by both church and\r\nstate.\r\n\r\nDuring the late seventeen hundreds and the early eighteen hundreds,\r\nthe gothic novel experienced its hayday, and had a great deal of\r\ninfluence on the Romantic movement of art and writing. \"The\r\ntraditional setting, beginning with Hugh Walpole\'s The Castle of\r\nOtranto (1764), is a medieval (hence, \"gothic\") castle, replete with\r\nsecret passages, torchlit dungeons, and an occasional bat. The\r\ntraditional plot, as in Anne Radcliffe\'s The Mysteries of Udolpho\r\n(1794), involves a beautiful heroine beset by dark shadows, strange\r\nnoises, and a candle that keeps blowing out. These early gothic novels\r\naimed at instilling terror. Later examples of the form, such as\r\nMatthew Lewis\'s The Monk (1796), moved beyond terror to horror,\r\ninvoking demons, ghosts, and other supernatural paraphernalia in gory\r\nand subliminally erotic detail, (Quinn)\". Mary Shelley\'s work was\r\nperhaps one of the best known examples of the gothic novel, and is\r\nalso considered one of the earliest works of science fiction. Shelley\r\ndeals with themes that were at the time unique to gothic literature,\r\nusing elements of the \'supernatural\' and building her story so as to\r\nincite horror in the reader. At the time it was considered highly\r\ncontroversial, and part of what led up to the second edition of the\r\nbook with Shelley\'s real name on the cover was the need to edit and\r\nrefine the writing due to some of the public\'s reaction to the\r\ncontent. Frankenstein is also somewhat typical of the Romantic era\r\nwriter\'s use of the wayward hero, and a similarity can be found in the\r\nstory of Prometheus, by Johann Gothe. \"Victor and the monster are not\r\nso much villains as they are typically ambiguous Romantic heroes:\r\nVictor fails miserably, but his quest is inspiring; and the monster,\r\nthough a murderer, is also a victim, and an eloquent and sympathetic\r\nrebel against forces that violate his basic rights, (Classics\r\nReviewed)\".\r\n\r\nWhat truely sets Mary Shelley\'s tale apart from other writing of the\r\ntime is that it is one of the original instances where a story focuses\r\non the laboratory and what takes place there. \"Often called the first\r\nof its kind, Frankenstein paved the way for science fiction writing.\r\nIts depiction of a then impossible scientific feat has in our time\r\nbecome possible and is essentially recognizable in what we now refer\r\nto as bioengineering, biomedicine, or biotechnology...Victor\r\nFrankenstein, has come to serve as the poster child and whipping boy\r\nfor all scientific and technological irresponsibility, so much so that\r\nthanks to him we are able to free ourselves and our scientists from\r\nany real responsibility, since none of us ever would or could be as\r\nmonstrous as Frankenstein,  (van der Laan)\". There can be no doubt\r\nthat Frankenstein has an iconic place in culture, which it would not\r\nhave earned if it were not a revolutionary piece of work. At the time\r\nit was published no mere human could conceive of doing what Victor\r\nFrankenstein had done. Creating life was out of the question, and with\r\nthe primitive conditions that most scientists were forced to function\r\nunder due to the church, even saving lives with improvements to modern\r\nmedicine was difficult. Mary Shelley touches on the back-alley secrecy\r\nthat surrounded the act of acquiring body parts for research, which\r\nwas made practically impossible by the religious attitudes of the\r\ntime. \"From the thirteenth to the early seventeenth century, the\r\nbodies of the executed were the only legal source of bodies for\r\ndissection. Starting in the late seventeenth century, the bodies of\r\nunclaimed persons were also made legally available, (Hildebrandt)\".\r\nMary Shelley\'s work was also unusual and unique because of the author,\r\nsince even during the Age of Enlightenment it was still more common\r\nfor men to be published authors than women, and Shelley wrote\r\nFrankenstein while she was still a mere teenager.\r\n\r\nAlthough response to the initial publishing of Frankenstein was mixed,\r\nit seems to be the overall concensus that for better or worse, this\r\nnovel has firmly earned its place in history. Helen Moore wrote in\r\n1886 that,\"Of Mrs. Shelley\'s writings, Frankenstein is without\r\nquestion the most noteworthy. From the day of its first appearance in\r\nprint down to the present, it has had accorded to it a position as a\r\nunique and remarkable production.\" Although Frankenstein presented\r\nshocking and grotesque new concepts to the public, it also took off as\r\nan allegory for science without morality. The word \'Frankenstein\' has\r\nbecome almost synonymous with \'monster\', even though Frankenstein was\r\nthe monster\'s creator, and the monster himself remained nameless.\r\nFrankenstein was parodied in pictures as early as 1843.\r\n\r\n[caption id=\"attachment_1976\" align=\"aligncenter\" width=\"223\" caption=\"Frankenstein as Propoganda\"]<a href=\"http://en.wikipedia.org/wiki/File:Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\"><img class=\"size-medium wp-image-1976\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein-223x300.jpg\" alt=\"\" width=\"223\" height=\"300\" /></a>[/caption]\r\n\r\nCurrent day opinion of Frankenstein does not seem to have changed much\r\nfrom the attitudes of the time towards the work. In fact, there is an\r\neerie similarity between what critics at the time were saying and what\r\nthe modern day critics seem to feel about Shelley\'s masterpiece. \"Mary\r\nWollstonecraft Shelley is responsible for a creative transformation\r\nworthy of her prototypical mad scientist, Victor Frankenstein: she\r\nreconfigures, recontextualizes, and thus modernizes the myth of\r\nPrometheus by means of a tiresome, unlucky ghost story, (Hustis)\". It\r\nmay very well be that Mary Shelley managed, without entirely meaning\r\nto, to create a story that touches so many people so deeply and\r\neffectively that she has broken the proverbial mold of writing.\r\nWhatever the case may be, there seems to be almost unilateral\r\nagreement that this particular piece of work is well deserving of its\r\nplace in the annals of history.\r\n\r\nMy personal reaction to this work has always been very strong. Whether\r\nreading the book or watching any of the myriad of movies that were\r\ninspired by Frankenstein, it is impossible to resist the allure of the\r\ntale. Victor Frankenstein takes the role of God in his hands and sets\r\nabout to defy death by creating life through the use of science. In\r\nsome ways there lies the majority of the allure. Everyone fears death,\r\nand humankind as a whole has an obsession with defeating it, whether\r\nlooking back to ancient tales of the fountain of youth, or going\r\nforward to the more modern age, where life and death are now\r\ncontrolled in the pristine setting of a laboratory or hospital.\r\n\r\nSecondary but not lesser by any means are the themes of revenge and\r\nbetrayal that come with following Frankenstein\'s creation through his\r\njourney as a misfit of society. Desperately seeking to be accepted and\r\nloved, the monster instead becomes a killer, giving up on attaining\r\nhis dream and instead attempting to get even with the person who\r\ncreated him without thought for what misery might result.\r\nAlthough it was written much later at the closing of the century,\r\nperhaps the best story to compare with Frankenstein is that of Brahm\r\nStoker\'s Dracula. A similar tale of supernatural horror and foiled\r\nromance, Dracula focuses on some of the similar themes that\r\nFrankenstein does, and has also easily become as famous as Shelley\'s\r\nnovel. Both Dracula and Frankenstein have a monsterous main character,\r\nand both Dracula and the monster created by Victor Frankenstein\r\nstruggle to have something resembling a \'human\' existance, even though\r\nsuch a thing is clearly impossible. While Frankenstein is wrought with\r\nanguish at his inability to join society, Dracula seems almost\r\nunbothered by it. Instead, Dracula rejoices in the powers that he has\r\ngained, which may be because of how much easier it is for Dracula to\r\nmove about among the \'normal\' population due to his more human\r\nappearance. Dracula and Frankenstein both rely on gothic themes and\r\nisolated landscapes to enhance the \'horrific\' aspect of the narrative,\r\nand in both stories there are a number of innocent people who suffer\r\nbecause of being involved with the monster in some tenebrous way. The\r\ncarefree Lucy in Brahm Stoker\'s tale is killed for no reason other\r\nthan being friends with the family that Dracula is tormenting.\r\nVictor\'s bride Emily falls victim to the monster that her fiancee --\r\nand later husband -- created. Both stories share aspects of\r\nRomanticism and have love stories contained within that are less\r\ncentral to the plot than the monster, which remains the focal point of\r\nthe story-telling.\r\n\r\nFor future generations there are several things to be aware of,\r\nincluding the age at which Mary Shelley authored Frankenstein, the\r\nmoral of the story, which is one cautioning against the development of\r\nscience without a counter-check of morality. To know that a teenage\r\ngirl was capable of creating such a timeless classic should inspire\r\neveryone who reads it to make the best use of their talents and aspire\r\nto do whatever it is that they love. Creativity knows no bounds, and a\r\nwork of genius can be recognized as such no matter who is the creator.\r\nAt the same time, there is also much to be gleaned from the work\r\nitself, not just about being moderate and careful when approaching new\r\nscientific and technological advances, but also about being more\r\naccepting as a society.\r\n<p style=\"text-align: center;\">_______________Works Cited_______________</p>\r\n<p style=\"text-align: left;\">Quinn, Edward. \"gothic literature.\" A Dictionary of Literary and\r\nThematic Terms, Second Edition. New York: Facts On File, Inc., 2006.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left;\">\"Frankenstein.\" Recommended Reading: 500 Classics Reviewed (1995): 1.\r\nMagillOnLiterature Plus. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left;\">van der Laan, J. M. \"Frankenstein as Science Fiction and Fact.\"\r\nBulletin of Science, Technology &amp; Society 30.4 (2010): 298-304.\r\nVocational and Career Collection. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left;\">Hildebrandt, S. \"Capital punishment and anatomy: history and ethics of\r\nan ongoing association.\" Clinical Anatomy (New York, N.Y.) 21.1\r\n(2008): 5-14. MEDLINE. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left;\">Moore, Helen. From \"Frankenstein, and Other Writings.\" In Mary\r\nWollstonecraft Shelley: 244–264. 1886. Quoted as \"Frankenstein, and\r\nOther Writings\" in Bloom, Harold, ed. Mary Shelley, Bloom\'s Classic\r\nCritical Views. New York: Chelsea House Publishing, 2008. Bloom\'s\r\nLiterary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left;\">Hustis, Harriet. \"Responsible Creativity and the \"Modernity\" of Mary\r\nShelley\'s Prometheus.\" SEL: Studies in English Literature, 1500–1900,\r\n43, no. 4 (Autumn 2003): 845–858. Quoted as \"Responsible Creativity\r\nand the \"Modernity\" of Mary Shelley\'s Prometheus\" in Bloom, Harold,\r\ned. Mary Wollstonecraft Shelley, New Edition, Bloom\'s Modern Critical\r\nViews. New York: Chelsea House Publishing, 2009. Bloom\'s Literary\r\nReference Online. Facts On File, Inc</p>','Frankenstein - The Man and the Monster','','inherit','open','open','','1975-revision-5','','','2011-11-01 17:25:37','2011-11-01 23:25:37','',1975,'http://jeanatacc.com/2011/?p=2042',0,'revision','',0),(2043,1,'2011-10-31 20:04:04','2011-11-01 02:04:04','<p style=\"text-align: center\"></p>\r\n\"A Doll\'s House\" is a play that was written in 1879 by Henrik Ibsen that broke the barriers of social norms for its time.  Ibsen was a figure head in his field known world wide for his playwrights one critic states, \"was not the second half of the nineteenth century the age of Ibsen: is tragedy not restored to the heights in him?\". <!--more-->\r\n(Gray)  It focuses on a typical married couple for the time period, Torvald and Nora.  In order to save her husband’s life Nora forges a signature to get money to save him only to find he is very unappreciative.  Some say it is a piece that was written for women’s rights.  Ibsen however has stated that the play was not written simply about women\'s rights during the time, but every human’s natural right that had been taken or severely restricted due to social norms.  \"A Doll\'s House\" should be preserved due to its innovative thought about human rights and how these natural rights we have were so suppressed under irrational social norms.\r\n\r\nThe piece is beautiful in my opinion.  Not only does it express the harsh reality of the social conditions that people had to live through during those times.  I mean compared to current day where some men don\'t even work and stay home while the woman is the bread winner.  He was not afraid to let people know that he was not ok following this unwritten handbook of social acceptability.  The other thing that I love about the piece is that it is a woman who goes through the harsh times, but he defends the husband stating that it’s about human rights.  Ibsen said, \"I . . . must disclaim the honor of having consciously worked for women\'s rights. I am not even quite sure what women\'s rights really are. To me it has been a question of human rights.\" (Goonetilleke)   Torvald then does not seem like so much of a monster with that statement.  If it weren\'t for the norms put in place he may have reacted properly with love rather than anger about his wife\'s decision.\r\n\r\nIt is uncanny however how two pieces that have to do with personal rights were created so closely in time.  Another work that was made about women\'s rights but still about natural human rights was \"The Subjugation of Women\" by John Stuart Mill in 1869.  The piece talks about how social norms have turned women into willing slaves.  They are deprived from a young age of opportunity that men have and this causes them to play the subordinate role.  It talks about how women are pretty much bread from a young age to be placed in the house taking care of children and chores.  The other great point Mill makes as well is that all women of the time have been brainwashed into thinking it is acceptable.  As said they are turned into willing slaves by the social norms.(Fiero)  This factor is almost identical to Ibsen\'s display of social norms stating men will act based on social norms regardless of situation, and that the women are expected to abide by these norms because that is just how things are.\r\n\r\nThis piece is very innovative for its time.  Ibsen was going against the level of social acceptability that was in place at the time, and had been in place for years.  Almost an unwritten rule on how people were supposed to act based on their given gender role.  It was innovative; however as said before you had other artists such as Mills who were still standing up for women\'s rights.  A little more off based than Ibsen who saw how the guidelines for \"social acceptability\" were depriving citizens of their natural birth rights.  Both produced their works in order to show people that the way things have been just did not make sense and it did not take a genius to see that.  Ibsen denying he wrote for women\'s rights however I feel made a more profound impact stating that he wrote because both men\'s and women\'s rights were being impeded on.\r\n\r\nWhen the play was originally written it did not go over very well with audiences due to the shocking acts of Nora.  One critic has stated, “The play was deemed so daring that, when performed in many countries, the ending was changed so that Nora returns home, finding she cannot leave Torvald or her three children so great is her love and devotion to them.” (Brunnemer)  However today the once shocking actions of Nora are now seen in a different light, “Nora\'s quest for her personal identity, while scandalous to some at the time, is exactly what made the play so famous—and why it continues to hold such currency as a drama today.” (Brunnemer)  Ibsen’s portrayal of how social norms had stunted human rights for all citizens is something that will always be appreciated.\r\n\r\nThe important reason for future generations to know about \"A Doll\'s House\" is how it was created to try and change social norms.  Ibsen saw how these roles are predetermined simply based on gender and nothing else.  No one gave the thought that women might be able to operate just as well as men in the work place and other aspects of life.  They were bread and brainwashed into thinking their role was in the house and to be subservient to their husbands.  Then he comes back and defends the men of society as well.  They too are brainwashed and set in their ways of how things are supposed to be and follow it strictly.  As quoted before Ibsen wrote this with the thought of all human rights in mind not just about one gender as both fell victim to the “cookie cutter” social norms.\r\n\r\n\"A Doll\'s House\" is a play written in order to sway public opinion and generate some thought about equality in gender.  Not only in gender but also in social acceptability associated with gender.  It showed how the women were slaves or a \"Doll\" merely in the “Doll House”.  It gives us a real view into how things were in those days.  To the extremes where even if a woman lied to save her husbands life he would recover with disappointment and criticism of such a wrong action.  Who could think of something like that today?  Many would do anything to save loved ones lives and their loved ones would be nothing but thankful.  It shows us how even when it came to actions of the people we hold closest the social norms were so overbearing that one could treat a spouse as a stranger committing such an act.   \"A Doll\'s House\" should be preserved due to its innovative school of thought about natural rights and how far society has come since then.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\nBrunnemer, Kristin. \"Sexuality in Henrik Ibsen\'s <em>A Doll\'s House</em>.\" In Bloom, Harold, ed. <em>Human Sexuality</em>, Bloom\'s Literary Themes. New York: Chelsea House Publishing, 2009. <em>Bloom\'s Literary Reference Online.</em> Facts On File, Inc. http://www.fofweb.com\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nGoonetilleke, D.C.R.A. \"A Doll\'s House (Et Dukkehjem) Play by Henrik Ibsen, 1879.\" <em>Reference Guide to World Literature</em>. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1231-1232. <em>Gale</em><em> Virtual Reference Library</em>. Web. 17 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nGray, Ronald. \"Ibsen, Henrik (1828-1906).\" <em>European Writers</em>: <em>The Romantic Century</em>. Ed. George Stade. Vol. 7. New York: Charles Scribner\'s Sons, 1983. 1421-1447. <em>Gale Virtual Reference Library</em>. Web. 31 Oct. 2011.\r\n\r\n&nbsp;','Ibsen\'s \"A Doll\'s House\"','','inherit','open','open','','1990-revision-5','','','2011-10-31 20:04:04','2011-11-01 02:04:04','',1990,'http://jeanatacc.com/2011/?p=2043',0,'revision','',0),(2044,1,'2011-10-31 21:32:18','2011-11-01 03:32:18','[caption id=\"attachment_2013\" align=\"alignleft\" width=\"292\" caption=\"Portrait of Jane Austen Source: http://www.janeaustenfestival.org/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\"><img class=\"size-full wp-image-2013 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\" alt=\"\" width=\"292\" height=\"224\" /></a>[/caption]\r\n<p align=\"left\"><em>Pride and Prejudice</em> was completed in August of 1797 by Jane Austen and is an epic and cautionary tale about marriage.  Don’t let that fact discourage you from enjoying this piece of literary excellence. It is a book about how personal pride and unknown prejudices can ruin lives, devastate families, divide generations and drive life-long wedges between people. Fortunately, it is also a book about overcoming obstacles, healing personal flaws, avoiding catastrophes and forming a love-filled marriage based on mutual respect. This iconic piece of literature must be preserved for all future generations because <em>Pride and Prejudice</em> changed the world by offering insight into how married life could be both disastrous and wonderful.<!--more--></p>\r\n<p align=\"left\">The protagonist of the story is Miss Elizabeth Bennet. She is considered Jane Austen’s most memorable feminine heroine, and her intelligent and strong-willed character single-handedly effects a monumental change in societal views that is still heralded, discussed, debated and agonized over today, some 198 years after the novel was completed [Marsh].  The classic and well-loved story was published in 1813 and details the life of Elizabeth Bennet, as she confronts issues of etiquette, manners, morality, education and marriage in the society of the affluent classes during early 19th-century England.</p>\r\n<p align=\"left\">Elizabeth is the second of five daughters and part of a middle-class family that lives near the fictional English town just outside of London. The original title of this work was <em>First Impressions</em> but I am pleased that the title was changed to <em>Pride and Prejudice </em>[Shields]. The fictional story focuses on a myriad of prejudices that each of us acquire as we travel through our lives and how our pride can cloud our view of others. The storyline clearly shows how one’s decisions are influenced by unknown prejudices and stubborn haughtiness. The end result of this fictional work is a message that is timeless.</p>\r\n<p align=\"left\">Miss Bennet miserably suffers through the typical adventures of an early 19th-century middle-class woman with the constant shadow of societal expectations looming over her shoulder. Bennet and the other five eligible females in the story are counted upon to land well-established, wealthy and aristocratic husbands starting around their sixteenth birthday. These marriages were often the means by which families survived, plain and simple. Therefore, grooming their daughters in an effort to secure a rich son-in-law was paramount to all middle-class families. Daughters were generally compliant and actively participated in the delicate dance of snaring an eligible (and wealthy) husband. However, Miss Bennet differs greatly from her peers because she is highly self-reliant, well-read, assertive, independent and strong-willed. And, she is not so sure that a “good marriage” is actually possible for any woman.</p>\r\n\r\n\r\n[caption id=\"attachment_2014\" align=\"alignright\" width=\"300\" caption=\"The Five Bennet Sisters Source: http://tinyurl.com/3mr6t7y\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1.jpg\"><img class=\"size-medium wp-image-2014\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1-300x211.jpg\" alt=\"\" width=\"300\" height=\"211\" /></a>[/caption]\r\n<p align=\"left\">She is not mesmerized by the gentry (what the upper-middle-class were often called) or the aristocracy and does not fall prey to the typical aristocratic and societal expectations. Bennet is not the typical young woman of the early 1800s. She abhors arrogance and much to her frustration, finds it in abundance among aristocratic men. According to the tenets of society, Bennet, her four sisters and their family friend, Charlotte Lucas, <em>require</em> husbands. There was no other means available for a young woman to make her way in the world besides riding on the coattails of a husband. Men were the only ones allowed to own land and other property. Even if a woman inherited a fortune, it was rare that she was allowed to manage it or even touch any of it. Women were considered too delicate and unsophisticated to have financial or business minds. Bennet was hearing none of that and remained head-strong.</p>\r\n<p align=\"left\">Austen’s tale accompanies the six women through various garden parties, drawing rooms, ballrooms and dramatic performances on their way to finding their perfect match. Most of the interactions between the characters in the book are quite interesting including the possibility of cousins marrying each other, sex before marriage, social class rivalries and dramatic verbal altercations. Critics of Austen’s work have generally discounted the authenticity of her writing because she rarely mentions the undercurrent of real-world political events that were in existence at the time [Watt]. The plot of <em>Pride and Prejudice</em> does not introduce these women to the historical events swirling around them and some say that fact is a shortcoming of Austen’s writing. In the story, there are off-handed and miscellaneous references to the excitement surrounding soldiers visiting the quaint town, including the blackguard George Wickham, but the intricate details of the political upheaval in England are skillfully ignored by Austen. It appears to modern-day readers that Austen has tried to focus her novel on bringing to light the strict marital obligations placed upon young women of the day and she carves out a picture-perfect environment and does not allow the fears of revolution in Great Britain to encroach on her story.</p>\r\n<p align=\"left\">Austen has also been criticized for writing about what she knew, and that mundane topics were not scintillating enough for the newer and more discerning reader of  the early 1800\'s [Shields]. The world of 19<sup>th</sup> Century England and the pressures on women were the focus of all of her books. I don’t find this unusual or lacking at all. It was natural for Austen to write about being encumbered by society’s expectations because she experienced that in her own life. As a middle-class young woman the political disturbances of the time did not affect her much. Nor did it affect the characters she conceived in <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\">When Austen began laying the foundation for this novel, in 1796, the British government was still reeling after their devastating loss of thousands men in battle against the Colonists, and they had depleted their coffers to the tune of an estimated $100 million in the fight to maintain control over the thirteen colonies [Fiero]. The political climate in Great Britain was horrific when the remnants of that war were coupled with their four-year-long conflict with France. Toward the end of her writing <em>Pride and Prejudice</em>, in 1797, the British began the blockade of Spain and this move brought further political uproar. Great Britain had become a shadow of its former self and Austen may have intentionally ignored the political chaos and written the novel as an enormous distraction for the nation. In fact, she does not mention the Napoleonic wars a single time in any of her nine novels [Shields].</p>\r\nGenerally, popular literary work of the time was either romantically sentimental to the point of being sickening sweet and unrealistic or Gothic-related horror. This type of sensationalism repelled Austen and she refused to construct her novels in a similar fashion. For example, <em>The Castle of Otranto</em> (Horace Walpole, 1765) and <em>The Mysteries of Udolpho</em> (Ann Radcliffe, 1794) were set in far-off, unrealistic places and filled with princes, dukes, and counts. These two novels were also known for their “violent, horrific and often supernatural action,” states Marsh. Readers were so used to being taken on a fantasy ride while reading a novel that they considered Austen’s <em>Pride and Prejudice</em> boring when it was published. Her book was not typical of its era because it was written in a ironic style that showed that ordinary, real life in a familiar town could also be malicious and terribly cruel.\r\n\r\n[caption id=\"attachment_2015\" align=\"alignleft\" width=\"174\" caption=\"Colin Firth as Mr. Darcy Source: http://en.paperblog.com/talking-jane-austen-84059/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy.jpg\"><img class=\"size-medium wp-image-2015\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy-174x300.jpg\" alt=\"\" width=\"174\" height=\"300\" /></a>[/caption]\r\n\r\nAnother reason why Austen’s <em>Pride and Prejudice</em> was considered unusual for its time was because it was one of the first books that blatantly addressed society’s oppression of women. Her creation of a complex main character that was embarrassed by her own family’s etiquette and yet wanted to defend their right to be themselves (no matter what their habits may be) had never been seen in a main character before [Baker]. At one point in the story, Bennet refuses a marriage proposal from Mr. Darcy (the richest and most well bred aristocrat in all of England), she does so with such insolence, and audacity that the readers must have gasped, dropped their snuffboxes, and tossed the book across the room upon reading that section. Refusing a man such as Mr. Darcy was simply <em>not done</em>. Nor were stories of such ill-mannered behavior told in polite society. Miss Elizabeth Bennet was, indeed, a rebel and created a storm of controversy. Click here to watch the scene where Elizabeth rebuffs Mr. Darcy and his proposal of marriage: <a href=\"http://www.youtube.com/watch?v=BJX5_rj2lZg\">Elizabethe refuses Mr. Darcy Source: http://www.youtube.com/watch?v=BJX5_rj2lZg</a>\r\n<p align=\"left\">Sadly, it was not until after her death in 1817, at the age of 42, that her writing managed to gain popularity with the English. <em>Pride and Prejudice</em>, in particular, has become one of the most popular novels in English literature, and receives considerable attention from literary scholars. Modern interest in the book has resulted in a large number of dramatic versions and a profusion of novels and tales imitating Austen\'s memorable characters and themes about strong-willed and independent women. <em>Pride and Persuasion</em> has sold more than 20 million copies worldwide, been made into several movies, mini-series dramas, and plays [Marsh].</p>\r\n<p align=\"left\">When researching the scholarly view of Austen’s work, I stumbled across an organization called the English Association. This body of work was created after the First World War (WWI) when many pieces of English Literature were lost during the skirmishes of war. The organization was founded by A.C. Bradley, a University professor and advocate for placing Austen’s work on the Association’s list of English Literature to be studied on the University level. In his 1911 lecture, A.C. Bradley stated, “I was meant to fall in love with her [Bennet], and I do.” The popularity of Austen’s work was greatly elevated in the years immediately following WWI, as shown in the mention of her work in Rudyard Kipling’s <em>The Janeites</em> (1922). Kipling speaks of soldiers reading Austen\'s books (<em>Pride and</em> <em>Prejudice</em> in particular) in the trenches of war to uplift their spirits. Baker states in his review of <em>Jane Austen Once More</em> that Austen’s work had a “class-less appeal that helped severely shell-shocked soldiers through the healing process” after WWI. The Jane Austen Society, created during the Blitz, was hell-bent on preserving and restoring Austen’s texts as if Jane Austen was a saint and her writings were prized relics. [Baker]</p>\r\n<p align=\"left\">This book has impacted my life in many ways. I know men and women that have entered into marriages for reasons other than love. It happens every single day, actually. I believe that people spend more time choosing a house than a life partner. I do not see that will change anytime in the future. One poignant moment in the book was when, speaking of her mother, Elizabeth Bennet\'s father says that he \"had married a woman whose weak understanding and illiberal mind had, very early in their marriage, put an end to all real affection for her.\" He admitted to his daughter that he had not thought things through when he married her mother. He further stated that he was, \"captivated by youth and beauty, and that appearance of good humour\" and then had tears in his eyes when he admitted he had not loved his wife in years [Austen]. This innocent and touching conversation in the father\'s library affected me deeply.  I have often wondered if my parents have felt the same way as Mr. Bennet after their 59 years of marriage.</p>\r\n<p align=\"left\"> I was also profoundly affected by the thread of prejudice that runs through the book. The prejudices spotlighted in this book are not the usual type of prejudice that we see and hear about today, but they run deep, occur on many levels and for many different reasons. Reading this book has caused me to inspect my own prejudices and see how they may be limiting the experiences in my own life. Sure, readers of this novel should be moved by the numerous events that occur. If nothing else, they should value the microscope that shines a light on all of our own prejudices that magically defy time and place. Today, we have some of the same prejudices that Jane Austen had back in 1796.</p>\r\n\r\n\r\n[caption id=\"attachment_2016\" align=\"alignright\" width=\"300\" caption=\"Five Bennet Daughters with Mother Source: http://tinyurl.com/69dbq5p\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters.jpg\"><img class=\"size-medium wp-image-2016\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters-300x213.jpg\" alt=\"\" width=\"300\" height=\"213\" /></a>[/caption]\r\n<p align=\"left\"> Marriages are not a means to climb the social ladder, become popular, or support your parents in their old age. Marriages are meant to be a joining of two people with the same goals, aspirations, and visions for their future. It is not enough for a woman to want to find “true love” before she marries. It is not enough for a man to heal his financial ills by obtaining an enormous dowry from his new wife. The back room political and financial wrangling that took place during the time Austen wrote this epic story was always slanted toward the absurd. This book shall stand as an example of what we do <em>not want</em> in marriages of today.</p>\r\n<p align=\"left\">I suppose I don\'t have to tell you that Simon Langton’s 1995 version of <em>Pride and Prejudice</em> (with Colin Firth) is the only DVD I own. I am thankful that times have changed for women and that the pressure of a \"good marriage\" is not placed squarely on the shoulders of young, naive women. If you are not married yet, read this book and then take time to find a partner that believes in mutual respect and honesty. This book must be preserved for numerous reasons; the very least of which is that it just might save you from entering a bad marriage!  Remember, don\'t judge a book (or a person) by its cover!</p>\r\n<p align=\"left\"><strong>WORKS CITED</strong></p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane. <em>Pride and Prejudice</em>. London: Penguin, 2003. Print. This is the original, reprinted version of the book that I used to quote Mr. Bennet when he was speaking of his own marriage.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em></em><em>Pride and Prejudice</em> / Jane Austen; edited with an introduction and notes by Vivien Jones; with the original Penguin Classics introduction by Tony Tanner. Imprint London; New York: Penguin Books, 2008. This is a Biography and I used the Introduction and Notes sections of this Biography, written by Vivian Jones, when referencing the original, reprinted text of <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em>The Complete Novels of Jane Austen.</em> Imprint New York, The Modern Library 1933  This is a compilation of Jane Austen\'s writing that I used to compare themes regarding strong-willed women characters.</p>\r\n<p align=\"left\"><strong>Baker</strong>, William.<strong> </strong><em>Jane Austen Once More</em>. Rev. of Jane Austen and The Enlightenment by Peter Knox-Shaw. Studies in the Novel, Fall 2007, Vol. 39 Issue 3, p357-367. Accessed online EBSCO Database on October 31, 2011. Website: http://tinyurl.com/4yfo2nq</p>\r\n<p align=\"left\"><strong>Fiero</strong>, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 24-26, 2011. This is a college-level course textbook that I used to learn about Jane Austen\'s literary piece called, <em>Pride and Prejudice</em>. I researched romantic stereotypes at the time <em>Pride and Prejudice</em> was written.</p>\r\n<p align=\"left\"><strong>Marsh</strong>, Nicholas. <em>Jane Austen: The Novels, Analyzing Texts</em>. New York: St. Martin\'s, 1998. Print. I used this analytical study of Jane Austen\'s writing to research how she created her characters from real-life examples, the general view of women in society at the time <em>Pride and Prejudice</em> was written and what the critics thought of this work when it was published.</p>\r\n<p align=\"left\"><strong>Shields</strong>, Carol. <em>Jane Austen.</em> New York: Viking Penguin, 2001. Print. I used this Biography to research Jane Austen\'s view of her family life and how it manifested itself in her writing. I used the facts of her broken engagement and her view of marriage to compare with the views of the characters she created.</p>\r\n<p align=\"left\"><strong>Watt</strong>, Ian P. <em>Jane Austen: A Collection of Critical Essays</em>. Englewood Cliffs, NJ: Prentice-Hall, 1963. Print. I used this book of criticisms and interpretations for research about how the book is viewed today.</p>','Don\'t Judge a Book by Its Cover!','','inherit','open','open','','2000-revision-5','','','2011-10-31 21:32:18','2011-11-01 03:32:18','',2000,'http://jeanatacc.com/2011/?p=2044',0,'revision','',0),(2045,1,'2011-11-01 17:29:55','2011-11-01 23:29:55','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\n\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\n\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion and corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\n\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\n\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and the addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\n\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\n\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\n\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\n\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\n\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\n\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\n\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\n\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\n\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\n\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw feeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his vision.\n\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\n\n<strong><span style=\"text-decoration: underline;\">Works Cited:</span></strong>\n<ul>\n	<li>Brucker,\nJulia. “<strong>Francois-Auguste-Rene\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\n2011.</li>\n</ul>\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Elsen,\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\n2011.</li>\n</ul>\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\n\n&nbsp;\n<ul>\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\nWeb. 01 Nov. 2011.</li>\n</ul>\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\n\n&nbsp;\n<ul>\n	<li>Facos,\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\n</ul>\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\n\n&nbsp;\n<ul>\n	<li>Gray,\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\nof Art (1983).</strong>” jessieevans-dongray.com.\n1983. Web. Accessed: October 23, 2011.</li>\n</ul>\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\n\n&nbsp;\n<ul>\n	<li>Haber,\nJohn. “<strong>The Gates to the City</strong>.”\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\n</ul>\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Richard,\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\n</ul>\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\n\n&nbsp;\n<ul>\n	<li>Roos,\nHans. “<strong>Rodin Works: The Gates of\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\n2011.</li>\n</ul>\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Unknown.\n“<strong>Auguste Rodin: His Life and Art</strong>.”\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\n</ul>\n&lt;http://www.rodin-art.com/artist.htm&gt;\n\n&nbsp;\n<ul>\n	<li>Unknown.\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\n2011. Web. Accessed: October 25, 2011.</li>\n</ul>\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-autosave','','','2011-11-01 17:29:55','2011-11-01 23:29:55','',2028,'http://jeanatacc.com/2011/?p=2045',0,'revision','',0),(2046,1,'2011-11-01 00:12:10','2011-11-01 06:12:10','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2.jpg\"><img class=\"aligncenter size-medium wp-image-2030\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Rodins-Gates-of-Hell-2-237x300.jpg\" alt=\"\" width=\"237\" height=\"300\" /></a>(\"The Gates of Hell\")</p>\r\nThe French sculptor, Auguste Rodin, is often acknowledged as one the most important sculptors of the nineteenth century. His “achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement” (Brucker). One of his pieces that stands out the most is the “Gates of Hell.” In this was an artist expressing his assessment of the world and society; more specifically, the horrid effects these things had on humanity. I feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself.\r\n\r\nRodin was commissioned by the French government to produce bronze doors for a proposed Musee des Arts Decoratifs in Paris in 1880. Although the range of themes and images were continually changed, Rodin embodied love, sorrow, despair and recollections of the Day of Judgment. The only complete casts of the full Gates of Hell were made after the sculptor\'s death in 1917. Many of the 186 sculptures which went into the unfinished Gates of Hell gained fame as an independent work. Amongst Rodin\'s most famous sculptures are a number of pieces originally intended as part of the Gates of Hell, including Eternal Spring and The Thinker. (Hermitage Museum; the Rodin Room)\r\n\r\n“Artists in the late 19th Century sought either escape from or a re-directed involvement with their troubled world (which included multiple financial depressions and things such as crop failure). This escape-involvement syndrome is a reflection of the encroaching dehumanization of our century, clearly felt and anticipated by the 19th, beset in its own way with problems of materialism and spiritual loss” (Gray). This is further proved considering he was originally inspired by Italian Poet Dante’s “Divine Comedy” and used Renaissance sculptor Ghiberti\'s “Gates of Paradise” (which he used as a basis for his own creation). In expressing his theme as a vision of the underworld, Rodin reveals he would rather “literally throw himself directly and completely into the flames than try to escape the grim realities of his time. Contemporary art, in the depths of decay, reflects the confusion and corruption of values, political helplessness and economic decline in our country and the world at large. There is a lack of effective moral leadership in positions of power whatever the sphere of activity. The greatest art and the weakest, from Rodin to Warhol, speak of the psychological and spiritual disaster that is modern man” (Gray).\r\n\r\nHe used of nature, movement, and the connection between the physical, spiritual and sensual aspects of humanity in his works, which were commonly seen in this time. “His choice of casting his works in bronze was limited to his choice of mold makers, foundries, and patinators, whose work he supervised with exacting care” (rodin-art.com).\r\n\r\nRodin\'s sensibility was of his time and not outside of it. He had chosen a popular literary theme (acceptable and well known to both his commissioner and to the public). By the end of the first year\'s work Rodin felt adequately confident in his own vision. “Rodin was essentially a reactive artist who allowed himself to be acted upon by experience” (Elsen). “The <em>Gates </em>had “no intended moral purpose” but are Rodin\'s compassionate commentary on the moral cost to society of the decline of orthodox religion and the addiction to materialistic values.” He never took sides on issues but, rather, preferred to strive in “The Gates of Hell”<em> </em>for a visual of society as a whole (Elsen).\r\n\r\n“In theory and practice Rodin emphasized a link, not merely between the physical and the spiritual, but also between the sensual and the spiritual. Such a dynamic had been developed by Renaissance and baroque masters, but Rodin’s work is unique in the intensity and omnipresence of sensual themes, in his monuments as well as in his smaller creations” (rodin-art.com).\r\n\r\nA few friends and art connoisseurs were invited to see the plaster while it was still being developed. One of those invited, Octave Mirbeau, commented the development of Rodin´s studies with enthusiasm:\r\n\r\n“All of those who had been able to admire in the artist\'s studio the finished studies and those in course of execution agree in saying that this door will be the greatest work of the century” (rodin-web.org).\r\n\r\nTruman Bartlett (a writer/sculptor, whose conversation with Rodin was published in “The American Architect and Building News” on January 26, 1889) commented his view on the work:\r\n\r\n“The first impression is one of astonishment and bewilderment: astonishment at the size of the door and the style of its design, and bewilderment at the extent and variety of the forms that compose it…It is like looking into another and strange world…All idea of subject, illustration, or purpose takes a second place in the mind, or is forgotten, in presence of the charm, the sensibility, the divine touch of art that takes possession of the beholder” (Facos).\r\n\r\nOverall, many people responded to the Gates very well, despite it not being completed. They found the work to be quite impressive in its sheer size, design, and concept. Even today, most are taken aback by the indescribably grand composition. The overall impression of the piece, including wonder and an overwhelming sense of one’s self and imagination, has not changed much. Albert Elsen (of the University of Minnesota Press) states her comments on the Gates:\r\n\r\n“They also look forward to the advanced art of [the 20th] century with its concern for the self rather than the group and with the anonymous hero or victim…Like the German Expressionists, Rodin presents us with the nonsocial human in his private existence rather than with the social being. The individual has been thrown back upon himself and unremittingly desires fulfillment outside himself…The Expressionists’ feelings about man’s hopelessness, estrangement, and sense of loss in the vast universe are already present in the <em>Gates</em>” (Facos).\r\n\r\nSet this work next to Ghiberti\'s “Gates of Paradise,” which (as was stated earlier) was the basis that Rodin would use in creating its opposite. The theme alone sets the two sculptures apart. “Gates of Paradise” is a 17-foot pair of bronze doors created by Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence (it ended up being installed in the east entrance). Upon each door of the work there are “five large rectangular reliefs of scenes from the Old Testament between figurated borders containing statuettes in niches and medallions with busts” (Brittanica). Each panel is a narrative to an event in the Old Testament, starting with Adam and Eve (top left) and ending with Solomon (bottom right). The “Gates of Paradise” retains his mix of heroic nudes and gracefully clothed men and women (Haber).\r\n\r\nOn the other hand, Rodin’s “Gates of Hell” is a 20-foot pair of bronze doors (commissioned by the French government for the entrance to Musee des Arts Decoratifs) and is literally covered with close to 200 figures (many of which are inspired by various other artworks and were redone hundreds of times). The majority of the figures, instead of putting God and man in the best light, are writhing in pain, loss or sorrow. It’s almost a statement saying that we are all condemned to hell and that there is no God and no salvation. Whether that’s true or not, it definitely causes one to think about one’s own humanity.\r\n\r\nPersonally, I think this work is quite astounding. The intimidating size and the immense detail of the writhing figures really draws you in. Even without seeing this magnificent piece of work in person, I can already tell that this is a sculpture you could sit in front of for hours and will likely never run out of thoughts (such as its concept, humanity, the afterlife, the reality of other worlds like heaven and hell, etc). It makes you contemplate your entire existence. Just by looking at it, you can easily get lost in all the pain and agony carved into this work. The rough, unfinished look of some of the figures and aspects really drives the raw feeling and power in this piece. I can imagine if you were standing in front of it, you would actually feel as if you were about to be sucked into hell. I think Rodin nailed the overall concept of what he was trying to achieve in his vision.\r\n\r\nI feel that Rodin’s “Gates of Hell” should be preserved because the incredible raw energy that emulates from this work is intriguing and entices the mind into the reality of humanity itself. It forces you to look at the big questions, and yet allows you to see and come to terms with the details that create the overlying image. This work reminds us that the suffering of man whether by supernatural forces or  completely by our own doings, will always exist.\r\n\r\n<strong><span style=\"text-decoration: underline\">Works Cited:</span></strong>\r\n<ul>\r\n	<li>Brucker,\r\nJulia. “<strong>Francois-Auguste-Rene\r\nRodin.</strong>” The Art Story Foundation. 2011. Web. Accessed: October 26,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.theartstory.org/artist-rodin-auguste.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Elsen,\r\nAlbert. “<strong>Rodin Rediscovered.</strong>” New York Graphic Society, Boston. 2011. Web. Accessed: October 25,\r\n2011.</li>\r\n</ul>\r\n&lt;https://www.msu.edu/course/ha/446/albertelsen.pdf&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Encyclopedia Britannica</em><em>. </em><em>“<strong>Gates of Paradise.</strong>”<strong> </strong>Encyclopedia Britannica Online</em>. Encyclopedia Britannica Inc., 2011.\r\nWeb. 01 Nov. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com/EBchecked/topic/226871/Gates-of-Paradise&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Facos,\r\nMichelle. “<strong>Gates of Hell</strong>.” Taylor and Francis Group. 2011. Web. Accessed: October 27, 2011.</li>\r\n</ul>\r\n&lt;http://www.19thcenturyart-facos.com/artwork/gates-hell&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gray,\r\nDon. “<strong>Auguste Rodin, Gates of Hell, Metropolitan Museum\r\nof Art (1983).</strong>” jessieevans-dongray.com.\r\n1983. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.jessieevans-dongray.com/essays/essay015.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Haber,\r\nJohn. “<strong>The Gates to the City</strong>.”\r\nHaberarts.com. 2011. Web. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.haberarts.com/ghiberti.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Richard,\r\nRogers. “<strong>Auguste Rodin Biography</strong>.” Advameg Inc. 2011. Accessed: October 24, 2011.</li>\r\n</ul>\r\n&lt;http://www.notablebiographies.com/Pu-Ro/Rodin-Auguste.html&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Roos,\r\nHans. “<strong>Rodin Works: The Gates of\r\nHell.</strong>” Rodin-Web.org. September 14, 2004. Web. Accessed: October 24,\r\n2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-web.org/works/1880_gates.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Auguste Rodin: His Life and Art</strong>.”\r\nRodin-Art.org. 2011. Web. Accessed: October 23, 2011.</li>\r\n</ul>\r\n&lt;http://www.rodin-art.com/artist.htm&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Unknown.\r\n“<strong>Eternal Spring.</strong>” State Hermitage Museum.\r\n2011. Web. Accessed: October 25, 2011.</li>\r\n</ul>\r\n&lt;http://www.hermitagemuseum.org/html_En/08/hm88_0_2_68_0.html&gt;','Rodin\'s \"The Gates of Hell\"','','inherit','open','open','','2028-revision-10','','','2011-11-01 00:12:10','2011-11-01 06:12:10','',2028,'http://jeanatacc.com/2011/?p=2046',0,'revision','',0),(2047,42,'2011-10-31 16:12:48','2011-10-31 22:12:48','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1966\" align=\"aligncenter\" width=\"219\" caption=\"Construction was begun in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg\"><img class=\"size-medium wp-image-1966\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n</div>\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"center\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"ltr\" align=\"center\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"ltr\" align=\"left\"><!--more--></p>\r\n\r\n\r\n[caption id=\"attachment_1965\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg\"><img class=\"size-medium wp-image-1965\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"ltr\" align=\"left\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured with pieces off-site and the modules brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"ltr\" align=\"left\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale, amongst the citizenry of England, were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"ltr\" align=\"left\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"ltr\" align=\"left\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"ltr\" align=\"left\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"ltr\" align=\"left\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"ltr\" align=\"left\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"ltr\" align=\"center\">Bibliography</p>\r\n<p dir=\"ltr\" align=\"left\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit: Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"ltr\" align=\"left\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale. 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 2000. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Raeburn, Michael <em>An Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale. 2004. <em>Gale Virtual Reference Library </em>Web. 29 Oct. 2011.</p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-16','','','2011-10-31 16:12:48','2011-10-31 22:12:48','',1944,'http://jeanatacc.com/2011/?p=2047',0,'revision','',0),(2048,42,'2011-11-02 15:49:48','2011-11-02 21:49:48','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1966\" align=\"aligncenter\" width=\"219\" caption=\"Construction was begun in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg\"><img class=\"size-medium wp-image-1966\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n</div>\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"center\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"ltr\" align=\"center\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"ltr\" align=\"left\"><!--more--></p>\r\n\r\n\r\n[caption id=\"attachment_1965\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg\"><img class=\"size-medium wp-image-1965\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"ltr\" align=\"left\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured with pieces off-site and the modules brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"ltr\" align=\"left\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale, amongst the citizenry of England, were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"ltr\" align=\"left\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"ltr\" align=\"left\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"ltr\" align=\"left\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"ltr\" align=\"left\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"ltr\" align=\"left\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"ltr\" align=\"center\">Bibliography</p>\r\n<p dir=\"ltr\" align=\"left\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit: Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"ltr\" align=\"left\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale. 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 2000. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Raeburn, Michael <em>An Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Roth, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale. 2004. <em>Gale Virtual Reference Library </em>Web. 29 Oct. 2011.</p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-17','','','2011-11-02 15:49:48','2011-11-02 21:49:48','',1944,'http://jeanatacc.com/2011/?p=2048',0,'revision','',0),(2049,47,'2011-11-02 21:54:10','2011-11-03 03:54:10','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/paris.jpg\"><img class=\"size-medium wp-image-2051 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/paris-300x235.jpg\" alt=\"\" width=\"300\" height=\"235\" /></a>\r\n<p style=\"text-align: center;\"><a href=\"http://pariscanvas.co.uk/bw2.html\">http://pariscanvas.co.uk/bw2.html</a></p>\r\nThe Paris exposition filmed by James H. White and produced by Edison’s labs was an innovation of its time as technologies arose around the film industries. In many parts these films have been forgotten but their value in the current film industry remains. Edison manages to market Paris for the American people which had become a new wave of satisfying the Americans curiosity. The fact that Edison was able to market a new world theme in a film and the technological innovations in film presented at the Paris exposition are the reason that these films should be conserved because these strategies and technologies are the source of today’s film industry.<!--more-->\r\n\r\nThe Paris Exposition Universelle was the world fair and a very popular time for new inventors and technologies to be presented and became the perfect scenario for a film. What makes the film unique was the use of a spherical motion camera which was able to capture the Eiffel tower from bottom to top and to move around scenes by pivoting on its position which presented an illusion of motion. The film was able to capture life in Paris and its most marketed and important scene of the Eiffel tower. “We see the base of the Eiffel Tower, with a crowd of people walking under it. Beyond, framed by the tower\'s arch, is the Palace of Electricity. It\'s the 1900 Paris Exposition. A few men stop to stare at the camera; then a woman turns and smiles. Slowly, the camera tilts and pans up the tower, nearly to the top, then slowly tilts back to street level. Men look at the camera. A man tips his hat, another smiles. A smiling young man approaches as if to do a flip in mid air. Someone shakes his hand.”(Internet Movie Data Base)\r\n\r\nFilms had been a dream for many at the end of the 19th century but it arose mainly as an implement to the phonograph (Cook, David ). Edison did not invent films but only perfected them. The optical illusion of moving images was created as they where painted in a rotating disk as kids toys in the early 19th century and then became the foundation of films. The photograph had not pushed the idea of the film, but in 1877 a composition of photograph which resembled a film was taken as an experiment conducted by Muybridge. The idea of Muybridge was to prove that a galloping horse would have all four of its hooves of the ground. Muybridge assembled a series of cameras in a race tracks that would shoot a picture as the horse triggered a thin wire connected to the camera, the images captured constituted a moving picture but could not be categorized as a film as they were taken as sequential pictures and not as a motion picture. In 1882 French physiologist Etiene-Jule Marey invented the first camera that would take a sequential picture of twelve pictures per second which is the minimum amount to create the optical illusion of movement. Marey was not interested in the film industry but he did create the film strip to be able to catch picture of a bird in flight(Cook, David ). “In 1887 an Episcopalian Minister named Hannibal Goodwin  first used the celluloid roll fill as a base for light base emulsion(Cook, David )” and later sold his idea to George Eastman, who started mass producing the roll film. These two men enabled Edison Labs to invent the Kinetograph which became “the first true motion picture camera.”\r\n\r\nEdison envisioned the idea of a “home-theater machine” like a television in modern times. In 1888 Edison hired William Laurie Dickson to develop such a device that would accompany the phonograph and therefore create a machine that could play sound and motion picture (Cook, David ). Although, the kinetograph was created by Dickson but the implementation of sound was difficult to synchronize with the movie (<em>Lauer, Jean</em>). “The movies were intended to talk from their very inception, so that in some sense the silent cinema represents a thirty-year aberration from the medium’s natural tendency towards a total representation of reality. More significant is the fact that the first viable motion picture camera was invented as an accessory to a sound recording device and not for its own sake”(Cook, David ).  Edison though very poorly of the kinetoscope as it had no produce the envisioned idea of a home theater system, he even wrote “very doubtful if there is any commercial feature in it, and fear that they will not even earn their cost. (Jonnes, Jill)” In 1894 Edison was proven wrong as a small parlor opened with five kinetoscopes which would play a ninety-second movie for a nickel. Edison quickly started building a movie studio and producing short films (Jonnes, Jill) or better know at the times as “actualities”(<em>Lauer, Jean</em>). Edison produced anything that was for interest for the public (Jonnes, Jill). As Edison knew of the great interest for foreign cultures, he composed a team in 1896 lead by director James White to capture the images of Asia (McKernan, Luke).\r\n\r\nEdison had a great affection with the world exposition in Paris and found himself visiting the exposition Universelle where in 1889 the Eiffel tower had just been finished and Edison said that the US would build a larger tower(Jonnes, Jill).  The exposition was a thing of the future with new technologies and arts; it was a time where paris would be filled with tourist from all around the world for the event and a perfect scene for a movie. Edison exploited this marked as he quickly manage to send a team lead by James White for the 1900 exposition to take films of the event with a new kinetograph which featured an spherical (Internet Movie Data Base) that gave the films a uniqueness of motion as the kinetograph did not stay stationary but could move up and down and to the sides (<em>Lauer, Jean</em>). It was the perfect time to capture the images of the exposition including the Eiffel tower and to display the new technology (<em>Lauer, Jean</em>).\r\n\r\nOne of Edison’s biggest competitors was the Lumiere brothers whose invention almost ended Edison’s carrier as a filmmaker.  The Lumiere was a well known family which had made their profit with the photography business.  With the kinetograph gaining popularity and been part of the business of photography, the Lumiere family wanted profit out of this invention but they found that the prices Edison was charging was too expensive for their taste. Luis Lumiere after dismantling the Kinetoscope came up with a better machine that could not only record films but also reproduce them; it was a camera projector and it became the biggest competitor for the kinetograph. Soon after their invention the Lumiere became famous in the film business sending teams around the world like Edison did and filming things of interest to the public like the famous falling wall which at our own eyes means nothing but at the beginning of small technologies it meant the world(Rhode, Erick). In comparing the falling wall or better known as Démolition d\'un mur by the Lumiere’s with Edison’s Paris expositions of 1900; it is noticeable that the quality of the vividness is very similar. The falling of a wall is a shorter actuality than the Paris exposition but the capturing of the film are both very spectacular as they both capture enough film to make the illusion of movement. The Paris films does have an advantage as they could move the camera around which gave a better feeling of the surroundings while the falling wall film is an stationary camera and you can only see the one scene. These are both great examples of the beginning of the film industry and these films are the parents that have created the films we watch today.\r\n<p style=\"text-align: left;\">These films may be unknown for many but it is important to realize that these are the beginning of all great films. Also, it is important to know that the idea of sound and picture was always in mind since the beginning. The Paris exposition of 1900 may have not been the most popular film to remember but it made its impact in history as it focuses on the human curiosity of unknown worlds and the technological advances it reproduced. These are very important films that should be conserved and studied.  I enjoyed watching the films and was very unaware of the significance they had in our pass, they surely deserve a space in a time capsule</p>\r\n<p style=\"text-align: center;\">Work Cited</p>\r\n\r\n<ul>\r\n	<li>\r\n<div style=\"text-align: left;\">Cook, David A. History of Narrative Film. New York. Norton and Company, 1981.( great information on history of film )</div></li>\r\n	<li>Internet Movie Data Base, “Panorama of Eiffel Tower(<a href=\"http://www.imdb.com/year/1900/\">1900</a>).”  IMDB 1990-2011<a href=\"http://www.imdb.com/help/\">IMDb.com, Inc</a>. Internet Movie Data Base.</li>\r\n	<li>\r\n<div style=\"text-align: left;\">Jean Lauer, PhD Candidate in Radio-TV-Film at the University of Texas at Austin. (information about the Paris Exposition Film of 1900)</div></li>\r\n	<li>\r\n<div style=\"text-align: left;\">Jonnes, Jill. Eiffel’s Tower. New York. Penguin Books, 2009.(information on Edison and the Paris expositions )</div></li>\r\n	<li>\r\n<div style=\"text-align: left;\"> McKernan, Luke. “American manager, cameraman.” British film institute, 1995. <a href=\"http://www.victorian-cinema.net/white.htm\">http://www.victorian-cinema.net/white.htm</a> (found information of James White)</div></li>\r\n	<li>\r\n<div style=\"text-align: left;\">Rhode, Erick. A History Of The Cinema. New York. McGraw-Hill Ryerson Ltd, 1976.(found information of Lumiere Brother)</div></li>\r\n</ul>\r\n<p style=\"text-align: center;\">Edited Youtube videos of:</p>\r\n<p style=\"text-align: center;\">Paris in 1900 - Exposition Universelle\r\n<a href=\"http://www.youtube.com/watch?v=n-4R72jTb74\">http://www.youtube.com/watch?v=n-4R72jTb74</a></p>\r\n<p style=\"text-align: center;\">and</p>\r\n<p style=\"text-align: center;\">LUMIERE Démolition d\'un mur\r\n<a href=\"http://www.youtube.com/watch?v=jPUe-sOchbo\">http://www.youtube.com/watch?v=jPUe-sOchbo</a></p>','The Paris Exposition Universelle 1900','','publish','open','open','','the-paris-exposition-universelle-1900','','','2011-11-25 13:44:29','2011-11-25 19:44:29','',0,'http://jeanatacc.com/2011/?p=2049',0,'post','',12),(2050,50,'2011-11-02 21:58:33','2011-11-03 03:58:33','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/CHAN3025.jpeg\"><img class=\"alignnone size-full wp-image-2072 aligncenter\" title=\"CHAN3025\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/CHAN3025.jpeg\" alt=\"\" width=\"150\" height=\"150\" /></a>\r\n<p align=\"center\"><a href=\"http://www.chandos.net/Details06.asp?CNumber=CHAN%203025M\" target=\"_blank\">http://www.chandos.net/Details06.asp?CNumber=CHAN%203025M</a></p>\r\nGioacchino Rossini (1792- 1868) is one of the most prolific comedic opera composers of his time. “He was outstanding in his comic opera and was one of the three great 19th-century exponents of the bel canto style, which emphasizes beauty of melodic line, rather than excessive drama and emotion.” (Funk) Rossini composed his first opera at the age of eighteen and was “… trained at the Conservatorio de Bologna…” (Funk) producing a total of 37 operas. His most successful opera is definitely <em>The Barber of Seville </em>produced in Rome in 1816. (Funk) Rossini left his mark on the world of opera, producing an opera which is still loved to this day. “Rossini used the highly artistic bel canto style to fashion bright melodies, which the singers could deliver with brilliant effects and stirring expression.” (Funk) Because of Rossini’s ability to create such a masterpiece of a comedic opera which has stood the test of time, and still performed today it deserves to be preserved for future generations.<!--more-->\r\n\r\nDuring the time of Rossini’s production of the opera, Europe was in a vulnerable state as Napoleon was exerting his power throughout the Napoleonic wars. The Congress of Vienna (1814-1815) was called to reorganize Europe after the Napoleonic wars. “The settlement was the most comprehensive treaty that Europe had\r\never seen.” (Britannica) The direct effects “In <a title=\"Italy\" href=\"http://www.britannica.com/EBchecked/topic/297751/history-of-Italy\">Italy</a>, [were that] Piedmont absorbed Genoa\r\n… The <a title=\"Papal States\" href=\"http://www.britannica.com/EBchecked/topic/441848/Papal-States\">Papal States</a> were restored to the pope, Naples to the Sicilian Bourbons.” (Britannica) In America,\r\nduring the year of 1816 president James Monroe was also elected into office. In\r\nrelation to the events in Europe with revolutions, wars, and colonization he proposed the Monroe Doctrine. In doing\r\nso he drastically changed the role of foreign powers in the Western Hemisphere\r\nby declaring no future colonization of theAmericas. (Britannica)\r\n\r\nThe\r\nstyle which Rossini was accustomed to listening to was the Baroque period lasting from the 16<sup>th</sup> century to the 18<sup>th</sup> century. “Idiomatic\r\nwriting, taking account of the individual character and capacities of\r\ninstruments and voices, was characteristic of <strong>baroque</strong> music. Originating in Italy, <strong>opera</strong><strong>,</strong>\r\noratorio, and cantata were the principal vocal forms.” (Columbia) This is all exemplified by Rossini\r\nin his <em>The Barber of Seville </em>as it is\r\nrenowned for its characterization of the Barber who was a servant.\r\n\r\nRossini is known for his comedic operas which spurred from a time of war throughout Europe.\r\nRossini was born with a great musical talent as “His parents were both\r\nmusicians, and he began his career in childhood as a singer. He received his\r\nfirst formal musical education at the Liceo Comunale of Bologna, where one of his early cantatas was\r\nperformed.” (Columbia) Although Rossini is known to have made 37 operas, <em>The Barber of Seville </em>is his all-time best opera.\r\n\r\nThe opera is a comedic drama with love, betrayal,\r\nheartbreak, and multiple songs of love. The opera begins at Dr. Bartolo’s\r\nhouse, where Count Almaviva is proclaiming his love to Rosina, the doctor’s\r\nward. Figaro, the town barber and Dr. Bartolo’s barber joins him in song as\r\nthey both plan to capture the heart of Rosina. Rosina is watched carefully by\r\nthe Doctor’s guardian and she drops a letter down to the Count explaining her\r\nlove. The doctor is suspicious of the Count as he himself wants Rosina for her\r\nbeauty and money. The count disguises himself as a Music teacher to gain access\r\ninto the home of the doctor. Figaro, the barber, has obtained keys to the\r\nbalcony and they plan on an escape at midnight. The doctor tells Rosina he has\r\nfound the letter that she left for him in attempt to make her jealous. She is\r\nso angry that she tells him the escape plan and agrees to marry the guardian.\r\nWhen Figaro and the Count return, the lovers are re-united and the notary, who\r\nwas supposed to come for Rosina and the doctors wedding, celebrates the\r\nelopement of the love pair. “When the guardian enters, with officers of justice,\r\ninto whose hands he is about to consign Figaro and the Count, he is too late,\r\nbut is reconciled by a promise that he shall receive the equivalent of his\r\nward’s dower.” (Music with Ease)\r\n\r\nThis opera is simplistic in nature, as it gives off the vibe that it could have been\r\na true story. Especially when compared to today’s mega dramas of large scale\r\nproportions. The initial reception of Rossini’s <em>The Barber of Seville </em>was that of a fiasco (failure) due to\r\nmultiple on-stage catastrophes. “The tenor forgot to tune his guitar, and a\r\nstring broke as he attempted the opening Serenade: the Don Basilio fell and\r\nbruised himself badly during his entrance, and became distracted as he\r\nattempted to stop blood from flowing from his nose during his <em>La Calunnia </em>aria;\r\nand a cat entered the stage during the second act and jumped into Dr. Bartolo’s\r\narms. All in all, the <em>Barber’s </em>premiere received a big tide of\r\ndisapproval.”(CALGARY)  Nonetheless Rossini perfected his opera and it has gone on to become one of the most\r\nbeloved operas of all time.\r\n\r\nThe character Figaro in itself is not solely confined to the opera <em>The Barber of Seville. </em>The character is also found in Mozart’s <em>Marriage of Figaro </em>(1785) which is the tale of Figaro getting married to his wife Susanna. The <em>Marriage of Figaro </em>isn’t considered to be your typical opera as there isn’t any standard plot to it. In Mozart’s opera we have Figaro again meddling around in other couples marriages and this time he is the one getting married. Mozart’s opera is somewhat of a\r\nprequel to Rossini’s as it was performed originally in 1785. Both operas are\r\nbased off the opera of French legend Beaumarchais who inspired both Rossini and Mozart.\r\nIn Mozart’s the climax comes when the parents of Figaro come into town and\r\nMarcellina (his mother) refers to a  previous arrangement that was made with Figaro to get married if a debt\r\nwasn’t repaid on time. The Count in this story, was plotting to marry Susanna\r\nfor himself, although he himself was married as well. When he learns of the\r\narrangement between Marcellina and Figaro he promises to give her the marriage.\r\nWell once everyone found out that the parents of Figaro are Marcellina and her\r\nhusband, everything goes according to plan and Figaro marries Susanna. (Music\r\nwith Ease)\r\n\r\nThe difference in the operas is apparent as the tale of The Barber of Seville has a\r\nbit more conspiracy and the comedic approach of the Count entering the house in\r\ndisguises leads one to see the desperate nature the Count had for Rosina. Mozart’s\r\nis just a tale of a big confusion of emotions and there isn’t a real change of\r\nplot or element of surprise other than the woman who demanded for Figaro’s\r\nmarriage is his mother. Rossini’s play is still being performed today where as\r\nMozart’s is too, Rossini’s is held as one of the greatest comedic operas of his\r\ntime.  Rossini’s opera is still being\r\nperformed today and is still held as remarkable for all of its comedic\r\nproficiency.\r\n\r\nPersonally I think that Rossini’s Barber is an opera that should be required in grade\r\nschool reading classes. The tale falls into the category of Romeo &amp; Juliet\r\nwith its love conspiracy and the fact that the characters will go through\r\nwhatever it takes to reach their goal of love. Figaro is a brave man to betray\r\nhis customer, Dr. Bartolo to the point of costing him his ward Rosina. Most\r\nmeaningful in this piece is the light comedic aspects of the opera which\r\nhighlights laughter, betrayal, love, and a big sense of irony.\r\n\r\nAlthough there have been many operas in the world that may deserve preservation into my\r\ntime capsule, none deserve it more than Rossini’s <em>The Barber of Seville.\r\n</em>Rossini was able to take an already good opera, and make it even better. He\r\nfaced a great deal of adversity as the performance of this opera was a complete\r\nfailure of enormous proportions. Where most composers may have hung up their\r\nboots and quit, Rossini persevered on and is still being commemorated today. Although\r\nRossini may not have anticipated his opera continually being performed well\r\ninto the 21<sup>st</sup> century, the evidence is there that The Barber of\r\nSeville deserves preservation for future generations.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">WORKS CITED</p>\r\n\"ROSSINI, Gioacchino Antonio.\"\r\n(n.d.): <em>Funk &amp; Wagnalls New World\r\nEncyclopedia</em>. Web. 2 Nov. 2011.\r\n\r\n\"Congress of Vienna.\"\r\n<em>Encyclopædia Britannica.\r\nEncyclopædia Britannica Online</em>. Encyclopædia Britannica Inc., 2011.\r\nWeb. 02 Nov. 2011. &lt;<a href=\"http://www.britannica.com/EBchecked/topic/628086/Congress-of-Vienna\">http://www.britannica.com/EBchecked/topic/628086/Congress-of-Vienna</a>&gt;.\r\n\r\n\"Monroe\r\nDoctrine.\" <em>Encyclopædia\r\nBritannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica\r\nInc., 2011. Web. 02 Nov. 2011. &lt;<a href=\"http://www.britannica.com/EBchecked/topic/390243/Monroe-Doctrine\">http://www.britannica.com/EBchecked/topic/390243/Monroe-Doctrine</a>&gt;.\r\n\r\n\"Baroque, In\r\nMusic.\" <em>Columbia</em><em>\r\nElectronic Encyclopedia, 6Th Edition</em> (2011): 1. <em>MAS Ultra - School\r\nEdition</em>. Web. 2 Nov. 2011.\r\n\r\n\"Gioacchino Antonio\r\nRossini.\" <em>Columbia</em><em>\r\nElectronic Encyclopedia, 6Th Edition</em> (2011): 1. <em>MAS Ultra - School\r\nEdition</em>. Web. 2 Nov. 2011.\r\n\r\n\"The\r\nBarber of Seville.\"\r\n<em>Music with Ease</em>. Music with Ease, 2005-2011. Web. 2 Nov 2011.\r\n&lt;http://www.musicwithease.com/barber-seville-synopsis.html&gt;.\r\n\r\nForrest,\r\nEmily. \"The Barber of Seville\r\nStudy Guide.\" Calgary\r\nOpera, 04/23/2009. Web. 2 Nov 2011.\r\n&lt;http://www.calgaryopera.com/pdf/BarberOfSevilleStudy Guide.pdf&gt;.\r\n\r\n<em>“Marriage of Figaro” Music with Ease</em>.\r\nMusic with Ease, 2005-2011. Web. 2 Nov 2011. &lt;http://www.musicwithease.com/mozart-marriage-figaro.html&gt;\r\n\r\n&nbsp;','Barber of Seville','','publish','open','open','','barber-of-seville','','','2011-11-11 16:58:13','2011-11-11 22:58:13','',0,'http://jeanatacc.com/2011/?p=2050',0,'post','',6),(2051,47,'2011-11-02 21:51:40','2011-11-03 03:51:40','','paris','','inherit','open','open','','paris','','','2011-11-02 21:51:40','2011-11-03 03:51:40','',2049,'http://jeanatacc.com/2011/wp-content/uploads/2011/11/paris.jpg',0,'attachment','image/jpeg',0),(2052,47,'2011-11-02 21:53:12','2011-11-03 03:53:12','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/paris.jpg\"><img class=\"size-medium wp-image-2051 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/paris-300x235.jpg\" alt=\"\" width=\"300\" height=\"235\" /></a><!--more-->\n\nThe Paris exposition filmed by James H. White and produced by Edison’s labs was an innovation of its time as technologies arose around the film industries. In many parts these films have been forgotten but their value in the current film industry remains. Edison manages to market Paris for the American people which had become a new wave of satisfying the Americans curiosity. The fact that Edison was able to market a new world theme in a film and the technological innovations in film presented at the Paris exposition are the reason that these films should be conserved because these strategies and technologies are the source of today’s film industry.\n\nThe Paris Exposition Universelle was the world fair and a very popular time for new inventors and technologies to be presented and became the perfect scenario for a film. What makes the film unique was the use of a spherical motion camera which was able to capture the Eiffel tower from bottom to top and to move around scenes by pivoting on its position which presented an illusion of motion. The film was able to capture life in Paris and its most marketed and important scene of the Eiffel tower. “We see the base of the Eiffel Tower, with a crowd of people walking under it. Beyond, framed by the tower\'s arch, is the Palace of Electricity. It\'s the 1900 Paris Exposition. A few men stop to stare at the camera; then a woman turns and smiles. Slowly, the camera tilts and pans up the tower, nearly to the top, then slowly tilts back to street level. Men look at the camera. A man tips his hat, another smiles. A smiling young man approaches as if to do a flip in mid air. Someone shakes his hand.”(imdb)\n\nFilms had been a dream for many at the end of the 19th century but it arose mainly as an implement to the phonograph (1). Edison did not invent films but only perfected them. The optical illusion of moving images was created as they where painted in a rotating disk as kids toys in the early 19th century and then became the foundation of films. The photograph had not pushed the idea of the film, but in 1877 a composition of photograph which resembled a film was taken as an experiment conducted by Muybridge. The idea of Muybridge was to prove that a galloping horse would have all four of its hooves of the ground. Muybridge assembled a series of cameras in a race tracks that would shoot a picture as the horse triggered a thin wire connected to the camera, the images captured constituted a moving picture but could not be categorized as a film as they were taken as sequential pictures and not as a motion picture. In 1882 French physiologist Etiene-Jule Marey invented the first camera that would take a sequential picture of twelve pictures per second which is the minimum amount to create the optical illusion of movement. Marey was not interested in the film industry but he did create the film strip to be able to catch picture of a bird in flight(1). “In 1887 an Episcopalian Minister named Hannibal Goodwin  first used the celluloid roll fill as a base for light base emulsion(1)” and later sold his idea to George Eastman, who started mass producing the roll film. These two men enabled Edison Labs to invent the Kinetograph which became “the first true motion picture camera.”\n\nEdison envisioned the idea of a “home-theater machine” like a television in modern times. In 1888 Edison hired William Laurie Dickson to develop such a device that would accompany the phonograph and therefore create a machine that could play sound and motion picture (1). Although, the kinetograph was created by Dickson but the implementation of sound was difficult to synchronize with the movie (lauer). “The movies were intended to talk from their very inception, so that in some sense the silent cinema represents a thirty-year aberration from the medium’s natural tendency towards a total representation of reality. More significant is the fact that the first viable motion picture camera was invented as an accessory to a sound recording device and not for its own sake”(1).  Edison though very poorly of the kinetoscope as it had no produce the envisioned idea of a home theater system, he even wrote “very doubtful if there is any commercial feature in it, and fear that they will not even earn their cost. (2)” In 1894 Edison was proven wrong as a small parlor opened with five kinetoscopes which would play a ninety-second movie for a nickel. Edison quickly started building a movie studio and producing short films (2) or better know at the times as “actualities”(lauer). Edison produced anything that was for interest for the public (2). As Edison knew of the great interest for foreign cultures, he composed a team in 1896 lead by director James White to capture the images of Asia (vv).\n\nEdison had a great affection with the world exposition in Paris and found himself visiting the exposition Universelle where in 1889 the Eiffel tower had just been finished and Edison said that the US would build a larger tower(2).  The exposition was a thing of the future with new technologies and arts; it was a time where paris would be filled with tourist from all around the world for the event and a perfect scene for a movie. Edison exploited this marked as he quickly manage to send a team lead by James White for the 1900 exposition to take films of the event with a new kinetograph which featured an spherical (imdb) that gave the films a uniqueness of motion as the kinetograph did not stay stationary but could move up and down and to the sides (lauer). It was the perfect time to capture the images of the exposition including the Eiffel tower and to display the new technology (lauer).\n\nOne of Edison’s biggest competitors was the Lumiere brothers whose invention almost ended Edison’s carrier as a filmmaker.  The Lumiere was a well known family which had made their profit with the photography business.  With the kinetograph gaining popularity and been part of the business of photography, the Lumiere family wanted profit out of this invention but they found that the prices Edison was charging was too expensive for their taste. Luis Lumiere after dismantling the Kinetoscope came up with a better machine that could not only record films but also reproduce them; it was a camera projector and it became the biggest competitor for the kinetograph. Soon after their invention the Lumiere became famous in the film business sending teams around the world like Edison did and filming things of interest to the public like the famous falling wall which at our own eyes means nothing but at the beginning of small technologies it meant the world(4). In comparing the falling wall or better known as Démolition d\'un mur by the Lumiere’s with Edison’s Paris expositions of 1900; it is noticeable that the quality of the vividness is very similar. The falling of a wall is a shorter actuality than the Paris exposition but the capturing of the film are both very spectacular as they both capture enough film to make the illusion of movement. The Paris films does have an advantage as they could move the camera around which gave a better feeling of the surroundings while the falling wall film is an stationary camera and you can only see the one scene. These are both great examples of the beginning of the film industry and these films are the parents that have created the films we watch today.\n<p style=\"text-align: left\">These films may be unknown for many but it is important to realize that these are the beginning of all great films. Also, it is important to know that the idea of sound and picture was always in mind since the beginning. The Paris exposition of 1900 may have not been the most popular film to remember but it made its impact in history as it focuses on the human curiosity of unknown worlds and the technological advances it reproduced. These are very important films that should be conserved and studied.  I enjoyed watching the films and was very unaware of the significance they had in our pass, they surely deserve a space in a time capsule</p>\n<p style=\"text-align: center\">Work Cited</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">• Cook, David A. History of Narrative Film. New York. Norton and Company, 1981.( great information on history of film )</p>\n<p style=\"text-align: left\">• Jean Lauer, PhD Candidate in Radio-TV-Film at the University of Texas at Austin. (information about the Paris Exposition Film of 1900)</p>\n<p style=\"text-align: left\">• Jonnes, Jill. Eiffel’s Tower. New York. Penguin Books, 2009.(information on Edison and the Paris expositions )</p>\n<p style=\"text-align: left\">• McKernan, Luke. “American manager, cameraman.” British film institute, 1995. <a href=\"http://www.victorian-cinema.net/white.htm\">http://www.victorian-cinema.net/white.htm</a> (found information of James White)</p>\n<p style=\"text-align: left\">• Rhode, Erick. A History Of The Cinema. New York. McGraw-Hill Ryerson Ltd, 1976.(found information of Lumiere Brother)</p>\n<p style=\"text-align: center\"></p>\n<p style=\"text-align: center\">Edited Youtube videos of:</p>\n<p style=\"text-align: center\">Paris in 1900 - Exposition Universelle\n<a href=\"http://www.youtube.com/watch?v=n-4R72jTb74\">http://www.youtube.com/watch?v=n-4R72jTb74</a></p>\n<p style=\"text-align: center\">and</p>\n<p style=\"text-align: center\">LUMIERE Démolition d\'un mur\n<a href=\"http://www.youtube.com/watch?v=jPUe-sOchbo\">http://www.youtube.com/watch?v=jPUe-sOchbo</a></p>\n<p style=\"text-align: center\"></p>','The Paris Exposition Universelle 1900','','inherit','open','open','','2049-revision','','','2011-11-02 21:53:12','2011-11-03 03:53:12','',2049,'http://jeanatacc.com/2011/?p=2052',0,'revision','',0);
