(3095,56,'2012-11-29 17:30:14','2012-11-29 23:30:14','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.  You can watch it <a title=\"here\" href=\"http://www.youtube.com/watch?v=rWaYWdAl14w\" target=\"_blank\">here</a>; it is 15 minutes long.  In 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.  It can be viewed in its entirety <a title=\"here\" href=\"http://www.youtube.com/watch?v=n7jkJU9p0N0\" target=\"_blank\">here</a>; it is 32 minutes long.\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the woman who asked Prokofiev to compose \"Peter and the Wolf.\"  At around eight minutes, the narrator begins to introduce the instruments to the children in the audience.\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-11','','','2012-11-29 17:30:14','2012-11-29 23:30:14','',3084,'http://jeanatacc.com/2011/?p=3095',0,'revision','',0),(3096,56,'2012-11-29 17:34:19','2012-11-29 23:34:19','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n<em>Author\'s note:  It is by no means necessary to watch the above video or follow the links in the article.  That would take a <strong>long</strong> time, but I felt that I needed to, not just explain, but demonstrate the musical components I was talking about. </em>\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.  You can watch it <a title=\"here\" href=\"http://www.youtube.com/watch?v=rWaYWdAl14w\" target=\"_blank\">here</a>; it is 15 minutes long.  In 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.  It can be viewed in its entirety <a title=\"here\" href=\"http://www.youtube.com/watch?v=n7jkJU9p0N0\" target=\"_blank\">here</a>; it is 32 minutes long.\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the woman who asked Prokofiev to compose \"Peter and the Wolf.\"  At around eight minutes, the narrator begins to introduce the instruments to the children in the audience.\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-12','','','2012-11-29 17:34:19','2012-11-29 23:34:19','',3084,'http://jeanatacc.com/2011/?p=3096',0,'revision','',0),(3100,56,'2012-11-29 17:42:17','2012-11-29 23:42:17','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n&nbsp;\r\n\r\n<em>Author\'s note:  It is by no means necessary to watch the above video or follow the links in the article.  That would take a <strong>long</strong> time, but I felt that I needed to not just explain, but demonstrate the musical components I was talking about.   In addition, I found the different performances entertaining.</em>\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.\r\n\r\n[youtube]http://www.youtube.com/watch?v=rWaYWdAl14w[/youtube]\r\n\r\nIn 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.\r\n\r\n[youtube]http://www.youtube.com/watch?v=n7jkJU9p0N0[/youtube]\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A 1976 performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the director of<em> </em>Moscow Children\'s Musical Theater  who asked Prokofiev to compose \"Peter and the Wolf.\"\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-16','','','2012-11-29 17:42:17','2012-11-29 23:42:17','',3084,'http://jeanatacc.com/2011/?p=3100',0,'revision','',0),(3099,56,'2012-11-29 17:39:40','2012-11-29 23:39:40','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n&nbsp;\r\n\r\n<em>Author\'s note:  It is by no means necessary to watch the above video or follow the links in the article.  That would take a <strong>long</strong> time, but I felt that I needed to not just explain, but demonstrate the musical components I was talking about.   In addition, I found the different performances entertaining.</em>\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.  You can watch it <a title=\"here\" href=\"http://www.youtube.com/watch?v=rWaYWdAl14w\" target=\"_blank\">here</a>; it is 15 minutes long.  In 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.  It can be viewed in its entirety <a title=\"here\" href=\"http://www.youtube.com/watch?v=n7jkJU9p0N0\" target=\"_blank\">here</a>; it is 32 minutes long.\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A 1976 performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the director of<em> </em>Moscow Children\'s Musical Theater  who asked Prokofiev to compose \"Peter and the Wolf.\"\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-15','','','2012-11-29 17:39:40','2012-11-29 23:39:40','',3084,'http://jeanatacc.com/2011/?p=3099',0,'revision','',0),(3097,56,'2012-11-29 17:35:21','2012-11-29 23:35:21','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n<em>Author\'s note:  It is by no means necessary to watch the above video or follow the links in the article.  That would take a <strong>long</strong> time, but I felt that I needed to not just explain, but demonstrate the musical components I was talking about.   In addition, I found the different performances entertaining.</em>\r\n\r\n&nbsp;\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.  You can watch it <a title=\"here\" href=\"http://www.youtube.com/watch?v=rWaYWdAl14w\" target=\"_blank\">here</a>; it is 15 minutes long.  In 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.  It can be viewed in its entirety <a title=\"here\" href=\"http://www.youtube.com/watch?v=n7jkJU9p0N0\" target=\"_blank\">here</a>; it is 32 minutes long.\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the woman who asked Prokofiev to compose \"Peter and the Wolf.\"  At around eight minutes, the narrator begins to introduce the instruments to the children in the audience.\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-13','','','2012-11-29 17:35:21','2012-11-29 23:35:21','',3084,'http://jeanatacc.com/2011/?p=3097',0,'revision','',0),(3098,56,'2012-11-29 17:35:54','2012-11-29 23:35:54','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n&nbsp;\r\n\r\n<em>Author\'s note:  It is by no means necessary to watch the above video or follow the links in the article.  That would take a <strong>long</strong> time, but I felt that I needed to not just explain, but demonstrate the musical components I was talking about.   In addition, I found the different performances entertaining.</em>\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.  You can watch it <a title=\"here\" href=\"http://www.youtube.com/watch?v=rWaYWdAl14w\" target=\"_blank\">here</a>; it is 15 minutes long.  In 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.  It can be viewed in its entirety <a title=\"here\" href=\"http://www.youtube.com/watch?v=n7jkJU9p0N0\" target=\"_blank\">here</a>; it is 32 minutes long.\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the woman who asked Prokofiev to compose \"Peter and the Wolf.\"  At around eight minutes, the narrator begins to introduce the instruments to the children in the audience.\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-14','','','2012-11-29 17:35:54','2012-11-29 23:35:54','',3084,'http://jeanatacc.com/2011/?p=3098',0,'revision','',0),(3101,56,'2012-11-29 17:42:54','2012-11-29 23:42:54','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n&nbsp;\r\n\r\n<em>Author\'s note:  It is by no means necessary to watch the above video or follow the links in the article.  That would take a <strong>long</strong> time, but I felt that I needed to not just explain, but demonstrate the musical components I was talking about.   In addition, I found the different performances entertaining.</em>\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.\r\n\r\n[youtube]http://www.youtube.com/watch?v=rWaYWdAl14w[/youtube]\r\n\r\n&nbsp;\r\n\r\nIn 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.\r\n\r\n[youtube]http://www.youtube.com/watch?v=n7jkJU9p0N0[/youtube]\r\n\r\n&nbsp;\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A 1976 performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the director of<em> </em>Moscow Children\'s Musical Theater  who asked Prokofiev to compose \"Peter and the Wolf.\"\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-17','','','2012-11-29 17:42:54','2012-11-29 23:42:54','',3084,'http://jeanatacc.com/2011/?p=3101',0,'revision','',0),(3102,1,'2012-11-29 17:43:55','2012-11-29 23:43:55','[youtube]http://www.youtube.com/watch?v=WK_dkBC_Cno[/youtube]\r\n\r\n&nbsp;\r\n\r\n<em>Author\'s note:  It is by no means necessary to watch the above video or follow the links in the article.  That would take a <strong>long</strong> time, but I felt that I needed to not just explain, but demonstrate the musical components I was talking about.   In addition, I found the different performances entertaining.</em>\r\n\r\n<!--more-->\r\n\r\nIn 1936, Russian born composer Sergei Prokofiev, for reasons that scholars still debate today, settled permanently in Russia after living abroad for several years.  He returned as Stalin’s purges and harsh policies, responsible for between fifteen and twenty-million deaths, were escalating (Fiero). He apparently believed that his talent and worldwide fame would give him the opportunity to create music without having to pander to anyone else’s agenda.  He was wrong.  In this time of terror and uncertainty, he composed “Peter and the Wolf”; an uplifting fairy tale that appealed to a wide audience.  It should be preserved because it is an example of how art, beauty and hope can come into being despite grim circumstances.\r\n\r\n“Peter and the Wolf” is the story of a young Russian boy who lives with his protective grandfather.  In spite of his grandfather’s efforts to keep Peter inside and safe from harm, Peter ventures outside of their home into the field.  There, he encounters a wolf and captures it before hunters can shoot it.  In the end, Peter convinces the hunters and his grandfather to donate the wolf to the zoo.\r\n\r\nThe piece is a mixture of a narrated text accompanied by music.  You can read the transcript of Prokofiev’s original story <a title=\"here\" href=\"http://library.thinkquest.org/C005400/musi/prokofievpnw.html\" target=\"_blank\">here</a>.  A recording of “Peter and the Wolf” narrated by David Bowie can be found in four parts <a title=\"here\" href=\"http://www.youtube.com/results?search_query=peter+and+the+wolf+david+bowie&amp;oq=peter+and+the+wolf+David+&amp;gs_l=youtube-reduced.1.0.0l2.12010331.12011989.0.12013942.7.5.0.2.2.0.230.811.1j2j2.5.0...0.0...1ac.1.M89OUTgyo6c\" target=\"_blank\">here</a>; all total the piece is about 25 minutes long.\r\n\r\nThe Soviet government unionized all of its artists (writers, painters, musicians, etc.) in 1932.  Ostensibly, the unions were “an organized system of patronage” that was supposed to free artists from the need to cater to their audiences.  In reality, the unions were “dictatorial organizations which made it easier for the authorities to maintain conformity through coercion” (Knight).\r\n\r\nNicolas Slonimsky points out that, “[p]opular songs everywhere are written mostly by musicians lacking formal education while the greatest composers of the classical past rarely if ever produced songs that people sing” (Slonimsky, Changing 247).  Prokofiev and other classically trained composers in the Soviet Union were essentially hostages to the unpolished tastes of the Communist Party; required to follow specific union dictates while trying to create something unique.\r\n\r\nThrough the unions, the Soviet government required its artists to conform to  “Socialist Realism” which exalted “the ideological benefits of communism” (Fiero).  In music, this meant that composers were obliged to create music that was accessible to the people; in essence, catchy tunes, and reminiscent of the traditional and familiar.\r\n\r\nThe proper style of music that fulfilled this goal was “realist music.”  In order for their music to qualify as realist, composers needed to include harmony (including scale progressions and cadential patterns), counterpoint, chromatic melodies, traditional instruments and form (Slonimsky, Changing Style 245-246).  “Peter and the Wolf” complied with these elements in various ways.\r\n\r\nThe work is full of chromatic elements (half-tone notes rapidly played in order).  The leitmotif (a recurrent theme in music generally associated with a particular character, idea or situation) of the bird in the flute part is an excellent example of Prokofiev’s compliance with realist music’s requisites for harmony, melody and instrumentation.  An example of a chromatic scale on the piano can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=dpquC1HPyAI\" target=\"_blank\">here</a>; it is 13 seconds long.  A chromatic scale on the flute can be found <a title=\"here\" href=\"http://www.youtube.com/watch?v=2nljZdtxgx8\" target=\"_blank\">here</a>; it is 25 seconds long.  The leitmotif of the bird can be found <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=1m18s\" target=\"_blank\">here</a>; listen for 15 seconds.\r\n\r\nPeter’s theme, played by the violins, is an example of the type of melody that the unions were looking for; “considerably chromatic,” meaning that it had a “folk-song-like” feel (Slonimsky, Changing Style 246).  You can hear an example this <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=49s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe instrument parts that Prokofiev composed for each character in the story were from “the orthodox orchestration of old Russian symphonic music, with a considerable role given to the lowest and the highest registers” (Slonimsky, Changing Style, 246). Prokofiev chose to use a bassoon to represent the character of Grandfather; you can hear the grandfather’s theme <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m23s\" target=\"_blank\">here</a>; listen for about 20 seconds.  Not only did the instrument itself follow the prescribed format for realist music, but the grandfather’s theme contains cadential passages.\r\n\r\nIt is important to understand that the Soviet requirements for realist music meant that composers were not supposed to write compositions with modern and formalistic elements; predictably suppressing creativity and originality.  According to Guillaumier, Prokofiev’s “one governing principle, despite the aesthetic challenges he faced after his return to the Soviet Union, was to be original at all times and to be different.  To him, this meant that he was a ‘student of [his] own ideas.’”\r\n\r\nSo, while he wrote, “Peter and the Wolf” in an effort to be non-offensive to the Soviet regime, he also managed to managed to imbue the endorsed components of realist music with modern elements and did it subtly enough to not be censured (MacDonald).  The most prominent modern element in “Peter and the Wolf” is the use of ostinato, a persistently repetitive phrase.  An example of ostinato can be found <a title=\"here\" href=\"http://youtu.be/AsD0FDLOKGA?t=47s\" target=\"_blank\">here</a>; listen for about 20 seconds.\r\n\r\nThe grandfather’s theme is one place where Prokofiev used the ostinato technique; you can here it <a title=\"here\" href=\"http://youtu.be/dHmu7XOP_Eg?t=2m45s\" target=\"_blank\">here</a>; listen for just a few seconds.  Ultimately, the grandfather’s theme, while satisfying one of the components for realist music also satisfied Prokofiev’s need to produce original work and remain “‘a student of my own ideas’” (Guillaumier).\r\n\r\nOther Russian composers lacked Prokofiev’s ability to toe the party line and remain true to themselves.  For example, in 1936, Dmitri Shostakovich was publicly rebuked in an article appearing in Pravda; the officially sanctioned Soviet newspaper.  The article maintained that his opera “Lady MacBeth of the District of Mtsensk” was vulgar and formalistically grotesque. (Schalks, Slonimsky, Soviet Music 7)  He promptly issued a statement accepting the Pravda criticism, endorsed it as valid and then withdrew his Fourth Symphony from rehearsals, presumably to protect himself from further government attacks.  His Fifth Symphony appeased the government and he was able to continue with his career.  From that point on, however, he carefully followed the dictates of the Soviet Union.\r\n\r\nTypically, people received and interpreted “Peter and the Wolf” from their own perspectives and to promote their own agendas.  At first, it wasn’t popular with adult audiences, but within a few showings that rapidly changed.  “In short order, the work was charming audiences far beyond Soviet Russia. It clearly knew no geographic or demographic boundaries” (Smith).\r\n\r\nIt became a teaching tool for children about orchestral instruments and introducing them to music.  Prokofiev himself said that, “for me - the story was important only as a means to induce the children to listen to the music” (Smith).\r\n\r\nThe score is advanced enough that adults can enjoy it.  At the same time, the music is engaging and interesting enough to appeal to children.  It is only about 20 minutes long and each section of the music is broken up by narrated text that explains what is happening in the story.\r\n\r\nAs popular as it was, it did not escape criticism.  One music critic for the “Music Letters and Review,” the leading journal of British music scholarship said that the music was simplified “to the point of childishness... As a composition the thing does not hang together... [The story] is delivered by a speaker who again and again holds up the limping progress of the score” (E.B.).\r\n\r\nSome people looked for hidden moral and political meanings in the music.  Nicolas Slonimsky proposed a theory that the interactions between the duck and the bird represent the fight for superiority between air and land power in war while the wolf represents Adolf Hitler (Slonimsky, Soviet Music 9).  Harlow Robinson put forth the idea that the moral of the story is to think independently, question authority (even to the point of outright disobedience) and courageously take risks.  “Seen in this light, ‘Peter and the Wolf’ is a subtly subversive tract, encouraging children to rely on their wits and not on the greater experience (and inertia) of their elders” (Smith).\r\n\r\n“Peter and the Wolf” is one of the most popular pieces of music in the twentieth century.  It is just as popular today as it was when it was released.  Several film adaptations have been produced, including one by Disney in 1946.\r\n\r\n[youtube]http://www.youtube.com/watch?v=rWaYWdAl14w[/youtube]\r\n\r\n&nbsp;\r\n\r\nIn 2010, PBS aired a stop action film directed by Suzie Templeton which did not contain any of the dialog that Prokofiev wrote.  It also changed certain parts of the story, reflecting a more modern bent.\r\n\r\n[youtube]http://www.youtube.com/watch?v=n7jkJU9p0N0[/youtube]\r\n\r\n&nbsp;\r\n\r\nIt is almost a given that celebrities will narrate the story for either a commercial venture or a live performance.  Past narrators of “Peter and the Wolf” include Dom DeLuise, Patrick Stewart, Sting, Sharon Stone, Peter Ustinov, Sophia Loren, John Gielgud, Eleanor Roosevelt, Dudley Moore and even Captain Kangaroo (Azerrad).\r\n\r\nIn 1975, Jack Lancaster produced a progressive rock version of “Peter and the Wolf.”  It was narrated by Viv Stanshall.  In this adaptation, each character is still represented by a musical instrument, however, each part is performed by different rock musicians; among them Phil Collins, Percy Jones, Stephanie Grappelli, Gary Moore and Manfred Mann.  You can listen to it <a title=\"here\" href=\"http://www.youtube.com/watch?v=fVfjGhLmqUY\" target=\"_blank\">here</a>; it is 38 minutes long.\r\n\r\nIn 1988, Weird Al Yankovic released an album containing his version of “Peter and the Wolf.”  In typical Yankovic fashion, he revised the script.  Instead of a rope, Peter captured the wolf with his grandfather’s spool of unwaxed dental floss.  The hunters in the story are members of the National Rifle Association and they enter the scene “firing their magnums, uzies [sic] and bazookas.”  According to Yankovic’s script, “[b]oys like Peter are afraid of a lot of things, like nuclear annihilation and flunking algebra, but they\'re not afraid of wolves. You can read the script <a title=\"here\" href=\"http://www.sing365.com/music/lyric.nsf/Peter-and-the-Wolf-lyrics-Weird-Al-Yankovic/989A160D24E0B796482578E6003559A0\" target=\"_blank\">here</a>.  You can hear his performance <a title=\"here\" href=\"http://www.youtube.com/watch?v=MEapbu2F8ao\" target=\"_blank\">here</a>; about 30 minutes long.\r\n\r\nIgor Stravinsky wrote a piece of music for children called “The Five Fingers” in 1921. “The work is a set of eight little piano pieces, in each of which the pianist’s right hand is kept over a set of five keys that are within reach of the hand without a change of position” (Cazden 61).  In theory, it was for children, but it did not appeal to children at all.  Actually, it was reminiscent of the hours and hours of tedious and boring exercises that all musicians must endure.  You can listen to the music and watch the hand position <a title=\"here\" href=\"http://www.youtube.com/watch?v=mL5Ouvt9xUY\" target=\"_blank\">here</a>; about three minutes long.\r\n\r\nThe composition itself is too complicated to engage a child’s attention or interest.  In spite of the fact that the music was spawned by childhood experiences, it was really written for the “music-aesthete who [was] intrigued by the constructive technique of Stravinsky” (Cazden 61).  As a result, even though it is a relatively simple piece to play, it does not inspire an interest in music (Cazden).\r\n\r\nConversely, “Peter and the Wolf” delights young and old listeners alike.  The melodies are distinctive and memorable.  The story draws a child’s attention thereby sparking a fascination for music.  Its appeal lies in the universal, fairy tale like quality of Peter’s story.\r\n\r\nInstead of a particularly individual starting point, one that not everyone can appreciate like Stravinsky’s in “The Five Fingers”, “Peter and the Wolf” is based on the common experience of almost everyone’s childhood.  “Peter [is] immediately recognizable as a boy we know, or as a boy any of us might have been... In Peter’s music there is no trace of despair” or unpleasant experiences (Cazden 62).\r\n\r\nI used to listen to “Peter and the Wolf” as a child. When I listened to it recently to research this project, it brought back wonderful memories and feelings.  I learned again things I’d forgotten about instruments in an orchestra.\r\n\r\nI used to think Peter was awesome for venturing out into the meadow in defiance of his grandfather.  Now, as a mother, I am not happy with Peter because his disobedience put his safety at risk.  It is my job to keep my children safe; in this case, killing the wolf would be my responsibility.  I recognize that, as they grow, children need to mature and take ownership of their own safety, but in Peter’s case, he had not matured enough to place himself in that type of jeopardy.\r\n\r\nIn spite of the bittersweet memories and feelings I have when I listen to this work, the story behind it is actually rather grim.  I find myself wishing that I never knew about the fact that Prokofiev was vulnerable to the whims of the Soviet powers that be.\r\n\r\nFuture generations need to learn from Prokofiev’s example; be aware of and utilize a child’s natural interest and curiosity as a starting point for learning.  Just like the science experiment where children build a papier-mâché model of a volcano and then mix baking soda and water to spark an interest in chemistry and geological phenomena, educators need to search for and create similar circumstances for learning.\r\n\r\nFor more advanced reasons, future generations will be able to appreciate Prokofiev’s example of how artistic creativity can be achieved in spite of precarious circumstances.  All artists in the Soviet Union were in a precarious position.  If they did not conform to the totalitarian dictates, they were vulnerable to any number of consequences; even death.  In spite of totalitarian attempts to control artistic expression, sometimes an original piece of art successfully slips under the radar.  Prokofiev managed such a feat with “Peter and the Wolf.”  He was surrounded by uncertainty, terror and danger but he still managed to produce a wonderful piece of music that did not completely bow to the repressive and strict dictates of the Soviet Union.\r\n<p style=\"text-align: center\">Works Cited</p>\r\nAzerrad, Michael. \"The Wolf at the Door: Stalin and Prokofiev.\" eMusic - Stimulating Curious Musical Minds. Rovi Corporation, 08 2008. Web. 22 Nov 2012.  &lt;http://www.emusic.com/listen/#/music-news/spotlight/the-wolf-at-the-door-stalin-and-prokofiev/&gt;\r\n\r\nThis article provided most of the information I used about how “Peter and the Wolf” is viewed in modern times.  I got a partial list of narrators and also found about about the Rock-n-Roll and Weird Al Yankovic versions.\r\n\r\nBass, Richard. “Prokofiev’s Technique of Chromatic Displacement.” Music Analysis. 7.2 (Jul., 1988) (1988): 197-214. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article talked about the talked about and compared the techniques used by Shostakovich in his “Children’s Album” and Prokofiev’s use of chromatic notes in his music.\r\n\r\nCazden, Norman. “Humor in the Music of Stravinsky and Prokofiev.” Science &amp; Society. 18.1 (Winter, 1954) (1954): 52-74. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nThis article specifically compared Prokofiev’s “Peter and the Wolf” to Stravinsky’s “The Five Fingers.”  Cazden was writing about how each composer used humor in their works, but I used it for the technical comparison.\r\n\r\nE.B., . “Prokofiev, Sergei, “Peter and the Wolf: a Musical Tale for Children,” Op.67.” Music &amp; Letters. 23.3 (Jul., 1942 264. Web. 24 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nA review of “Peter and the Wolf” that described Prokofiev’s compliance with Soviet dictates that required simple music and criticized him for dumbing down his work.\r\n\r\nElsworth, John. \"Prokofiev And Twentieth-Century Culture.\" Slavonica 9.1 (2003): 35-37. Academic Search Complete. Web. 12 Nov. 2012.\r\n\r\nThis article is a review of a conference held in 2003 at the University of Manchester about Prokofiev and his influence on twentieth century culture.\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used for background information about Prokofiev’s eventual denouncement by the Soviet government and the requirements by the Soviet unions for its artists.\r\n\r\nHoloman, D. Kern. “Evenings with the Orchestra: A Norton Companion for Concert Goers.” First. New York: W. W. Norton &amp; Company, Inc., 1992. 430, 433, 436-437. Print.  22 Nov. 2012.\r\n\r\nI used this for general background history and for a quote by Prokofiev about “Peter and the Wolf”; specifically what he was trying to accomplish when he wrote it.\r\n\r\nKnight, Judson. \"Sergei (Sergeevich) Prokofiev.\" Contemporary Authors Online. Detroit: Gale, 2001. Gale Biography In Context. Web. 25 Nov. 2012.\r\n\r\nThis page listed each and every writing, composition, symphony and opera that Prokofiev produced.  It also discussed the precarious political situation Prokofiev lived in after he emigrated permanently to Russia.  It is another source that described his naive belief that the Soviet Union would not intrude upon his output.\r\n\r\nMacDonald, Ian. \"An interpretation of the composer.\" Prokofiev, Prisoner of the State. Southern Illinois University Edwardson, n.d. Web. 25 Nov. 2012. &lt;http://www.siue.edu/~aho/musov/proko/prokofiev1.html&gt;.\r\n\r\nThis article discussed the Soviet Central Committee’s creation of centralized unions and Prokofiev’s apparent belief that the unions were benevolent entities.   Ian McDonald was a music critic and author who wrote “The New Shostakovich”.\r\n&lt;http://www.enotes.com/new-shostakovich-salem/new-shostakovich&gt;\r\n\r\nMontagu-Nathan, M. “Sergei Prokofiev (1891-1953).” Musical Times. 94.1323 (May, 1953) (1953): 209-210. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn obituary which discussed the unique situation that Russian composers faced under Soviet rule; a stifling of their creativity in order to maintain the approval of the government - a reality that could affect their livelihood or threaten their lives.\r\n\r\nProkofiev, Sergei. “Prokofiev Explains.” The Musical Times. 89.1266 (Aug., 1948) (1948): 233. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nOn February 22, 1948, “a resolution by the Central Committee for the Russian Communist Party” was published in the Soviet press.  The Musical Times criticized that resolution in their March, 1948 edition.  Prokofiev wrote an article for a Soviet newspaper that supported the resolution.  This article is the English translation of his words.\r\n\r\nSchalks, Arnold. \"Arnold Schalks, Lady Macbeth of the Mtsensk District, Muddle instead of music.\" Arnold Schalks Internet Archive, Arnold Schalks, visual artist, artist statement. N.p.. Web. 25 Nov 2012.\r\n\r\nContained a translation of the Pravda article from 1936 which condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District.”  This gave background into the state of Soviet musicians and how the Soviet machine controlled the creativity and output of its composers.\r\n\r\n\"Sergei Sergeevich Prokofiev.\" Encyclopedia of World Biography. 2nd ed. Vol. 12. Detroit: Gale, 2004. 458-460. Gale Virtual Reference Library. Web. 24 Nov. 2012.\r\n\r\nThis article provided an example of one of Prokofiev’s contemporaries that died at the hands of the Soviet government for not successfully adhering to Soviet dictates.\r\n\r\nSlonimsky, Nicolas. “The Changing Style of Soviet Music.” Journal of the American Musicological Society. 3.3 (Autumn, 1950) (1950): 236-255. Web. 23 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article discussing how art was “conditioned by the political and national ideology of a secular power” and how that power influenced and dictated the evolution of Soviet music.\r\n\r\nSlonimsky, Nicolas. “Soviet Music and Musicians.\" Slavonic and East European Review. American Series. 3.4 (Dec., 1944) (1944): 1-18. Web. 25 Nov. 2012.  &lt;JSTOR&gt;\r\n\r\nAn article describing the Pravda article that condemned Shostakovich’s opera, “Lady Macbeth of the Mtsensk District” and his efforts to redeem himself to the Soviet government.  This article also suggested a “hidden political meanings\" in \"Peter and the Wolf\" including the idea that the wolf from the opera represents Adolf Hitler.\r\n\r\nSmith, Tim. \"Peter &amp; the Wolf - Essay: Prokofiev.\" Great Performances - PBS. Educational Broadcasting Corporation, n.d. Web. 27 Nov 2012.\r\n&lt;http://www.pbs.org/wnet/gperf/episodes/peter-the-wolf/essay-prokofievs-peter-the-wolf/27/&gt;.\r\n\r\nAn essay about Peter and the Wolf written to introduce a stop action production that premiered in 2010.\r\n\r\nStewart, Andrew. \"Sergei Prokofiev: Beyond \'Peter and the Wolf\' - the rehabilitation of Stalin\'s composer.\" Independent. 08 2012: n. page. Web. 25 Nov. 2012. &lt;http://www.independent.co.uk/arts-entertainment/classical/features/sergei-prokofiev-beyond-peter-and-the-wolf--the-rehabilitation-of-stalins-composer-6286438.html&gt;.\r\n\r\nAn interview with Vladimir Jurowski, principal conductor of the London Philharmonic Orchestra about Prokofiev wherein he tries to offer a more complete view of Prokofiev’s mindset when he returned to Russia in 1936 and other aspects of Prokofiev’s personality.\r\n\r\nTarchalski, Helen Smith. \"Meet The Composers Serge Prokofiev.\" Clavier Companion 4.2 (2012): 76-77. Academic Search Complete. Web. 24 Nov. 2012.\r\n\r\nThis is another article that described the political situation that Prokofiev lived with in the Soviet Union and the dilemma he faced with his compositions; if he was too original he was censured but if he was too traditional he was not creative enough.\r\n<p style=\"text-align: center\">Further Readings and Interesting Links</p>\r\nhttp://www.youtube.com/watch?v=kEXDKQIJkS4 - A 1976 performance of Peter and the Wolf,  narrated in Russian by Natalia Sats, the director of<em> </em>Moscow Children\'s Musical Theater  who asked Prokofiev to compose \"Peter and the Wolf.\"\r\n\r\nBeatboxing Flute “Peter and the Wolf” - http://www.youtube.com/watch?v=c6SHsF1n9Qw&amp;playnext=1&amp;list=PL3CBF83AAF2AA77B1&amp;feature=results_video\r\n\r\nWhat does Chromatic mean - http://www.youtube.com/watch?v=SOV-MhfBysg','Петя и Волк (Peter and the Wolf)','','inherit','open','open','','3084-revision-18','','','2012-11-29 17:43:55','2012-11-29 23:43:55','',3084,'http://jeanatacc.com/2011/?p=3102',0,'revision','',0),(3103,1,'2012-11-27 13:31:02','2012-11-27 19:31:02','<p dir=\"ltr\">Fallingwater, by Frank Lloyd Wright</p>\r\n<strong><strong>Michael Brandon Seals\r\nJ. Lauer, Huma 1302 12:00 p.m.- 1:20 p. m.<img class=\"aligncenter\" src=\"https://lh3.googleusercontent.com/kAF60-zB79FQzRFyfpU3QxCiSvLvmiE-jjFcscQlw6cEVeHcRISmHTxKik8squsrdoQmC3Kyrfko6dQ69FQG5_XM8whSfJyl3KNQUfQ1e8aCpdkYQnk\" alt=\"\" width=\"567\" height=\"378\" /></strong></strong>\r\n\r\nHttp://chuckkuhnimages.blogspot.com/2010/12/frank-lloyd-wright-falling-water.html\r\n\r\n&nbsp;\r\n\r\nFrank Lloyd Wright remains one of the twentieth century\'s greatest and most influential architects, his groundbreaking work, Falling Water is considered by many to be one of the greatest architectural masterpieces of modern times and rightly deserves to be preserved and remembered for generations to come. Fallingwater was born from the needs of a wealthy department store magnate Edgar Kaufmann who was looking to replace some deteriorating cabins he owned in the Pennsylvania woods his son, Kaufmann Jr. briefly studied architecture under Mr. Wright and suggested him as the architect. With almost nine months to work on the plans when Kaufmann phoned and said he was making the two hour drive to Wrights country estate, without a plan ever have been drawn Mr. Wright sat down amidst a flurry of frantic apprentices and penned what many consider to be the greatest architectural masterpiece of all time.<!--more-->\r\n\r\nIn the throws of the Great Depression as many families were forced out of their homes with work being a commodity many were unable to come by, and as the country tried to reclaim the infrastructure it once had the face of architecture began to change. During this part of the twentieth century modern buildings from modern schools were gradually becoming commonplace and the large curtain walled rectangular masses with skeletons of steel and concrete gradually began to replace the craftsman and art deco stylings of the more prosperous decades that preceded it. Buildings such as Mies Van der Rohe’s, German Pavilion in Barcelona and Le Corbusier’s Villa Savoye championed this industrial and machine like quality buildings were starting to possess. Machines for living as many modernists called them, this new style did bring the machine age into architecture for the masses however many thought that a certain natural quality was lost on these buildings and being stark forms of steel and concrete never seemed to be conducive to a place for people to live, it may have been a glorious design but a certain human characteristic was lost. Enter Frank Lloyd Wright, having already enjoyed an illustrious career as an accomplished architect and as he entered his seventh decade he began to once again change the face of american and international architecture with his new “usonian” designs of which Fallingwater is the genesis.\r\n\r\nFalling Water breaks from the traditional modern designs of the time in that it does not seek to show off it’s new modern materials, but instead strives to bring a harmony between them and nature. Mr. Wright always said that he would grow a building from its site and I can say first hand from experiencing his work that it appears to have no other alternative than to have always been there. Wright himself described it as an “extension of the cliff beside a mountain stream, making living space over and above the stream upon several terraces upon which a man who loved the place sincerely, one who liked to listen to the waterfall, might well live.”(Hoffman) “Falling water would complement its site but at the same time compete with the high drama of the falls, the unceasing sound of the crashing water, it would rise as a great machine of the forest. (Hoffman) This was also the first time Wright worked with the material of reinforced concrete which he would have to call upon to create the great spans of cantilevers that would give the house its form.\r\n\r\nA book in itself could be filled with tales and controversies of the construction from the engineers saying it could not be built, to the concrete cantilevers beginning to sag the day the formwork was removed. Moisture and mold were a constant problem to a structure perched over the unending stream below but as was typical with many of Wright\'s designs the outside was invariably brought in, weather from the great expanses of glass looking into the forest or of the drip drip from one of the ceilings many cracks. However despite these practical shortcomings Falling Water was widely regarded as a masterpiece in its own time. In fact Time magazine heralded it as Wrights “most beautiful job” (Hoffman) and effectively reemerged Wright as a prominent figure in modern american architecture. Fallingwater was the catalyst that sparked most of his latter commissions as well, masterpieces such as the Guggenheim Museum in New York and his numerous “usionion” designs to follow. Without this work, we would have none of his amazing latter commissions as well as its influence to the Mid-century modernists who would often cite Fallingwater as their inspiration to follow the field of architecture.\r\n\r\nToday is it considered one of the greatest works of the twentieth century if not of all time. It was placed on the National Landmark in 1966 and is on Smithsonian\'s list of “Places to visit before you die” of which there are only 28 on the list. The American Institute of Architects (AIA) Awarded it the “best all-time work of american architecture” Falling water remains a popular tourist attraction despite it remote location in the Pennsylvania woods. It has recently undergone a complete refit and repair of the concrete cantilevers as well as having many vapor barriers and moisture protection that was now available in the nineteen-thirties.\r\n\r\nI remember clearly the first time I saw Fallingwater, it was on a calendar of fancy houses in the office of my parents business. I can not specifically remember the year but I think I was around seven or eight, I was already tearing thru legos for children of any age and was beginning to discover my lifelong passion for design and architecture. I remember seeing the house there on the calendar and thinking for the first time that that building was destined to be there it had the air of a millionaires retreat and a castle ruin at the same time, there\'s almost nothing that dates this house and it truly has a timeless quality, I clearly recall thinking that everything about it made sense, from the central monolith with numerous volumes jutting out. Still having the illusion it was all grown from the site, to the way it seemed to continue the line of the cliffs below it creating a cave like interior space that was still open and airy yet sheltering. Fallingwater literally inspired me to study architecture, and although I will probably end up in the Industrial design sector not a day will go by that I do not think of the man who inspired me to create.\r\n\r\nFalling Water is considered Mr. Wright\'s greatest commission and in that sense we should logically compare it then to his european counterpart the great, Le Corbusier. Villa Savoye is considered by many to be Le Corbusier\'s best work in the field of residential architecture and like falling water Villa Savoye is also a retreat home for a wealthy benefactor. However the two contrast sharply as to materials, location and composition. As previously stated the European Modern style of the time was defined by large “floating” compositions whose large featureless expanses of stucco were punctuated by thoughtfully placed horizontal bands of windows and curtain walls, which was a huge contrast to the natural and harmonious melting of materials at Fallingwater. Villa Savoye consists of multiple pilings (round columns) supporting a large two story rectangular block overlooking a large flat expanse of french meadow and prairie. Like Fallingwater they are both elevated compositions but Le Corbusier uses stilts whereas Wright set his over the ledge of a waterfall merging the house and nature into one. Villa Savoye and Falling water were built within a decade of each other and both architects were aware to the comparison of each others work to their own. (Frank Lloyd Wright, Phaidon) However despite the difference in design both accomplish their fundamental roles of providing a relaxing weekend house albeit in different ways and for different clients.\r\n\r\nThis house has to be maintained and preserved for future generations to see how their forefathers created a harmony between man made structure and nature, not in todays sense of “green” this and frivolous lawsuits for having the wrong door knobs installed but in the sense of using local and plentiful materials and in a way so as to make the occupant become closer to nature by having it seamlessly make the transition from outdoor to indoor space. This house has untold wisdom emanating from is hollowed stone ledges that must be preserved for our heirs to discover. for such a great work cannot just be replicated or turned into a formula for a style of architecture, no, it is a living entity just like the river it rises over should flow into the future unending and into the mind and the hearts of the future of this great land.\r\n\r\n&nbsp;\r\n<p dir=\"ltr\">Works Cited</p>\r\n<p dir=\"ltr\">Cohen, Jean-Louis. \"Villa Savoye.\" Le Corbusier. Germany: Tashcen Gmbh, 2004. 43-47. Print.</p>\r\n<strong><strong>\r\n</strong></strong>\r\n<p dir=\"ltr\">\"Fallingwater.\" Wikipedia. N.p., n.d. Web. 20 Nov. 2012. &lt;<a href=\"http://en.wikipedia.org/wiki/Fallingwater\">http://en.wikipedia.org/wiki/Fallingwater</a>&gt;.</p>\r\n<strong><strong>\r\n</strong></strong>\r\n<p dir=\"ltr\">Glancey, Jonathan. Architecture. New York: DK, 2006. Print.</p>\r\n<strong><strong>\r\n</strong></strong>\r\n<p dir=\"ltr\">Hoffmann, Donald. Frank Lloyd Wright\'s Fallingwater. Second ed. Mineola, New York: Dover Publications, 1978-1993. Print.</p>\r\n<strong><strong>\r\n</strong></strong>\r\n<p dir=\"ltr\">Kuhn, Chuck. Fallingwater. Digital image. Http://chuckkuhnimages.blogspot.com/2010/12/frank-lloyd-wright-falling-water.html. N.p., n.d. Web. 27 Nov. 2012.</p>\r\n<strong><strong>\r\n</strong></strong>\r\n<p dir=\"ltr\">McCarter, Robert. Frank Lloyd Wright. London: Phaidon, 1997. Print.</p>\r\n<strong><strong>\r\n</strong></strong>\r\n<p dir=\"ltr\">Nuttgens, Patrick, and Richard Weston. The Complete Architecture Handbook: From the First Civilizations to the Present Day. New York: Collins Design, 2006. Print.</p>\r\n<strong>\r\nPfeiffer, Bruce Brooks. \"Fallingwater.\" Wright. Germany: Taschen, 2004. 53-54. Print</strong>\r\n\r\n&nbsp;','Frank Lloyd Wright\'s Fallingwater','','inherit','open','open','','3058-revision-9','','','2012-11-27 13:31:02','2012-11-27 19:31:02','',3058,'http://jeanatacc.com/2011/?p=3103',0,'revision','',0),(3104,56,'2012-11-05 17:09:20','2012-11-05 23:09:20','[caption id=\"attachment_2911\" align=\"alignleft\" width=\"300\"]<a href=\"http://arcweb.archives.gov/arc/action/ShowFullRecord?%24searchId=3&amp;%24showFullDescriptionTabs.selectedPaneId=&amp;%24digiDetailPageModel.currentPage=0&amp;%24resultsPartitionPageModel.targetModel=true&amp;%24resultsSummaryPageModel.pageSize=10&amp;%24partitionIndex=0&amp;%24digiSummaryPageModel.targetModel=true&amp;%24submitId=1&amp;%24resultsDetailPageModel.search=true&amp;%24digiDetailPageModel.resultPageModel=true&amp;%24resultsDetailPageModel.currentPage=0&amp;%24showArchivalDescriptionsTabs.selectedPaneId=&amp;%24resultsDetailPageModel.pageSize=1&amp;%24resultsSummaryPageModel.targetModel=true&amp;%24sort=RELEVANCE_ASC&amp;%24resultsPartitionPageModel.search=true&amp;%24highlight=false\"><img class=\"size-medium wp-image-2911\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Photograph-of-President-Abraham-Lincoln-and-His-Generals-After-Antietam-300x247.jpg\" alt=\"\" width=\"300\" height=\"247\" /></a> This copy, from The National Archives includes Brady\'s handwritten notes recording the names of those in the photograph.[/caption]\r\n\r\nHistorically, leaders have used painted portraits of themselves to emphasize their authority over their people.  In them, they surround themselves with emblems of their power.  For example, Hyacinthe Rigaud placed props around Louis XIV that personified his position as the absolute monarch of France; a column signifying fortitude, the fleur-de-lis (the traditional symbol of the French Monarchy) and scepters indicating his position as \"the hand of justice\" (Fiero).  Over one hundred years later, a new technology emerged that would eventually replace the painted portrait in this role.  “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting” (\"Winterthur Portfolio\").  The \"Photograph of President Abraham Lincoln and His Generals After Antietam\" should be preserved because it was the first time in history that a photograph shaped public opinion about a sitting head of state.\r\n\r\n<!--more-->Abraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\r\n\r\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\r\n\r\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\r\n\r\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\r\n\r\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\r\n\r\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\r\n\r\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\r\n\r\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\r\n\r\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\r\n\r\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\r\n\r\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\r\n\r\n[caption id=\"attachment_2914\" align=\"alignleft\" width=\"294\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/A-Harvest-of-Death.jpg\"><img class=\"size-full wp-image-2914\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/A-Harvest-of-Death.jpg\" alt=\"\" width=\"294\" height=\"240\" /></a> A Harvest of Death[/caption]\r\n\r\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\r\n\r\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\r\n\r\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\r\n\r\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\r\n\r\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\r\n\r\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\r\n\r\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\r\n\r\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\r\n<p style=\"text-align: center\">Image Sources</p>\r\n\"Photograph of President Abraham Lincoln and His Generals After Antietam\"  The National Archives only allows links to the main page.  - http://www.archives.gov/research/arc/ - Search for ARC Identifier 527118\r\n\r\n\"A Harvest of Death\" - http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=64592\r\n<p style=\"text-align: center\"> Works Cited</p>\r\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\r\n\r\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.  This is an example of the confusion surrounding Brady, O\'Sullivan and Gardner\'s work.\r\n\r\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 Oct 1997: n. p. Web. 3 Nov. 2012. http://www.unz.org/Pub/Slate-1997oct-00126.\r\n\r\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\r\n\r\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012. http://www.nytimes.com/1862/10/20/news/brady-s-photographs-pictures-of-the-dead-at-antietam.html.\r\n\r\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used it to get information about King Louis XIV state portrait.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012. https://www.nytimes.com/1992/08/16/arts/photography-view-a-deliberate-unflinching-witness-to-history.html?src=pm.\r\n\r\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.  It also talked about how Gardner viewed photography as a medium.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\r\n\r\nThis article reviews a museum exhibit entitled \"Reporting the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\r\n\r\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\r\n\r\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.  It gave general background about Lincoln and his use of photography.\r\n\r\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\r\n\r\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\r\n\r\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\r\n\r\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\r\n\r\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\r\n\r\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\r\n\r\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\r\n\r\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\r\n\r\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\r\n\r\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\r\n\r\nRev. of Mathew Brady and the Image of History, by Mary Panzer; Jeana K. Foley.  Winterthur Portfolio, Vol. 34, No. 1 (Spring 1999): 83-84. JSTOR. Web. 5 Nov. 2012.\r\n\r\nThis is a review of the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\r\n\r\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\r\n\r\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.  I used this source to verify Gardner\'s description of \"A Harvest of War\".\r\n\r\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\r\n\r\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\r\n<p style=\"text-align: center\">Further Reading</p>\r\n <a title=\"&quot;All the Ladies Like Whiskers&quot;\" href=\"http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.htm\" target=\"_blank\">“All the ladies like whiskers”</a> shows a copy of the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.  I always thought this story was a myth, but it turns out to be true.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-30','','','2012-11-05 17:09:20','2012-11-05 23:09:20','',2855,'http://jeanatacc.com/2011/?p=3104',0,'revision','',0),(3105,67,'2012-12-06 23:21:45','2012-12-07 05:21:45','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/spirited_away_ver2.jpg\"><img class=\"aligncenter  wp-image-3114\" title=\"spirited_away_ver2\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/spirited_away_ver2-300x224.jpg\" alt=\"\" width=\"348\" height=\"259\" /></a></p>\r\n<p style=\"text-align: center;\">http://www.impawards.com/2002/posters/spirited_away_ver2.jpg</p>\r\n<p style=\"text-align: center;\"><em>Spirited Away</em></p>\r\n<em>Spirited Away</em> is an anime, written and directed by Hayao Miyazaki. The release of this film to America was on July 20, 2001. Miyazaki believes strongly that children are being robbed of their sense of wonder and imagination while their independence and developing maturity are being stifled. Miyazaki has striven to provide thought provoking themes in his films. These include environmentalism, war and peace, families, the interaction and tension between the human world and the natural world and the process of growing up (Gomes). This film should be preserved for future generations because it inspires imagination and sets a future goal of the world being united as one and not hated because of different religions and cultures.<!--more-->\r\n\r\n<em>Spirited Away</em> is about a young, shy girl who is unsure of herself and the world. With the events that happen in <em>Spirited Away</em>, she develops courage and comes out with a better understanding of the world around her. Chihiro and her parents are moving to a new home, along the way, they get lost and end up getting out of the car to walk down a long dirt path. They come to a restaurant filled with no one else around.  The mother and father are famished and begin “pigging out” and try to pressure Chihiro into doing the same. Feeling unease and sensing danger, Chihiro refuses and decides to go explore. As day turns into night, the feelings begin to deepen in Chihiro’s soul and when she returns to her parents to get them to leave, she sees that a curse was put upon them and they turned into pigs.\r\n\r\nWhile Chihiro was out exploring, she came across a boy named Haku who warned her of danger. When Chihiro sees him again, he tells her she must eat the other world food so she will not fade away and the only way she can save herself and her parents is to get a job at the bathhouse for the gods and spirits run by the sorceress Yubaba. After not being scared away by Yubaba, Chihiro is given a job and has to sign a contract saying that she will forget her former life and be given a new identity. Renamed Sen, she undertakes the difficult task of remembering who she is, saving her parents, and finding a way out of the world. In her adventures, she meets many strange and memorable characters, learns lessons about life, and unravels the mystery of the boy Haku, whom she falls in love with (Gomes).\r\n\r\nAnime is a popular form of animation in Japan. The major difference between anime and cartoons is that anime is directed towards teens and adults as well as children. In order to understand the invasion of anime into the United States, a look into the historical past would be appropriate. The best place to start is around World War II, when the anime industry evolved significantly (Zagzoug). During World War II, the Japanese nation was mobilized. People were forced to conform to the government’s demands or pay the ultimate price (Zagzoug). Those who did not obey, were punished by “preventive detention, bans on writing, and social ostracism. Those who recanted were rewarded with rehabilitation programs and support for the community. In 1940, organizations for artists and cartoonists were formed. During this time, the government used them to influence the people by creating artwork or cartoon strips filled with propaganda to use against the nations enemies.\r\n\r\nAfter the disasters of the war, Japan rebuilt is infrastructure and economy with the help of the United States. Japan developed a reputation as being cutting edge in the industry and technology areas which resulted in a rapid economic growth from the 1960s to the 1980s (Gomes). The history of Japan is reflected in all aspects of <em>Spirited Away</em>, from the traditional design of the bathhouse to spirituality. The main source behind the spirits in <em>Spirited Away</em> comes from the native Shinto tradition of Japan. The Shinto tradition is based on the reverence for the natural and that all things have spirits (Gomes). In Miyazaki’s own words states that In his own words he states: “In my grandparent’s time, it was believed that gods and spirits existed everywhere – in trees, rivers, insects, wells, anything. My generation does not believe in this, but I like the idea that we should treasure everything because… there is a kind of life to everything.”\r\n\r\nMiyazaki’s <em>Spirited Away </em>is innovative and unusual for his time because in it, he addresses three interrelated topics of concern in this movie. Miyazaki intends to instill deep meaning in this movie, he takes great care to insert things that are more easily noticed and seen by children and young adults than adults.  The first theme is the environment. Miyazaki attempts to remind us that the human world and the natural world are linked, via the intermediary of anthropomorphized spirits (Gomes). With the appearances of spirits, Miyazaki tries to make us see that we must revere nature in our own way and with respect the second topic is social values. This is depicted by the tengu which is a spirit that addresses what should be valued. The tengu is not fond of people who have negative traits such as greed and disrespect. The final trait Miyazaki wished to address is of personal growth and values. Chihiro starts off as a spoiled, self-centered little girl. Throughout her adventure, she learns the traditional values of respect for elders, following the rules, personal sacrifice, and perseverance. Miyazaki believes that as society get more modern; it is leading to the destruction of such positive traits within our children.\r\n\r\nWhen <em>Spirited Away</em> came out into theaters the reviews were outstanding. There are many positive reviews on IMDb.com.  Jamie Russell states that “In two hours Miyazaki offers more magic and innovation than most animators could manage in over two decades.” Peter Bradshaw says “A beautifully drawn and wonderfully composed work of art- really, no other descriptions will do- which takes us on a rocket-fuelled flight of fancy.” There are so many positive things said about this movie. “A movie where many childhood dreams are reborn”, “A film Disney should learn lessons from,” and “A hauntingly beautiful tale.” These positive reviews go on and on. The thoughts of <em>Spirited Away</em> are the same today. I account for the reception back then and today by realizing what a well thought out and moving movie <em>Spirited Away</em> is. My thoughts on the movie are the same as the majority. There really is nothing else to be said that hasn’t already been said about this amazing movie.\r\n\r\nMovies typically targeting younger audiences are usually overlooked for their content, impact, and the messages being conveyed. However, <em>Spirited Away</em> and <em>Alice in Wonderland</em> have world acclaim which puts them on the same level in many aspects and at the same time makes their differences more emphasized. Both movies are based solely on fantasy (Patel). Both protagonists in the movies are girls who are not deemed mature. Chihiro in <em>Spirited Away</em> is a spoiled brat who progresses throughout the movie and Alice in <em>Alice in Wonderland</em> is unconfident and shy. She undergoes a similar transformation. The journeys help both children transition into adulthood. Culture and scenery are two other things that are strictly emphasized in both films. Alice takes on English ideals and culture.  The castles and structures are from British history. This film also includes a tea party and the Monarchy system which is developed by the English and portrays its corruptness. Chihiro loses her identity in <em>Spirited Away</em>. Loss of a name equals loss of an identity in the Japanese culture. The bathhouse, which is still common in Japan, is a place where people would socialize and share stories. This is the central place in the film. There is also a strict emphasis on the Japanese culture with tradition clothing and Old Japanese villages (Patel).\r\n\r\nBoth films are products of transitional periods. When <em>Alice in Wonderland</em> was written, Britain was in the midst of a great turbulence brought by industrialization, urbanization and Darwinism (Patel). <em>Spirited Away </em>is set in a precarious period for Japan’s economy just after the ‘babble boom’ of the early 1990s” (Ando). With both films being written during a time of transitional periods to industrialization of a country, this parallels with the main protagonists transitioning to adulthood. While Japan and Britain were transitioning, there proved to be many problems standing in the way which caused both countries to revert back to past principles before taking the step forward. You can see these problems with both Alice and Chihiro in the movies as they go on their adventures.  Disregarding different cultures and religions, you can see the same principles are still being taught.\r\n\r\n<em>Spirited Away</em> is a film that has captivated millions with its fantastic world. The message of this film is one of equality. It goes to show how people all around the world are able to connect in one way or another. The same principles are taught throughout the different cultures and religions, who are we to say that one culture or religion is better than the other? Understanding we are all one is important for future generations to learn. Hopefully, with our children and their children knowing this, that we are one, will bring everyone together. It is a futuristic goal that there will no longer be hate between countries because of different cultures and religions, but that we can all considered the same because of principle and understanding.\r\n<p align=\"center\">Works Cited:</p>\r\nSparkNotes Editors. “SparkNote on Spirited Away.” SparkNotes.com. SparkNotes LLC. 2004. Web. 6 Dec. 2012.\r\n\r\nI used this website to get information on the overview of this film. This website has a lot of information about the making and development of the movie.\r\n\r\nGomes, Paul. Spirited Away. Lesson Plan: Spirited Away. Paul Gomes, n.d. Web. 02 Dec. 2012.\r\n\r\nI used this website to get information about the history and religion of Japan. This is a lesson plan that had a lot of info on <em>Spirited Away</em>.\r\n\r\nZagzoug,, Marwah. \"The History of Anime and Manga.\" The History of Anime and Manga. Black Horizon Anime / C.T. Evans, n.d. Web. 02 Dec. 2012. &lt;http://novaonline.nvcc.edu/eli/evans/his135/Events/Anime62/Anime62.html&gt;.\r\n\r\nI used this website to get information on the history of anime. It has a lot of info. about anime and manga.\r\n\r\n<a href=\"http://www.imdb.com/title/tt0245429/\">http://www.imdb.com/title/tt0245429/</a>\r\n\r\nThis website helped me with reviews on this film.\r\n\r\nPatel, V. \"New Zealand Cinema.\" <em>: Alice in Wonderland vs. Spirited Away</em>. New Zealand Cinema, n.d. Web. 03 Dec. 2012.\r\n\r\n<a href=\"http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html\">http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html</a>\r\n\r\nThis website helped me with the similarities and differences b/w <em>Spirited Away</em> and <em>Alice in Wonderland</em>. It has a lot of great similarity and differences info. on this website.','Spirited Away','','publish','open','open','','spirited-away','','','2012-12-08 11:11:24','2012-12-08 17:11:24','',0,'http://jeanatacc.com/2011/?p=3105',0,'post','',5),(3106,67,'2012-12-06 23:21:28','2012-12-07 05:21:28','<p style=\"text-align: center\"><img src=\"http://www.impawards.com/2002/posters/spirited_away_ver2.jpg\" alt=\"\" /></p>\n<p style=\"text-align: center\">http://www.impawards.com/2002/posters/spirited_away_ver2.jpg</p>\n<p style=\"text-align: center\"></p>\n<p style=\"text-align: center\"></p>\n<p style=\"text-align: center\"><em>Spirited Away</em></p>\n<em>Spirited Away</em> is an anime, written and directed by Hayao Miyazaki. The release of this film to America was on July 20, 2001. Miyazaki believes strongly that children are being robbed of their sense of wonder and imagination while their independence and developing maturity are being stifled. Miyazaki has striven to provide thought provoking themes in his films. These include environmentalism, war and peace, families, the interaction and tension between the human world and the natural world and the process of growing up (Gomes). This film should be preserved for future generations because it inspires imagination and sets a future goal of the world being united as one and not hated because of different religions and cultures.\n\n<em>Spirited Away</em> is about a young, shy girl who is unsure of herself and the world. With the events that happen in <em>Spirited Away</em>, she develops courage and comes out with a better understanding of the world around her. Chihiro and her parents are moving to a new home, along the way, they get lost and end up getting out of the car to walk down a long dirt path. They come to a restaurant filled with no one else around.  The mother and father are famished and begin “pigging out” and try to pressure Chihiro into doing the same. Feeling unease and sensing danger, Chihiro refuses and decides to go explore. As day turns into night, the feelings begin to deepen in Chihiro’s soul and when she returns to her parents to get them to leave, she sees that a curse was put upon them and they turned into pigs.\n\nWhile Chihiro was out exploring, she came across a boy named Haku who warned her of danger. When Chihiro sees him again, he tells her she must eat the other world food so she will not fade away and the only way she can save herself and her parents is to get a job at the bathhouse for the gods and spirits run by the sorceress Yubaba. After not being scared away by Yubaba, Chihiro is given a job and has to sign a contract saying that she will forget her former life and be given a new identity. Renamed Sen, she undertakes the difficult task of remembering who she is, saving her parents, and finding a way out of the world. In her adventures, she meets many strange and memorable characters, learns lessons about life, and unravels the mystery of the boy Haku, whom she falls in love with (Gomes).\n\nAnime is a popular form of animation in Japan. The major difference between anime and cartoons is that anime is directed towards teens and adults as well as children. In order to understand the invasion of anime into the United States, a look into the historical past would be appropriate. The best place to start is around World War II, when the anime industry evolved significantly (Zagzoug). During World War II, the Japanese nation was mobilized. People were forced to conform to the government’s demands or pay the ultimate price (Zagzoug). Those who did not obey, were punished by “preventive detention, bans on writing, and social ostracism. Those who recanted were rewarded with rehabilitation programs and support for the community. In 1940, organizations for artists and cartoonists were formed. During this time, the government used them to influence the people by creating artwork or cartoon strips filled with propaganda to use against the nations enemies.\n\nAfter the disasters of the war, Japan rebuilt is infrastructure and economy with the help of the United States. Japan developed a reputation as being cutting edge in the industry and technology areas which resulted in a rapid economic growth from the 1960s to the 1980s (Gomes). The history of Japan is reflected in all aspects of <em>Spirited Away</em>, from the traditional design of the bathhouse to spirituality. The main source behind the spirits in <em>Spirited Away</em> comes from the native Shinto tradition of Japan. The Shinto tradition is based on the reverence for the natural and that all things have spirits (Gomes). In Miyazaki’s own words states that In his own words he states: “In my grandparent’s time, it was believed that gods and spirits existed everywhere – in trees, rivers, insects, wells, anything. My generation does not believe in this, but I like the idea that we should treasure everything because… there is a kind of life to everything.”\n\nMiyazaki’s <em>Spirited Away </em>is innovative and unusual for his time because in it, he addresses three interrelated topics of concern in this movie. Miyazaki intends to instill deep meaning in this movie, he takes great care to insert things that are more easily noticed and seen by children and young adults than adults.  The first theme is the environment. Miyazaki attempts to remind us that the human world and the natural world are linked, via the intermediary of anthropomorphized spirits (Gomes). With the appearances of spirits, Miyazaki tries to make us see that we must revere nature in our own way and with respect the second topic is social values. This is depicted by the tengu which is a spirit that addresses what should be valued. The tengu is not fond of people who have negative traits such as greed and disrespect. The final trait Miyazaki wished to address is of personal growth and values. Chihiro starts off as a spoiled, self-centered little girl. Throughout her adventure, she learns the traditional values of respect for elders, following the rules, personal sacrifice, and perseverance. Miyazaki believes that as society get more modern; it is leading to the destruction of such positive traits within our children.\n\nWhen <em>Spirited Away</em> came out into theaters the reviews were outstanding. There are many positive reviews on IMDb.com.  Jamie Russell states that “In two hours Miyazaki offers more magic and innovation than most animators could manage in over two decades.” Peter Bradshaw says “A beautifully drawn and wonderfully composed work of art- really, no other descriptions will do- which takes us on a rocket-fuelled flight of fancy.” There are so many positive things said about this movie. “A movie where many childhood dreams are reborn”, “A film Disney should learn lessons from,” and “A hauntingly beautiful tale.” These positive reviews go on and on. The thoughts of <em>Spirited Away</em> are the same today. I account for the reception back then and today by realizing what a well thought out and moving movie <em>Spirited Away</em> is. My thoughts on the movie are the same as the majority. There really is nothing else to be said that hasn’t already been said about this amazing movie.\n\nMovies typically targeting younger audiences are usually overlooked for their content, impact, and the messages being conveyed. However, <em>Spirited Away</em> and <em>Alice in Wonderland</em> have world acclaim which puts them on the same level in many aspects and at the same time makes their differences more emphasized. Both movies are based solely on fantasy (Patel). Both protagonists in the movies are girls who are not deemed mature. Chihiro in <em>Spirited Away</em> is a spoiled brat who progresses throughout the movie and Alice in <em>Alice in Wonderland</em> is unconfident and shy. She undergoes a similar transformation. The journeys help both children transition into adulthood. Culture and scenery are two other things that are strictly emphasized in both films. Alice takes on English ideals and culture.  The castles and structures are from British history. This film also includes a tea party and the Monarchy system which is developed by the English and portrays its corruptness. Chihiro loses her identity in <em>Spirited Away</em>. Loss of a name equals loss of an identity in the Japanese culture. The bathhouse, which is still common in Japan, is a place where people would socialize and share stories. This is the central place in the film. There is also a strict emphasis on the Japanese culture with tradition clothing and Old Japanese villages (Patel).\n\nBoth films are products of transitional periods. When <em>Alice in Wonderland</em> was written, Britain was in the midst of a great turbulence brought by industrialization, urbanization and Darwinism (Patel). <em>Spirited Away </em>is set in a precarious period for Japan’s economy just after the ‘babble boom’ of the early 1990s” (Ando). With both films being written during a time of transitional periods to industrialization of a country, this parallels with the main protagonists transitioning to adulthood. While Japan and Britain were transitioning, there proved to be many problems standing in the way which caused both countries to revert back to past principles before taking the step forward. You can see these problems with both Alice and Chihiro in the movies as they go on their adventures.  Disregarding different cultures and religions, you can see the same principles are still being taught.\n\n<em>Spirited Away</em> is a film that has captivated millions with its fantastic world. The message of this film is one of equality. It goes to show how people all around the world are able to connect in one way or another. The same principles are taught throughout the different cultures and religions, who are we to say that one culture or religion is better than the other? Understanding we are all one is important for future generations to learn. Hopefully, with our children and their children knowing this, that we are one, will bring everyone together. It is a futuristic goal that there will no longer be hate between countries because of different cultures and religions, but that we can all considered the same because of principle and understanding.\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\">Works Cited:</p>\nSparkNotes Editors. “SparkNote on Spirited Away.” SparkNotes.com. SparkNotes LLC. 2004. Web. 6 Dec. 2012.\n\nI used this website to get information on the overview of this film. This website has a lot of information about the making and development of the movie.\n\nGomes, Paul. Spirited Away. Lesson Plan: Spirited Away. Paul Gomes, n.d. Web. 02 Dec. 2012.\n\nI used this website to get information about the history and religion of Japan. This is a lesson plan that had a lot of info on <em>Spirited Away</em>.\n\nZagzoug,, Marwah. \"The History of Anime and Manga.\" The History of Anime and Manga. Black Horizon Anime / C.T. Evans, n.d. Web. 02 Dec. 2012. &lt;http://novaonline.nvcc.edu/eli/evans/his135/Events/Anime62/Anime62.html&gt;.\n\nI used this website to get information on the history of anime. It has a lot of info. about anime and manga.\n\n<a href=\"http://www.imdb.com/title/tt0245429/\">http://www.imdb.com/title/tt0245429/</a>\n\nThis website helped me with reviews on this film.\n\nPatel, V. \"New Zealand Cinema.\" <em>: Alice in Wonderland vs. Spirited Away</em>. New Zealand Cinema, n.d. Web. 03 Dec. 2012.\n\n<a href=\"http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html\">http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html</a>\n\nThis website helped me with the similarities and differences b/w <em>Spirited Away</em> and <em>Alice in Wonderland</em>. It has a lot of great similarity and differences info. on this website.','Spirited Away','','inherit','open','open','','3105-revision','','','2012-12-06 23:21:28','2012-12-07 05:21:28','',3105,'http://jeanatacc.com/2011/?p=3106',0,'revision','',0),(3107,67,'2012-12-06 23:21:45','2012-12-07 05:21:45','<p style=\"text-align: center\"><img src=\"http://www.impawards.com/2002/posters/spirited_away_ver2.jpg\" alt=\"\" /></p>\r\n<p style=\"text-align: center\">http://www.impawards.com/2002/posters/spirited_away_ver2.jpg</p>\r\n<p style=\"text-align: center\"><em>Spirited Away</em></p>\r\n<em>Spirited Away</em> is an anime, written and directed by Hayao Miyazaki. The release of this film to America was on July 20, 2001. Miyazaki believes strongly that children are being robbed of their sense of wonder and imagination while their independence and developing maturity are being stifled. Miyazaki has striven to provide thought provoking themes in his films. These include environmentalism, war and peace, families, the interaction and tension between the human world and the natural world and the process of growing up (Gomes). This film should be preserved for future generations because it inspires imagination and sets a future goal of the world being united as one and not hated because of different religions and cultures.\r\n\r\n<em>Spirited Away</em> is about a young, shy girl who is unsure of herself and the world. With the events that happen in <em>Spirited Away</em>, she develops courage and comes out with a better understanding of the world around her. Chihiro and her parents are moving to a new home, along the way, they get lost and end up getting out of the car to walk down a long dirt path. They come to a restaurant filled with no one else around.  The mother and father are famished and begin “pigging out” and try to pressure Chihiro into doing the same. Feeling unease and sensing danger, Chihiro refuses and decides to go explore. As day turns into night, the feelings begin to deepen in Chihiro’s soul and when she returns to her parents to get them to leave, she sees that a curse was put upon them and they turned into pigs.\r\n\r\nWhile Chihiro was out exploring, she came across a boy named Haku who warned her of danger. When Chihiro sees him again, he tells her she must eat the other world food so she will not fade away and the only way she can save herself and her parents is to get a job at the bathhouse for the gods and spirits run by the sorceress Yubaba. After not being scared away by Yubaba, Chihiro is given a job and has to sign a contract saying that she will forget her former life and be given a new identity. Renamed Sen, she undertakes the difficult task of remembering who she is, saving her parents, and finding a way out of the world. In her adventures, she meets many strange and memorable characters, learns lessons about life, and unravels the mystery of the boy Haku, whom she falls in love with (Gomes).\r\n\r\nAnime is a popular form of animation in Japan. The major difference between anime and cartoons is that anime is directed towards teens and adults as well as children. In order to understand the invasion of anime into the United States, a look into the historical past would be appropriate. The best place to start is around World War II, when the anime industry evolved significantly (Zagzoug). During World War II, the Japanese nation was mobilized. People were forced to conform to the government’s demands or pay the ultimate price (Zagzoug). Those who did not obey, were punished by “preventive detention, bans on writing, and social ostracism. Those who recanted were rewarded with rehabilitation programs and support for the community. In 1940, organizations for artists and cartoonists were formed. During this time, the government used them to influence the people by creating artwork or cartoon strips filled with propaganda to use against the nations enemies.\r\n\r\nAfter the disasters of the war, Japan rebuilt is infrastructure and economy with the help of the United States. Japan developed a reputation as being cutting edge in the industry and technology areas which resulted in a rapid economic growth from the 1960s to the 1980s (Gomes). The history of Japan is reflected in all aspects of <em>Spirited Away</em>, from the traditional design of the bathhouse to spirituality. The main source behind the spirits in <em>Spirited Away</em> comes from the native Shinto tradition of Japan. The Shinto tradition is based on the reverence for the natural and that all things have spirits (Gomes). In Miyazaki’s own words states that In his own words he states: “In my grandparent’s time, it was believed that gods and spirits existed everywhere – in trees, rivers, insects, wells, anything. My generation does not believe in this, but I like the idea that we should treasure everything because… there is a kind of life to everything.”\r\n\r\nMiyazaki’s <em>Spirited Away </em>is innovative and unusual for his time because in it, he addresses three interrelated topics of concern in this movie. Miyazaki intends to instill deep meaning in this movie, he takes great care to insert things that are more easily noticed and seen by children and young adults than adults.  The first theme is the environment. Miyazaki attempts to remind us that the human world and the natural world are linked, via the intermediary of anthropomorphized spirits (Gomes). With the appearances of spirits, Miyazaki tries to make us see that we must revere nature in our own way and with respect the second topic is social values. This is depicted by the tengu which is a spirit that addresses what should be valued. The tengu is not fond of people who have negative traits such as greed and disrespect. The final trait Miyazaki wished to address is of personal growth and values. Chihiro starts off as a spoiled, self-centered little girl. Throughout her adventure, she learns the traditional values of respect for elders, following the rules, personal sacrifice, and perseverance. Miyazaki believes that as society get more modern; it is leading to the destruction of such positive traits within our children.\r\n\r\nWhen <em>Spirited Away</em> came out into theaters the reviews were outstanding. There are many positive reviews on IMDb.com.  Jamie Russell states that “In two hours Miyazaki offers more magic and innovation than most animators could manage in over two decades.” Peter Bradshaw says “A beautifully drawn and wonderfully composed work of art- really, no other descriptions will do- which takes us on a rocket-fuelled flight of fancy.” There are so many positive things said about this movie. “A movie where many childhood dreams are reborn”, “A film Disney should learn lessons from,” and “A hauntingly beautiful tale.” These positive reviews go on and on. The thoughts of <em>Spirited Away</em> are the same today. I account for the reception back then and today by realizing what a well thought out and moving movie <em>Spirited Away</em> is. My thoughts on the movie are the same as the majority. There really is nothing else to be said that hasn’t already been said about this amazing movie.\r\n\r\nMovies typically targeting younger audiences are usually overlooked for their content, impact, and the messages being conveyed. However, <em>Spirited Away</em> and <em>Alice in Wonderland</em> have world acclaim which puts them on the same level in many aspects and at the same time makes their differences more emphasized. Both movies are based solely on fantasy (Patel). Both protagonists in the movies are girls who are not deemed mature. Chihiro in <em>Spirited Away</em> is a spoiled brat who progresses throughout the movie and Alice in <em>Alice in Wonderland</em> is unconfident and shy. She undergoes a similar transformation. The journeys help both children transition into adulthood. Culture and scenery are two other things that are strictly emphasized in both films. Alice takes on English ideals and culture.  The castles and structures are from British history. This film also includes a tea party and the Monarchy system which is developed by the English and portrays its corruptness. Chihiro loses her identity in <em>Spirited Away</em>. Loss of a name equals loss of an identity in the Japanese culture. The bathhouse, which is still common in Japan, is a place where people would socialize and share stories. This is the central place in the film. There is also a strict emphasis on the Japanese culture with tradition clothing and Old Japanese villages (Patel).\r\n\r\nBoth films are products of transitional periods. When <em>Alice in Wonderland</em> was written, Britain was in the midst of a great turbulence brought by industrialization, urbanization and Darwinism (Patel). <em>Spirited Away </em>is set in a precarious period for Japan’s economy just after the ‘babble boom’ of the early 1990s” (Ando). With both films being written during a time of transitional periods to industrialization of a country, this parallels with the main protagonists transitioning to adulthood. While Japan and Britain were transitioning, there proved to be many problems standing in the way which caused both countries to revert back to past principles before taking the step forward. You can see these problems with both Alice and Chihiro in the movies as they go on their adventures.  Disregarding different cultures and religions, you can see the same principles are still being taught.\r\n\r\n<em>Spirited Away</em> is a film that has captivated millions with its fantastic world. The message of this film is one of equality. It goes to show how people all around the world are able to connect in one way or another. The same principles are taught throughout the different cultures and religions, who are we to say that one culture or religion is better than the other? Understanding we are all one is important for future generations to learn. Hopefully, with our children and their children knowing this, that we are one, will bring everyone together. It is a futuristic goal that there will no longer be hate between countries because of different cultures and religions, but that we can all considered the same because of principle and understanding.\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<p align=\"center\">Works Cited:</p>\r\nSparkNotes Editors. “SparkNote on Spirited Away.” SparkNotes.com. SparkNotes LLC. 2004. Web. 6 Dec. 2012.\r\n\r\nI used this website to get information on the overview of this film. This website has a lot of information about the making and development of the movie.\r\n\r\nGomes, Paul. Spirited Away. Lesson Plan: Spirited Away. Paul Gomes, n.d. Web. 02 Dec. 2012.\r\n\r\nI used this website to get information about the history and religion of Japan. This is a lesson plan that had a lot of info on <em>Spirited Away</em>.\r\n\r\nZagzoug,, Marwah. \"The History of Anime and Manga.\" The History of Anime and Manga. Black Horizon Anime / C.T. Evans, n.d. Web. 02 Dec. 2012. &lt;http://novaonline.nvcc.edu/eli/evans/his135/Events/Anime62/Anime62.html&gt;.\r\n\r\nI used this website to get information on the history of anime. It has a lot of info. about anime and manga.\r\n\r\n<a href=\"http://www.imdb.com/title/tt0245429/\">http://www.imdb.com/title/tt0245429/</a>\r\n\r\nThis website helped me with reviews on this film.\r\n\r\nPatel, V. \"New Zealand Cinema.\" <em>: Alice in Wonderland vs. Spirited Away</em>. New Zealand Cinema, n.d. Web. 03 Dec. 2012.\r\n\r\n<a href=\"http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html\">http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html</a>\r\n\r\nThis website helped me with the similarities and differences b/w <em>Spirited Away</em> and <em>Alice in Wonderland</em>. It has a lot of great similarity and differences info. on this website.','Spirited Away','','inherit','open','open','','3105-revision-2','','','2012-12-06 23:21:45','2012-12-07 05:21:45','',3105,'http://jeanatacc.com/2011/?p=3107',0,'revision','',0),(3109,67,'2012-12-06 23:22:59','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-12-06 23:22:59','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3109',0,'post','',0),(3108,67,'2012-12-06 23:22:08','2012-12-07 05:22:08','<p style=\"text-align: center\"><img src=\"http://www.impawards.com/2002/posters/spirited_away_ver2.jpg\" alt=\"\" /></p>\r\n<p style=\"text-align: center\">http://www.impawards.com/2002/posters/spirited_away_ver2.jpg</p>\r\n<p style=\"text-align: center\"><em>Spirited Away</em></p>\r\n<em>Spirited Away</em> is an anime, written and directed by Hayao Miyazaki. The release of this film to America was on July 20, 2001. Miyazaki believes strongly that children are being robbed of their sense of wonder and imagination while their independence and developing maturity are being stifled. Miyazaki has striven to provide thought provoking themes in his films. These include environmentalism, war and peace, families, the interaction and tension between the human world and the natural world and the process of growing up (Gomes). This film should be preserved for future generations because it inspires imagination and sets a future goal of the world being united as one and not hated because of different religions and cultures.<!--more-->\r\n\r\n<em>Spirited Away</em> is about a young, shy girl who is unsure of herself and the world. With the events that happen in <em>Spirited Away</em>, she develops courage and comes out with a better understanding of the world around her. Chihiro and her parents are moving to a new home, along the way, they get lost and end up getting out of the car to walk down a long dirt path. They come to a restaurant filled with no one else around.  The mother and father are famished and begin “pigging out” and try to pressure Chihiro into doing the same. Feeling unease and sensing danger, Chihiro refuses and decides to go explore. As day turns into night, the feelings begin to deepen in Chihiro’s soul and when she returns to her parents to get them to leave, she sees that a curse was put upon them and they turned into pigs.\r\n\r\nWhile Chihiro was out exploring, she came across a boy named Haku who warned her of danger. When Chihiro sees him again, he tells her she must eat the other world food so she will not fade away and the only way she can save herself and her parents is to get a job at the bathhouse for the gods and spirits run by the sorceress Yubaba. After not being scared away by Yubaba, Chihiro is given a job and has to sign a contract saying that she will forget her former life and be given a new identity. Renamed Sen, she undertakes the difficult task of remembering who she is, saving her parents, and finding a way out of the world. In her adventures, she meets many strange and memorable characters, learns lessons about life, and unravels the mystery of the boy Haku, whom she falls in love with (Gomes).\r\n\r\nAnime is a popular form of animation in Japan. The major difference between anime and cartoons is that anime is directed towards teens and adults as well as children. In order to understand the invasion of anime into the United States, a look into the historical past would be appropriate. The best place to start is around World War II, when the anime industry evolved significantly (Zagzoug). During World War II, the Japanese nation was mobilized. People were forced to conform to the government’s demands or pay the ultimate price (Zagzoug). Those who did not obey, were punished by “preventive detention, bans on writing, and social ostracism. Those who recanted were rewarded with rehabilitation programs and support for the community. In 1940, organizations for artists and cartoonists were formed. During this time, the government used them to influence the people by creating artwork or cartoon strips filled with propaganda to use against the nations enemies.\r\n\r\nAfter the disasters of the war, Japan rebuilt is infrastructure and economy with the help of the United States. Japan developed a reputation as being cutting edge in the industry and technology areas which resulted in a rapid economic growth from the 1960s to the 1980s (Gomes). The history of Japan is reflected in all aspects of <em>Spirited Away</em>, from the traditional design of the bathhouse to spirituality. The main source behind the spirits in <em>Spirited Away</em> comes from the native Shinto tradition of Japan. The Shinto tradition is based on the reverence for the natural and that all things have spirits (Gomes). In Miyazaki’s own words states that In his own words he states: “In my grandparent’s time, it was believed that gods and spirits existed everywhere – in trees, rivers, insects, wells, anything. My generation does not believe in this, but I like the idea that we should treasure everything because… there is a kind of life to everything.”\r\n\r\nMiyazaki’s <em>Spirited Away </em>is innovative and unusual for his time because in it, he addresses three interrelated topics of concern in this movie. Miyazaki intends to instill deep meaning in this movie, he takes great care to insert things that are more easily noticed and seen by children and young adults than adults.  The first theme is the environment. Miyazaki attempts to remind us that the human world and the natural world are linked, via the intermediary of anthropomorphized spirits (Gomes). With the appearances of spirits, Miyazaki tries to make us see that we must revere nature in our own way and with respect the second topic is social values. This is depicted by the tengu which is a spirit that addresses what should be valued. The tengu is not fond of people who have negative traits such as greed and disrespect. The final trait Miyazaki wished to address is of personal growth and values. Chihiro starts off as a spoiled, self-centered little girl. Throughout her adventure, she learns the traditional values of respect for elders, following the rules, personal sacrifice, and perseverance. Miyazaki believes that as society get more modern; it is leading to the destruction of such positive traits within our children.\r\n\r\nWhen <em>Spirited Away</em> came out into theaters the reviews were outstanding. There are many positive reviews on IMDb.com.  Jamie Russell states that “In two hours Miyazaki offers more magic and innovation than most animators could manage in over two decades.” Peter Bradshaw says “A beautifully drawn and wonderfully composed work of art- really, no other descriptions will do- which takes us on a rocket-fuelled flight of fancy.” There are so many positive things said about this movie. “A movie where many childhood dreams are reborn”, “A film Disney should learn lessons from,” and “A hauntingly beautiful tale.” These positive reviews go on and on. The thoughts of <em>Spirited Away</em> are the same today. I account for the reception back then and today by realizing what a well thought out and moving movie <em>Spirited Away</em> is. My thoughts on the movie are the same as the majority. There really is nothing else to be said that hasn’t already been said about this amazing movie.\r\n\r\nMovies typically targeting younger audiences are usually overlooked for their content, impact, and the messages being conveyed. However, <em>Spirited Away</em> and <em>Alice in Wonderland</em> have world acclaim which puts them on the same level in many aspects and at the same time makes their differences more emphasized. Both movies are based solely on fantasy (Patel). Both protagonists in the movies are girls who are not deemed mature. Chihiro in <em>Spirited Away</em> is a spoiled brat who progresses throughout the movie and Alice in <em>Alice in Wonderland</em> is unconfident and shy. She undergoes a similar transformation. The journeys help both children transition into adulthood. Culture and scenery are two other things that are strictly emphasized in both films. Alice takes on English ideals and culture.  The castles and structures are from British history. This film also includes a tea party and the Monarchy system which is developed by the English and portrays its corruptness. Chihiro loses her identity in <em>Spirited Away</em>. Loss of a name equals loss of an identity in the Japanese culture. The bathhouse, which is still common in Japan, is a place where people would socialize and share stories. This is the central place in the film. There is also a strict emphasis on the Japanese culture with tradition clothing and Old Japanese villages (Patel).\r\n\r\nBoth films are products of transitional periods. When <em>Alice in Wonderland</em> was written, Britain was in the midst of a great turbulence brought by industrialization, urbanization and Darwinism (Patel). <em>Spirited Away </em>is set in a precarious period for Japan’s economy just after the ‘babble boom’ of the early 1990s” (Ando). With both films being written during a time of transitional periods to industrialization of a country, this parallels with the main protagonists transitioning to adulthood. While Japan and Britain were transitioning, there proved to be many problems standing in the way which caused both countries to revert back to past principles before taking the step forward. You can see these problems with both Alice and Chihiro in the movies as they go on their adventures.  Disregarding different cultures and religions, you can see the same principles are still being taught.\r\n\r\n<em>Spirited Away</em> is a film that has captivated millions with its fantastic world. The message of this film is one of equality. It goes to show how people all around the world are able to connect in one way or another. The same principles are taught throughout the different cultures and religions, who are we to say that one culture or religion is better than the other? Understanding we are all one is important for future generations to learn. Hopefully, with our children and their children knowing this, that we are one, will bring everyone together. It is a futuristic goal that there will no longer be hate between countries because of different cultures and religions, but that we can all considered the same because of principle and understanding.\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<p align=\"center\">Works Cited:</p>\r\nSparkNotes Editors. “SparkNote on Spirited Away.” SparkNotes.com. SparkNotes LLC. 2004. Web. 6 Dec. 2012.\r\n\r\nI used this website to get information on the overview of this film. This website has a lot of information about the making and development of the movie.\r\n\r\nGomes, Paul. Spirited Away. Lesson Plan: Spirited Away. Paul Gomes, n.d. Web. 02 Dec. 2012.\r\n\r\nI used this website to get information about the history and religion of Japan. This is a lesson plan that had a lot of info on <em>Spirited Away</em>.\r\n\r\nZagzoug,, Marwah. \"The History of Anime and Manga.\" The History of Anime and Manga. Black Horizon Anime / C.T. Evans, n.d. Web. 02 Dec. 2012. &lt;http://novaonline.nvcc.edu/eli/evans/his135/Events/Anime62/Anime62.html&gt;.\r\n\r\nI used this website to get information on the history of anime. It has a lot of info. about anime and manga.\r\n\r\n<a href=\"http://www.imdb.com/title/tt0245429/\">http://www.imdb.com/title/tt0245429/</a>\r\n\r\nThis website helped me with reviews on this film.\r\n\r\nPatel, V. \"New Zealand Cinema.\" <em>: Alice in Wonderland vs. Spirited Away</em>. New Zealand Cinema, n.d. Web. 03 Dec. 2012.\r\n\r\n<a href=\"http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html\">http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html</a>\r\n\r\nThis website helped me with the similarities and differences b/w <em>Spirited Away</em> and <em>Alice in Wonderland</em>. It has a lot of great similarity and differences info. on this website.','Spirited Away','','inherit','open','open','','3105-revision-3','','','2012-12-06 23:22:08','2012-12-07 05:22:08','',3105,'http://jeanatacc.com/2011/?p=3108',0,'revision','',0),(3110,61,'2012-12-07 11:23:38','2012-12-07 17:23:38','<strong>AUSTIN COMMUNITY COLLEGE</strong>\r\n\r\n<strong>OPTIONAL ASSIGNMENT – </strong>\r\n\r\n<strong><em>THE FIRST GRADER</em></strong>\r\n\r\n<strong>J. Lauer – 1302 – 207 # 13622</strong>\r\n\r\n<strong>PHILIP ROBINSON</strong>\r\n\r\n<strong>12/07/2012</strong>\r\n\r\n<strong></strong>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\"><img class=\"aligncenter  wp-image-3111\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\" alt=\"\" width=\"499\" height=\"214\" /></a>\r\n\r\n&nbsp;\r\n\r\nIn 2010 the British director Justin Chadwick brought us an award winning tale. <em>The First Grader </em>is based on the true story of a man that believes that we should never stop learning no matter the opposition. <!--more-->The story is set in Kenya in 2003 when the government came through on a promise that elementary education would be offered to all that had a Kenyan birth certificate. There are also flashbacks to 1953 when rebel forces attempted to gain independence from British colonial rule in the Mau Mau revolution. This film is about standing up to those who hinder our path. It is about the power of our beliefs and the price our principle character and others paid to bring the dream of better life to the people of Kenya. This film will speak to people on many levels. I found this gem on nexflix while looking for an independent film. What follows are my thoughts and inspirations on a film based on a true story about an eighty four year old first grader.\r\n\r\nFor most of us that have grown up in the United States; going to school is taken for granted. With the exceptions of those who choose not to attend due to genuine hardship or behaving badly enough to not be allowed to attend, most school age children are in school. Somewhere along the way our parents stopped correcting us when we asked if we had to go to school; they said yes rather than showing us how blessed we are to be able to go. Having the opportunity to attend school is a privilege that I was guilty of taking for granted while growing up. When I became an adult and experienced how limiting it was to lack an education, I decided to return with a different perspective. There is analogy that I find quite fitting; being uneducated in today’s world is like being an older pet rabbit being released into the wild with nothing. We must be thankful for the ability to go to school and soak up as much knowledge as we can from what is being taught and what is not. Our ability to think rationally and reason does not come out of thin air. To be effective in any of life’s pursuits we must be able to communicate. Cherish the opportunity to learn from our triumphs and mistakes; unless you wish to repeat the mistakes.\r\n\r\nThe years of my life have not always been easy, and my belief in this country has wavered a time or two as a result. My trials are trivial by comparison to the lengths that the colonials went. While I do not flinch often, what Maruge endured for not renouncing his oath to his tribe was unspeakably horrible. The purpose is not to sensationalize the violence, but to provide an understanding of what the British did to the Mau Mau rebels; and of what the British forced other Kenyan’s to do to their own albeit often different tribes. Maruge’s life is a testament to the strength of the human spirit even in the darkest of times. What strikes me most is Maruge’s poise as a soldier; in the way he carries himself, and in the way he speaks directly and without asking for pity. There is one thing to live through tragedy and be forever broken, and continuing to fully live life afterward. The lesson being that life is a struggle that some have harder than others, keep everything in perspective.\r\n\r\n<em>     Carpe Diem ……. </em>Seize the day is an undercurrent that flows through the entire film. This philosophy of urgency is lost on many of us that are wrapped up in the daily minutia of surviving. If we do not take an active role in our education or for standing up for what is right, then we are destined to live a life that is full of mediocrity and struggle. While I freely concede that personal bubbles can become rather intense and difficult to manage, I also contend that one must actively choose the direction of their life regardless of difficulty. There are many reasons why we make certain choices in life, but none of them is as important as the decision about how to live. I know from personal experience what it is like to drift through life, letting the winds take me where they wish. I have missed much in life by standing outside the fire.\r\n\r\nBe thankful for the blessings we have; thankful for the hardships we do not; and be mindful of the direction or lack thereof in our lives. We should not stop learning and growing spiritually, physically, and mentally until we are food for the worms. All three of these human traits are part of the fundamental basis of humanities. Without man’s pursuit of knowledge; their understanding of human struggle; and the drive to live and create in the moment; there would be no great works. I can imagine no greater tragedy than a world without expression. There are works on film out that touch different parts of the soul, and there are those that are not worth the film they are printed on. I am happy to say that this film touches the soul. These are the inspirations and thoughts that <em>The First Grader </em>brought out of me.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The First Grader','','publish','open','open','','the-first-grader','','','2012-12-08 11:12:08','2012-12-08 17:12:08','',0,'http://jeanatacc.com/2011/?p=3110',0,'post','',4),(3111,61,'2012-12-07 11:21:22','2012-12-07 17:21:22','','First Grader','','inherit','open','open','','first-grader','','','2012-12-07 11:21:22','2012-12-07 17:21:22','',3110,'http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg',0,'attachment','image/jpeg',0),(3112,61,'2012-12-07 11:23:14','2012-12-07 17:23:14','<strong>AUSTIN COMMUNITY COLLEGE</strong>\n\n<strong>OPTIONAL ASSIGNMENT – </strong>\n\n<strong><em>THE FIRST GRADER</em></strong>\n\n<strong>J. Lauer – 1302 – 207 # 13622</strong>\n\n<strong>PHILIP ROBINSON</strong>\n\n<strong>12/07/2012</strong>\n\n<strong></strong>\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\"><img class=\"aligncenter size-full wp-image-3111\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\" alt=\"\" width=\"640\" height=\"275\" /></a>\n\n<!--more-->\n\nIn 2010 the British director Justin Chadwick brought us an award winning tale. <em>The First Grader </em>is based on the true story of a man that believes that we should never stop learning no matter the opposition. The story is set in Kenya in 2003 when the government came through on a promise that elementary education would be offered to all that had a Kenyan birth certificate. There are also flashbacks to 1953 when rebel forces attempted to gain independence from British colonial rule in the Mau Mau revolution. This film is about standing up to those who hinder our path. It is about the power of our beliefs and the price our principle character and others paid to bring the dream of better life to the people of Kenya. This film will speak to people on many levels. I found this gem on nexflix while looking for an independent film. What follows are my thoughts and inspirations on a film based on a true story about an eighty four year old first grader.\n\nFor most of us that have grown up in the United States; going to school is taken for granted. With the exceptions of those who choose not to attend due to genuine hardship or behaving badly enough to not be allowed to attend, most school age children are in school. Somewhere along the way our parents stopped correcting us when we asked if we had to go to school; they said yes rather than showing us how blessed we are to be able to go. Having the opportunity to attend school is a privilege that I was guilty of taking for granted while growing up. When I became an adult and experienced how limiting it was to lack an education, I decided to return with a different perspective. There is analogy that I find quite fitting; being uneducated in today’s world is like being an older pet rabbit being released into the wild with nothing. We must be thankful for the ability to go to school and soak up as much knowledge as we can from what is being taught and what is not. Our ability to think rationally and reason does not come out of thin air. To be effective in any of life’s pursuits we must be able to communicate. Cherish the opportunity to learn from our triumphs and mistakes; unless you wish to repeat the mistakes.\n\nThe years of my life have not always been easy, and my belief in this country has wavered a time or two as a result. My trials are trivial by comparison to the lengths that the colonials went. While I do not flinch often, what Maruge endured for not renouncing his oath to his tribe was unspeakably horrible. The purpose is not to sensationalize the violence, but to provide an understanding of what the British did to the Mau Mau rebels; and of what the British forced other Kenyan’s to do to their own albeit often different tribes. Maruge’s life is a testament to the strength of the human spirit even in the darkest of times. What strikes me most is Maruge’s poise as a soldier; in the way he carries himself, and in the way he speaks directly and without asking for pity. There is one thing to live through tragedy and be forever broken, and continuing to fully live life afterward. The lesson being that life is a struggle that some have harder than others, keep everything in perspective.\n\n<em>     Carpe Diem ……. </em>Seize the day is an undercurrent that flows through the entire film. This philosophy of urgency is lost on many of us that are wrapped up in the daily minutia of surviving. If we do not take an active role in our education or for standing up for what is right, then we are destined to live a life that is full of mediocrity and struggle. While I freely concede that personal bubbles can become rather intense and difficult to manage, I also contend that one must actively choose the direction of their life regardless of difficulty. There are many reasons why we make certain choices in life, but none of them is as important as the decision about how to live. I know from personal experience what it is like to drift through life, letting the winds take me where they wish. I have missed much in life by standing outside the fire.\n\nBe thankful for the blessings we have; thankful for the hardships we do not; and be mindful of the direction or lack thereof in our lives. We should not stop learning and growing spiritually, physically, and mentally until we are food for the worms. All three of these human traits are part of the fundamental basis of humanities. Without man’s pursuit of knowledge; their understanding of human struggle; and the drive to live and create in the moment; there would be no great works. I can imagine no greater tragedy than a world without expression. There are works on film out that touch different parts of the soul, and there are those that are not worth the film they are printed on. I am happy to say that this film touches the soul. These are the inspirations and thoughts that <em>The First Grader </em>brought out of me.\n\n&nbsp;\n\n&nbsp;','The First Grader','','inherit','open','open','','3110-revision','','','2012-12-07 11:23:14','2012-12-07 17:23:14','',3110,'http://jeanatacc.com/2011/?p=3112',0,'revision','',0),(3113,61,'2012-12-07 11:23:38','2012-12-07 17:23:38','<strong>AUSTIN COMMUNITY COLLEGE</strong>\r\n\r\n<strong>OPTIONAL ASSIGNMENT – </strong>\r\n\r\n<strong><em>THE FIRST GRADER</em></strong>\r\n\r\n<strong>J. Lauer – 1302 – 207 # 13622</strong>\r\n\r\n<strong>PHILIP ROBINSON</strong>\r\n\r\n<strong>12/07/2012</strong>\r\n\r\n<strong></strong>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\"><img class=\"aligncenter size-full wp-image-3111\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\" alt=\"\" width=\"640\" height=\"275\" /></a>\r\n\r\n<!--more-->\r\n\r\nIn 2010 the British director Justin Chadwick brought us an award winning tale. <em>The First Grader </em>is based on the true story of a man that believes that we should never stop learning no matter the opposition. The story is set in Kenya in 2003 when the government came through on a promise that elementary education would be offered to all that had a Kenyan birth certificate. There are also flashbacks to 1953 when rebel forces attempted to gain independence from British colonial rule in the Mau Mau revolution. This film is about standing up to those who hinder our path. It is about the power of our beliefs and the price our principle character and others paid to bring the dream of better life to the people of Kenya. This film will speak to people on many levels. I found this gem on nexflix while looking for an independent film. What follows are my thoughts and inspirations on a film based on a true story about an eighty four year old first grader.\r\n\r\nFor most of us that have grown up in the United States; going to school is taken for granted. With the exceptions of those who choose not to attend due to genuine hardship or behaving badly enough to not be allowed to attend, most school age children are in school. Somewhere along the way our parents stopped correcting us when we asked if we had to go to school; they said yes rather than showing us how blessed we are to be able to go. Having the opportunity to attend school is a privilege that I was guilty of taking for granted while growing up. When I became an adult and experienced how limiting it was to lack an education, I decided to return with a different perspective. There is analogy that I find quite fitting; being uneducated in today’s world is like being an older pet rabbit being released into the wild with nothing. We must be thankful for the ability to go to school and soak up as much knowledge as we can from what is being taught and what is not. Our ability to think rationally and reason does not come out of thin air. To be effective in any of life’s pursuits we must be able to communicate. Cherish the opportunity to learn from our triumphs and mistakes; unless you wish to repeat the mistakes.\r\n\r\nThe years of my life have not always been easy, and my belief in this country has wavered a time or two as a result. My trials are trivial by comparison to the lengths that the colonials went. While I do not flinch often, what Maruge endured for not renouncing his oath to his tribe was unspeakably horrible. The purpose is not to sensationalize the violence, but to provide an understanding of what the British did to the Mau Mau rebels; and of what the British forced other Kenyan’s to do to their own albeit often different tribes. Maruge’s life is a testament to the strength of the human spirit even in the darkest of times. What strikes me most is Maruge’s poise as a soldier; in the way he carries himself, and in the way he speaks directly and without asking for pity. There is one thing to live through tragedy and be forever broken, and continuing to fully live life afterward. The lesson being that life is a struggle that some have harder than others, keep everything in perspective.\r\n\r\n<em>     Carpe Diem ……. </em>Seize the day is an undercurrent that flows through the entire film. This philosophy of urgency is lost on many of us that are wrapped up in the daily minutia of surviving. If we do not take an active role in our education or for standing up for what is right, then we are destined to live a life that is full of mediocrity and struggle. While I freely concede that personal bubbles can become rather intense and difficult to manage, I also contend that one must actively choose the direction of their life regardless of difficulty. There are many reasons why we make certain choices in life, but none of them is as important as the decision about how to live. I know from personal experience what it is like to drift through life, letting the winds take me where they wish. I have missed much in life by standing outside the fire.\r\n\r\nBe thankful for the blessings we have; thankful for the hardships we do not; and be mindful of the direction or lack thereof in our lives. We should not stop learning and growing spiritually, physically, and mentally until we are food for the worms. All three of these human traits are part of the fundamental basis of humanities. Without man’s pursuit of knowledge; their understanding of human struggle; and the drive to live and create in the moment; there would be no great works. I can imagine no greater tragedy than a world without expression. There are works on film out that touch different parts of the soul, and there are those that are not worth the film they are printed on. I am happy to say that this film touches the soul. These are the inspirations and thoughts that <em>The First Grader </em>brought out of me.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The First Grader','','inherit','open','open','','3110-revision-2','','','2012-12-07 11:23:38','2012-12-07 17:23:38','',3110,'http://jeanatacc.com/2011/?p=3113',0,'revision','',0),(3114,1,'2012-12-08 11:11:04','2012-12-08 17:11:04','','spirited_away_ver2','','inherit','open','open','','spirited_away_ver2','','','2012-12-08 11:11:04','2012-12-08 17:11:04','',3105,'http://jeanatacc.com/2011/wp-content/uploads/2012/12/spirited_away_ver2.jpg',0,'attachment','image/jpeg',0),(3115,1,'2012-12-06 23:22:56','2012-12-07 05:22:56','<p style=\"text-align: center\"><img src=\"http://www.impawards.com/2002/posters/spirited_away_ver2.jpg\" alt=\"\" /></p>\r\n<p style=\"text-align: center\">http://www.impawards.com/2002/posters/spirited_away_ver2.jpg</p>\r\n<p style=\"text-align: center\"><em>Spirited Away</em></p>\r\n<em>Spirited Away</em> is an anime, written and directed by Hayao Miyazaki. The release of this film to America was on July 20, 2001. Miyazaki believes strongly that children are being robbed of their sense of wonder and imagination while their independence and developing maturity are being stifled. Miyazaki has striven to provide thought provoking themes in his films. These include environmentalism, war and peace, families, the interaction and tension between the human world and the natural world and the process of growing up (Gomes). This film should be preserved for future generations because it inspires imagination and sets a future goal of the world being united as one and not hated because of different religions and cultures.<!--more-->\r\n\r\n<em>Spirited Away</em> is about a young, shy girl who is unsure of herself and the world. With the events that happen in <em>Spirited Away</em>, she develops courage and comes out with a better understanding of the world around her. Chihiro and her parents are moving to a new home, along the way, they get lost and end up getting out of the car to walk down a long dirt path. They come to a restaurant filled with no one else around.  The mother and father are famished and begin “pigging out” and try to pressure Chihiro into doing the same. Feeling unease and sensing danger, Chihiro refuses and decides to go explore. As day turns into night, the feelings begin to deepen in Chihiro’s soul and when she returns to her parents to get them to leave, she sees that a curse was put upon them and they turned into pigs.\r\n\r\nWhile Chihiro was out exploring, she came across a boy named Haku who warned her of danger. When Chihiro sees him again, he tells her she must eat the other world food so she will not fade away and the only way she can save herself and her parents is to get a job at the bathhouse for the gods and spirits run by the sorceress Yubaba. After not being scared away by Yubaba, Chihiro is given a job and has to sign a contract saying that she will forget her former life and be given a new identity. Renamed Sen, she undertakes the difficult task of remembering who she is, saving her parents, and finding a way out of the world. In her adventures, she meets many strange and memorable characters, learns lessons about life, and unravels the mystery of the boy Haku, whom she falls in love with (Gomes).\r\n\r\nAnime is a popular form of animation in Japan. The major difference between anime and cartoons is that anime is directed towards teens and adults as well as children. In order to understand the invasion of anime into the United States, a look into the historical past would be appropriate. The best place to start is around World War II, when the anime industry evolved significantly (Zagzoug). During World War II, the Japanese nation was mobilized. People were forced to conform to the government’s demands or pay the ultimate price (Zagzoug). Those who did not obey, were punished by “preventive detention, bans on writing, and social ostracism. Those who recanted were rewarded with rehabilitation programs and support for the community. In 1940, organizations for artists and cartoonists were formed. During this time, the government used them to influence the people by creating artwork or cartoon strips filled with propaganda to use against the nations enemies.\r\n\r\nAfter the disasters of the war, Japan rebuilt is infrastructure and economy with the help of the United States. Japan developed a reputation as being cutting edge in the industry and technology areas which resulted in a rapid economic growth from the 1960s to the 1980s (Gomes). The history of Japan is reflected in all aspects of <em>Spirited Away</em>, from the traditional design of the bathhouse to spirituality. The main source behind the spirits in <em>Spirited Away</em> comes from the native Shinto tradition of Japan. The Shinto tradition is based on the reverence for the natural and that all things have spirits (Gomes). In Miyazaki’s own words states that In his own words he states: “In my grandparent’s time, it was believed that gods and spirits existed everywhere – in trees, rivers, insects, wells, anything. My generation does not believe in this, but I like the idea that we should treasure everything because… there is a kind of life to everything.”\r\n\r\nMiyazaki’s <em>Spirited Away </em>is innovative and unusual for his time because in it, he addresses three interrelated topics of concern in this movie. Miyazaki intends to instill deep meaning in this movie, he takes great care to insert things that are more easily noticed and seen by children and young adults than adults.  The first theme is the environment. Miyazaki attempts to remind us that the human world and the natural world are linked, via the intermediary of anthropomorphized spirits (Gomes). With the appearances of spirits, Miyazaki tries to make us see that we must revere nature in our own way and with respect the second topic is social values. This is depicted by the tengu which is a spirit that addresses what should be valued. The tengu is not fond of people who have negative traits such as greed and disrespect. The final trait Miyazaki wished to address is of personal growth and values. Chihiro starts off as a spoiled, self-centered little girl. Throughout her adventure, she learns the traditional values of respect for elders, following the rules, personal sacrifice, and perseverance. Miyazaki believes that as society get more modern; it is leading to the destruction of such positive traits within our children.\r\n\r\nWhen <em>Spirited Away</em> came out into theaters the reviews were outstanding. There are many positive reviews on IMDb.com.  Jamie Russell states that “In two hours Miyazaki offers more magic and innovation than most animators could manage in over two decades.” Peter Bradshaw says “A beautifully drawn and wonderfully composed work of art- really, no other descriptions will do- which takes us on a rocket-fuelled flight of fancy.” There are so many positive things said about this movie. “A movie where many childhood dreams are reborn”, “A film Disney should learn lessons from,” and “A hauntingly beautiful tale.” These positive reviews go on and on. The thoughts of <em>Spirited Away</em> are the same today. I account for the reception back then and today by realizing what a well thought out and moving movie <em>Spirited Away</em> is. My thoughts on the movie are the same as the majority. There really is nothing else to be said that hasn’t already been said about this amazing movie.\r\n\r\nMovies typically targeting younger audiences are usually overlooked for their content, impact, and the messages being conveyed. However, <em>Spirited Away</em> and <em>Alice in Wonderland</em> have world acclaim which puts them on the same level in many aspects and at the same time makes their differences more emphasized. Both movies are based solely on fantasy (Patel). Both protagonists in the movies are girls who are not deemed mature. Chihiro in <em>Spirited Away</em> is a spoiled brat who progresses throughout the movie and Alice in <em>Alice in Wonderland</em> is unconfident and shy. She undergoes a similar transformation. The journeys help both children transition into adulthood. Culture and scenery are two other things that are strictly emphasized in both films. Alice takes on English ideals and culture.  The castles and structures are from British history. This film also includes a tea party and the Monarchy system which is developed by the English and portrays its corruptness. Chihiro loses her identity in <em>Spirited Away</em>. Loss of a name equals loss of an identity in the Japanese culture. The bathhouse, which is still common in Japan, is a place where people would socialize and share stories. This is the central place in the film. There is also a strict emphasis on the Japanese culture with tradition clothing and Old Japanese villages (Patel).\r\n\r\nBoth films are products of transitional periods. When <em>Alice in Wonderland</em> was written, Britain was in the midst of a great turbulence brought by industrialization, urbanization and Darwinism (Patel). <em>Spirited Away </em>is set in a precarious period for Japan’s economy just after the ‘babble boom’ of the early 1990s” (Ando). With both films being written during a time of transitional periods to industrialization of a country, this parallels with the main protagonists transitioning to adulthood. While Japan and Britain were transitioning, there proved to be many problems standing in the way which caused both countries to revert back to past principles before taking the step forward. You can see these problems with both Alice and Chihiro in the movies as they go on their adventures.  Disregarding different cultures and religions, you can see the same principles are still being taught.\r\n\r\n<em>Spirited Away</em> is a film that has captivated millions with its fantastic world. The message of this film is one of equality. It goes to show how people all around the world are able to connect in one way or another. The same principles are taught throughout the different cultures and religions, who are we to say that one culture or religion is better than the other? Understanding we are all one is important for future generations to learn. Hopefully, with our children and their children knowing this, that we are one, will bring everyone together. It is a futuristic goal that there will no longer be hate between countries because of different cultures and religions, but that we can all considered the same because of principle and understanding.\r\n<p align=\"center\">Works Cited:</p>\r\nSparkNotes Editors. “SparkNote on Spirited Away.” SparkNotes.com. SparkNotes LLC. 2004. Web. 6 Dec. 2012.\r\n\r\nI used this website to get information on the overview of this film. This website has a lot of information about the making and development of the movie.\r\n\r\nGomes, Paul. Spirited Away. Lesson Plan: Spirited Away. Paul Gomes, n.d. Web. 02 Dec. 2012.\r\n\r\nI used this website to get information about the history and religion of Japan. This is a lesson plan that had a lot of info on <em>Spirited Away</em>.\r\n\r\nZagzoug,, Marwah. \"The History of Anime and Manga.\" The History of Anime and Manga. Black Horizon Anime / C.T. Evans, n.d. Web. 02 Dec. 2012. &lt;http://novaonline.nvcc.edu/eli/evans/his135/Events/Anime62/Anime62.html&gt;.\r\n\r\nI used this website to get information on the history of anime. It has a lot of info. about anime and manga.\r\n\r\n<a href=\"http://www.imdb.com/title/tt0245429/\">http://www.imdb.com/title/tt0245429/</a>\r\n\r\nThis website helped me with reviews on this film.\r\n\r\nPatel, V. \"New Zealand Cinema.\" <em>: Alice in Wonderland vs. Spirited Away</em>. New Zealand Cinema, n.d. Web. 03 Dec. 2012.\r\n\r\n<a href=\"http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html\">http://nzcinema-vp427.blogspot.com/2009/03/alice-in-wonderland-vs-spirited-away.html</a>\r\n\r\nThis website helped me with the similarities and differences b/w <em>Spirited Away</em> and <em>Alice in Wonderland</em>. It has a lot of great similarity and differences info. on this website.','Spirited Away','','inherit','open','open','','3105-revision-4','','','2012-12-06 23:22:56','2012-12-07 05:22:56','',3105,'http://jeanatacc.com/2011/?p=3115',0,'revision','',0),(3116,1,'2012-12-07 11:24:12','2012-12-07 17:24:12','<strong>AUSTIN COMMUNITY COLLEGE</strong>\r\n\r\n<strong>OPTIONAL ASSIGNMENT – </strong>\r\n\r\n<strong><em>THE FIRST GRADER</em></strong>\r\n\r\n<strong>J. Lauer – 1302 – 207 # 13622</strong>\r\n\r\n<strong>PHILIP ROBINSON</strong>\r\n\r\n<strong>12/07/2012</strong>\r\n\r\n<strong></strong>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\"><img class=\"aligncenter size-full wp-image-3111\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/First-Grader.jpg\" alt=\"\" width=\"640\" height=\"275\" /></a>\r\n\r\n<!--more-->\r\n\r\nIn 2010 the British director Justin Chadwick brought us an award winning tale. <em>The First Grader </em>is based on the true story of a man that believes that we should never stop learning no matter the opposition. The story is set in Kenya in 2003 when the government came through on a promise that elementary education would be offered to all that had a Kenyan birth certificate. There are also flashbacks to 1953 when rebel forces attempted to gain independence from British colonial rule in the Mau Mau revolution. This film is about standing up to those who hinder our path. It is about the power of our beliefs and the price our principle character and others paid to bring the dream of better life to the people of Kenya. This film will speak to people on many levels. I found this gem on nexflix while looking for an independent film. What follows are my thoughts and inspirations on a film based on a true story about an eighty four year old first grader.\r\n\r\nFor most of us that have grown up in the United States; going to school is taken for granted. With the exceptions of those who choose not to attend due to genuine hardship or behaving badly enough to not be allowed to attend, most school age children are in school. Somewhere along the way our parents stopped correcting us when we asked if we had to go to school; they said yes rather than showing us how blessed we are to be able to go. Having the opportunity to attend school is a privilege that I was guilty of taking for granted while growing up. When I became an adult and experienced how limiting it was to lack an education, I decided to return with a different perspective. There is analogy that I find quite fitting; being uneducated in today’s world is like being an older pet rabbit being released into the wild with nothing. We must be thankful for the ability to go to school and soak up as much knowledge as we can from what is being taught and what is not. Our ability to think rationally and reason does not come out of thin air. To be effective in any of life’s pursuits we must be able to communicate. Cherish the opportunity to learn from our triumphs and mistakes; unless you wish to repeat the mistakes.\r\n\r\nThe years of my life have not always been easy, and my belief in this country has wavered a time or two as a result. My trials are trivial by comparison to the lengths that the colonials went. While I do not flinch often, what Maruge endured for not renouncing his oath to his tribe was unspeakably horrible. The purpose is not to sensationalize the violence, but to provide an understanding of what the British did to the Mau Mau rebels; and of what the British forced other Kenyan’s to do to their own albeit often different tribes. Maruge’s life is a testament to the strength of the human spirit even in the darkest of times. What strikes me most is Maruge’s poise as a soldier; in the way he carries himself, and in the way he speaks directly and without asking for pity. There is one thing to live through tragedy and be forever broken, and continuing to fully live life afterward. The lesson being that life is a struggle that some have harder than others, keep everything in perspective.\r\n\r\n<em>     Carpe Diem ……. </em>Seize the day is an undercurrent that flows through the entire film. This philosophy of urgency is lost on many of us that are wrapped up in the daily minutia of surviving. If we do not take an active role in our education or for standing up for what is right, then we are destined to live a life that is full of mediocrity and struggle. While I freely concede that personal bubbles can become rather intense and difficult to manage, I also contend that one must actively choose the direction of their life regardless of difficulty. There are many reasons why we make certain choices in life, but none of them is as important as the decision about how to live. I know from personal experience what it is like to drift through life, letting the winds take me where they wish. I have missed much in life by standing outside the fire.\r\n\r\nBe thankful for the blessings we have; thankful for the hardships we do not; and be mindful of the direction or lack thereof in our lives. We should not stop learning and growing spiritually, physically, and mentally until we are food for the worms. All three of these human traits are part of the fundamental basis of humanities. Without man’s pursuit of knowledge; their understanding of human struggle; and the drive to live and create in the moment; there would be no great works. I can imagine no greater tragedy than a world without expression. There are works on film out that touch different parts of the soul, and there are those that are not worth the film they are printed on. I am happy to say that this film touches the soul. These are the inspirations and thoughts that <em>The First Grader </em>brought out of me.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The First Grader','','inherit','open','open','','3110-revision-3','','','2012-12-07 11:24:12','2012-12-07 17:24:12','',3110,'http://jeanatacc.com/2011/?p=3116',0,'revision','',0),(3117,1,'2012-11-28 11:23:05','2012-11-28 17:23:05','<strong>AUSTIN COMMUNITY COLLEGE</strong>\r\n\r\n<strong>TCP-4 PLATOON</strong>\r\n\r\n<strong>J. Lauer – 1302 – 207 # 13622</strong>\r\n\r\n<strong>PHILIP ROBINSON</strong>\r\n\r\n<strong>11/17/2012</strong>\r\n\r\n<strong> </strong>\r\n\r\n<a href=\"//www.youtube.com/embed/pPi8EQzJ2Bg?rel=0&quot; frameborder=&quot;0&quot; allowfullscreen&gt;&lt;/iframe&gt;\"><img class=\"aligncenter size-full wp-image-3070\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Capture1.jpg\" alt=\"\" width=\"525\" height=\"412\" />&lt;iframe width=\"560\" height=\"315\" src=\"http://www.youtube.com/embed/pPi8EQzJ2Bg?rel=0\" frameborder=\"0\" allowfullscreen&gt;&lt;/iframe&gt;<strong>\r\n</strong></a><!--more--><strong></strong>\r\nAs long as there has been combat there has been an attempt to understand its effects. Mankind has dark and light forces that lock in combat over every decision involving our conscience; struggling for dominance over the soul. There are several views when it comes to war, some for and some against. What we have here is a fictional film based on the stark realities of combat as told from a realist point of view. <em>Platoon</em> should be preserved for future generations as an unflinching look at real life accounts of combat and the internal struggle to maintain humanity during the Vietnam War; told by someone who lived through it at the ground level.\r\n\r\n&nbsp;\r\n\r\nWritten and directed by Oliver Stone, <em>Platoon</em> is the first of three movies about Vietnam; following with <em>Born on the Fourth of July</em> and <em>Heaven and Earth</em>. Released in 1986, <em>Platoon</em> is one of many attempts to adequately illustrate the insanity known as the Vietnam War. After many years of combat, being exposed to unimaginable tragedy multiple times daily, it begins to wear on the soul. Two of the three principle characters have been in country for a long time and demonstrate different fractural effects as a result of prolonged engagement. Our third principle character is an educated man from a family of means that wants to do his duty to country, so he drops out of college and volunteers to come to Vietnam. This movie follows two small infantry groups into the bush as they attempt to live through their time without getting lost in the death and destruction that surrounds them. This film is dark and disturbingly real, the only exception being that reality of combat in Vietnam was much darker. Few men and women will speak of the horrors that were not shown in this film, and the studio would never have released it if he had. The cast and crew for this film could not have been cast better.\r\n\r\n&nbsp;\r\n\r\nLooking at historical context; we had just come back from defeating a tyrant named Hitler, and while there was human loss it was honorable. This nation lost one of the greatest presidents to have served when someone shot Kennedy, and shortly after shot his brother. This debacle in Vietnam was polarizing within the populace in the US; as it was viewed as a civil conflict that we had no business in, or as defending against communism. The anti-war anti-violence movements spanned the nation, as did those people who fought communism. Demonstrations ranged from peaceful gatherings to angry mobs. As a nation we had not been this diametrically opposed since the civil war. During this war that lasted more than fifteen years that cost almost 60,000 American soldiers, morale dropped, drug use and dependence spiked, and the will to fight dissipated. With the average lifespan of a green recruit going from one day to two months during the rush, I understand the frustration and desire to escape however you can. Temper all of this with commanding officers that couldn’t lead or fight their way out of a paper bag, getting brothers in arms killed because of their stupidity. The term is fragging when someone of higher rank is intentionally injured or killed by “friendly” forces. Then when you finally come home from the worst hell imaginable, having served your country and lost parts of your soul and parts of your body, you get spit on and called baby killer. We had lost a war, and that was a hard lesson for a nation with a really big stick. This film simply was not possible any earlier that when it came, there had to be healing and time.\r\n\r\n&nbsp;\r\n\r\nHaving grown up in the eighties, everything became about excess. Fast cars, The Headlines: Reaganomics, Lennon shot, Star Wars Defense Initiative, Challenger explodes, Iran Contra scandal, Chernobyl accident, Bush, Berlin Wall comes down, end of cold war, and AZT slows AIDS progression. As a nation we got lost, escaping the reality of life through sex, drugs, alcohol, games, movies, and books. While the sixties and early seventies had drug use in its culture, the later seventies and forward brought a proliferation of “harder” drugs. The Vietnam War had devastated many families through loss; and through those that never quite came back. Communication with family became more difficult after returning from combat with addictions and nightmares that would not leave. We were all looking for answers and understanding, and a huge piece of the puzzle came from the effects of the war. The timing of this movie seemed to fall in with other works of the time that were also shedding light on the darkness. The difference between Stone’s vision and other films about Vietnam was the “boot camp” that the cast was required to endure to establish and maintain character emersion. The movie was well received at the time if box office totals mean much. IMDB tells us that the box office and rental revenue from <em>Platoon </em>broke the 200 million mark by December of 1987 and only cost 6 million. There is a list of awards at the end of the paper. Canby also writes, “Mr. Stone\'s control over his own screenplay is such that \'\'Platoon\'\' seems to slide into and out of crucial scenes without ever losing its distant cool. He doesn\'t telegraph emotions, nor does he stomp on them. The movie is a succession of found moments. It\'s less like a work that\'s been written than one that has been discovered, though, as we all probably know, screenplays aren\'t delivered by storks. This one is a major piece of work, as full of passion as it is of redeeming, scary irony.(Canby)\r\n\r\n&nbsp;\r\n\r\nThis film was made in direct contrast to the film ­<em>Green Berets </em>with John Wayne. The only similarities between these two films are that they are both about the Vietnam War, and both did well in the box office. <em>Green Berets </em>explained the Vietnam War like Disney explained Grimm’s Tales. This film attempts to glorify the war as the right and noble fight against communism. What comes across is an attempt at cowboys and Indians in the jungle. I realize that most films are fictional, but this is one of the most propaganda filled, sugar coated, pieces crap that I have ever seen. Other films released at the time actually deserve to be mentioned in the same breath, but not all. One reviewer says this of <em>Platoon </em>and its relation to other films<em>, “</em>-certainly not like those revisionist comic strips \'\'Rambo\'\' and \'\'Missing in Action.\'\' Nor does it have much in common with either Francis Coppola\'s epic \'\'Apocalypse Now,\'\' which ultimately turns into a romantic meditation on a mythical war, or Michael Cimino\'s \'\'Deer Hunter,\'\' which is more about the mind of the America that fought the war than the Vietnam War itself. (Canby)”\r\n\r\n&nbsp;\r\n\r\n<em>Platoon </em>remains to be popular today if the 87% ratings from rotten tomatoes are any clue. <em>Platoon </em>is still on IMDB top 250 movies, and on American Film Institute’s top 100. Givin that our nation is still in combat, and there is still a need for understanding, this film is still resonates with a lot of people. This film maintains as a compass for films that follow. Having grown up in the eighties with my father and his brother having served during Vietnam, this film gives me more insight to the man I didn’t know. He took me to see this movie when I was 12, and I had no clue at the time as to why; and now I do not have as many questions. My personal opinions about this film fall in with my belief that this film should be preserved. Just as the cover says “One of the first casualties of war is innocence”. There are freedoms and liberties that are worth defending, but there is a cost. How many atrocities can one person witness and still maintain humanity. The future generations need to know that becoming a soldier and killing another person not all that different from ourselves, is not like the video games. Soldiers are real people with real struggles.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-11.jpg\"><img class=\"aligncenter size-full wp-image-3075\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-11.jpg\" alt=\"\" width=\"421\" height=\"717\" /></a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-21.jpg\"><img class=\"aligncenter size-full wp-image-3076\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-21.jpg\" alt=\"\" width=\"426\" height=\"769\" /></a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-31.jpg\"><img class=\"aligncenter size-full wp-image-3077\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-31.jpg\" alt=\"\" width=\"419\" height=\"707\" /></a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-41.jpg\"><img class=\"aligncenter size-full wp-image-3078\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Platoon-awards-41.jpg\" alt=\"\" width=\"419\" height=\"329\" /></a>\r\n\r\n<strong>WORKS CITED</strong>\r\n\r\n&nbsp;\r\n\r\nCanby, Vincent. \"The Vietnam War in Stone’s “Platoon”.\" <em>New York Times</em> (12-19-1986): Film. Web. 17 Nov 2012.<a href=\"http://movies.nytimes.com/movie/review?res=9A0DE5D6113DF93AA25751C1A960948260&amp;partner=Rotten%20Tomatoes\">http://movies.nytimes.com/movie/review?res=9A0DE5D6113DF93AA25751C1A960948260&amp;partner=Rotten%20Tomatoes</a> (Canby Film) – Extremely helpful review.\r\n\r\n&nbsp;\r\n\r\n\"Platoon.\" <em>Internet Movie Database</em> n.pag. <em>Internet Movie Database</em>. Web. 27 Nov 2012. <a href=\"//www.imdb.com/title/tt0091763/&gt;\">&lt;http://www.imdb.com/title/tt0091763/&gt;</a>. – Helpful movie database\r\n\r\n&nbsp;\r\n\r\n\"Platoon.\" <em>Reviews</em> (1986): n.pag. <em>Rotten Tomatoes</em>. Web. 27 Nov 2012. <a href=\"//www.rottentomatoes.com/m/platoon/&gt;\">&lt;http://www.rottentomatoes.com/m/platoon/&gt;</a>. -- Helpful movie reviews\r\n\r\n&nbsp;\r\n\r\nStone, Oliver, dir. <em>Platoon</em>. 1986. Film. 27 Nov 2012.','TCP-4 Platoon','','inherit','open','open','','3069-revision-6','','','2012-11-28 11:23:05','2012-11-28 17:23:05','',3069,'http://jeanatacc.com/2011/?p=3117',0,'revision','',0),(3118,66,'2012-12-12 04:13:15','2012-12-12 10:13:15','2099 A.D.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b.jpg\"><img class=\"alignright size-medium wp-image-3119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b-300x168.jpg\" alt=\"\" width=\"300\" height=\"168\" /></a>\r\n\r\nAs far as we know, we are the most unique species in existence. We have the power of Gods, to create and destroy, to reshape and re imagine  We are only limited by our means and technology, by which will only evolve further along with us. We are invariably limitless, wherein we can think both infinitely outward as well as infinitely inward. Thus, the things that have shaped our species, that have molded our cultures, and the things created by the most imaginative and intelligent of us must be maintained and preserved. Nothing is lasting, and yet it is in our nature to work against the hands of time to make sure we are known, and that we leave something to remember us if our time in this universe must pass.\r\n\r\n<!--more-->\r\n\r\nOur relics are the greatest mementos of our cultures and how they formed. We\'ve spent a fraction of time in existence being alive, and yet in that time we\'ve done so much. This is why we must keep going, we must keep growing and evolving and changing. We are not perfect, but we always strive to be. All we\'ve known is each other, and so we always much compete with one another. But our time has come where we must venture out past the our horizon, towards new and brighter ones. We will search the stars beyond for the answers we\'ve longed for since the dawn of humanity. This planet shall always be our home, it shall always be protected, nurtured, and cared for. We have come a long way since our last conflicts, the many that brought us to the brink, and the few that made us less than human, and now that time has passed. We are scientists, creators, and discoverers. We\'ve looked longingly at the stars too far away for us to reach, but now within our grasp. We will make it, and we will strive to perfect our humanity.\r\n\r\nOur creations, our relics, art works, music, architecture, our discoveries and monuments shall be protected. In a place untouched by things capable of harming everything we\'ve created, shall such a place reside. As Noah sheltered his cargo from the flood, we too shall protect everything dear to us in an ark made by human hands. This such sanctuary shall be named <strong><em>Cliodna</em></strong>.\r\n\r\nThe basis for this sanctum will be a micro-Dyson sphere, capable of shifting from one Third-Dimension to another, or maintaining itself in between these dimensions. Once we understood that gravity was the key to shifting dimensions, Cliodna became our most plausible option. Its equatorial radius is 1,900 kilometers, just a bit larger than Luna. The outer shell will consist mainly of Titanium 6.6.2, 50 kilometers thick, supplied by the multiple Large Hadron colliders in Russia, China, and Australia. The polar regions will be much more fortified to maintain stability and orientation from the exterior. The interior will be lush and fertile and green. The core will be composed of a stabilized thermo-nuclear reaction capable of sustaining itself for an estimated 500 years. Night will be simulated by injecting the fusion reaction with ionized ethanol causing the reaction to glow a dim blue rather than the bright white, much like the dull glow of our moon. The reaction can be maintained for around 10 hours, enough for a normal sleep cycle. Weather and seasons will mimic Earth\'s, but will only so much as border on uncomfortable randomly to maintain variation. The cities will be minimal, but will still be able to provide for the population. The determining factors are still to be decided as to whom to allow, but it is estimated to be able to hold one third of Earth\'s 4.2 billion.\r\n\r\nThis is all for a single idea; to maintain, preserve and protect the things that have created our culture. I shall briefly run through the Athenaeum, the place where everything will be kept, and by using some examples I hope to give you a better understanding of the place where we keep our history.\r\n\r\nThe building itself is larger than most, but not nearly as large as the museums still open on Earth. The entrance is not illustrious, but rather composed and simple. It will allow those given special permission only to view what is displayed that day. Patrons will enter and check in with the attendant upon arrival. The entire design mimics the shape of a plus (+) sign. With a theater to the left, a music hall to the right, in the center will be an ancient relic from thousands of years past, and towards the back shall be the tribute room for the greatest discoveries of mankind. All artifacts are original, those that could not be brought are stored in the Athenaeum\'s data source, and are freely accessible. The data source is the largest tower in Cliodna, providing everyone with any information the could ever hope to know.\r\n\r\nAs a patron visiting one day, you would enter and speak with the attendant who will inform you what is being displayed that. Day one will be Donatello\'s Bronze statue of David, Mozart\'s Don Giovanni shown in the music hall, Thomas Edison\'s record of a sneeze played outside the theater for it brevity, and towards the back will be out tribute to Albert Einstein\'s Theory of Relativity.\r\n\r\nDonatello\'s statue of David will be shown and a module will be displayed next to it. The module will give information about it\'s history, the context, why it was created, it\'s historical impacts, and the interpretations through out history. Other works from the same time period will be compared and holographically displayed for patron\'s to compare to.\r\n\r\nThe music hall will play Mozart\'s Don Giovanni inside hall 4 times a day. Outside the hall will be a modular display giving brief information on Mozart, his history, achievements, and the significance and impact Don Giovanni has had throughout history, as well as the moral interpretations by scholars throughout. Other opera\'s will be suggested from Mozart or the other composers so that patrons who take interest may return to enjoy those when displayed.\r\n\r\nThe Theater will not be open simply because Edison\'s record of a sneeze is so brief that it does not require any film time. Therefore an animated display of the clip will be shown outside the theater along with a module providing more information on it. Though there isn\'t much to compare with, it\'s development and history will also be displayed along with the evolution of cinema and photography since.\r\n\r\nAnd finally at the back will be out tribute to Einstein and his Theory of Relativity and it\'s evolution since. His theory alone, is the reason we are able to create Cliodna and keep it safe in a place many are not able to reach. The Tribute room is made for those whom have advanced civilization. Much like the Nobel Prize, this room is a dedicated to our greatest thinkers and creators, and doers, those we are proud of and hold great respect for.\r\n\r\nWhat we hope to achieve with this is simple; protect the things that make us human. And in doing so, remind us what we are capable of. Our future generations, be it from Earth, Cliodna, or some far off place, will make their own discoveries, their own creations, and we as their support must help them achieve that. We must show them how the think and grow, and put them on the right path toward becoming better. We must build their foundation and educate them, and nourish their minds.\r\n\r\nIt cannot be emphasized enough that we are truly limitless, and infinite.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\npic:\r\n\r\nhttp://community.imaginefx.com/fxpose/phoenix-06s_portfolio/images/197857/original.aspx','Cliodna','','publish','open','open','','cliodna','','','2012-12-12 15:00:22','2012-12-12 21:00:22','',0,'http://jeanatacc.com/2011/?p=3118',0,'post','',9),(3119,66,'2012-12-12 04:11:33','2012-12-12 10:11:33','','cd541c4f66490c1c59903ed1cb89b63b','','inherit','open','open','','cd541c4f66490c1c59903ed1cb89b63b','','','2012-12-12 04:11:33','2012-12-12 10:11:33','',3118,'http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b.jpg',0,'attachment','image/jpeg',0),(3120,66,'2012-12-12 04:11:57','2012-12-12 10:11:57','2099 A.D.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b.jpg\"><img class=\"alignright size-medium wp-image-3119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b-300x168.jpg\" alt=\"\" width=\"300\" height=\"168\" /></a>\n\nAs far as we know, we are the most unique species in existence. We have the power of Gods, to create and destroy, to reshape and reimagine. We are only limited by our means and technology, by which will only evolve further along with us. We are invariably limitless, wherein we can think both infinitely outward as well as infinitely inward. Thus, the things that have shaped our species, that have molded our cultures, and the things created by the most imaginative and intelligent of us must be maintained and preserved. Nothing is lasting, and yet it is in our nature to work against the hands of time to make sure we are known, and that we leave something to remember us if our time in this universe must pass.\n\n<!--more-->\n\nOur relics are the greatest mementos of our cultures and how they formed. We\'ve spent a fraction of time in existence being alive, and yet in that time we\'ve done so much. This is why we must keep going, we must keep growing and evolving and changing. We are not perfect, but we always strive to be. All we\'ve known is each other, and so we always much compete with one another. But our time has come where we must venture out past the our horizon, towards new and brighter ones. We will search the stars beyond for the answers we\'ve longed for since the dawn of humanity. This planet shall always be our home, it shall always be protected, nurtured, and cared for. We have come a long way since our last conflicts, the many that brought us to the brink, and the few that made us less than human, and now that time has passed. We are scientists, creators, and discoverers. We\'ve looked longingly at the stars too far away for us to reach, but now within our grasp. We will make it, and we will strive to perfect our humanity.\n\nOur creations, our relics, art works, music, architecture, our discoveries and monuments shall be protected. In a place untouched by things capable of harming everything we\'ve created, shall such a place reside. As Noah sheltered his cargo from the flood, we too shall protect everything dear to us in an ark made by human hands. This such sanctuary shall be named <strong><em>Cliodna</em></strong>.\n\nThe basis for this sanctum will be a micro-Dyson sphere, capable of shifting from one Third-Dimension to another, or maintaining itself in between these dimensions. Once we understood that gravity was the key to shifting dimensions, Cliodna became our most plausible option. Its equatorial radius is 1,900 kilometers, just a bit larger than Luna. The outer shell will consist mainly of Titanium 6.6.2, 50 kilometers thick, supplied by the multiple Large Hadron colliders in Russia, China, and Australia. The polar regions will be much more fortified to maintain stability and orientation from the exterior. The interior will be lush and fertile and green. The core will be composed of a stabilized thermo-nuclear reaction capable of sustaining itself for an estimated 500 years. Night will be simulated by injecting the fusion reaction with ionized ethanol causing the reaction to glow a dim blue rather than the bright white, much like the dull glow of our moon. The reaction can be maintained for around 10 hours, enough for a normal sleep cycle. Weather and seasons will mimic Earth\'s, but will only so much as border on uncomfortable randomly to maintain variation. The cities will be minimal, but will still be able to provide for the population. The determining factors are still to be decided as to whom to allow, but it is estimated to be able to hold one third of Earth\'s 4.2 billion.\n\nThis is all for a single idea; to maintain, preserve and protect the things that have created our culture. I shall briefly run through the Athenaeum, the place where everything will be kept, and by using some examples I hope to give you a better understanding of the place where we keep our history.\n\nThe building itself is larger than most, but not nearly as large as the museums still open on Earth. The entrance is not illustrious, but rather composed and simple. It will allow those given special permission only to view what is displayed that day. Patrons will enter and check in with the attendant upon arrival. The entire design mimics the shape of a plus (+) sign. With a theater to the left, a music hall to the right, in the center will be an ancient relic from thousands of years past, and towards the back shall be the tribute room for the greatest discoveries of mankind. All artifacts are original, those that could not be brought are stored in the Athenaeum\'s data source, and are freely accessible. The data source is the largest tower in Cliodna, providing everyone with any information the could ever hope to know.\n\nAs a patron visiting one day, you would enter and speak with the attendant who will inform you what is being displayed that. Day one will be Donatello\'s Bronze statue of David, Mozart\'s Don Giovanni shown in the music hall, Thomas Edison\'s record of a sneeze played outside the theater for it brevity, and towards the back will be out tribute to Albert Einstein\'s Theory of Relativity.\n\nDonatello\'s statue of David will be shown and a module will be displayed next to it. The module will give information about it\'s history, the context, why it was created, it\'s historical impacts, and the interpretations through out history. Other works from the same time period will be compared and holographically displayed for patron\'s to compare to.\n\nThe music hall will play Mozart\'s Don Giovanni inside hall 4 times a day. Outside the hall will be a modular display giving brief information on Mozart, his history, achievements, and the significance and impact Don Giovanni has had throughout history, as well as the moral interpretations by scholars throughout. Other opera\'s will be suggested from Mozart or the other composers so that patrons who take interest may return to enjoy those when displayed.\n\nThe Theater will not be open simply because Edison\'s record of a sneeze is so brief that it does not require any film time. Therefore an animated display of the clip will be shown outside the theater along with a module providing more information on it. Though there isn\'t much to compare with, it\'s development and history will also be displayed along with the evolution of cinema and photography since.\n\nAnd finally at the back will be out tribute to Einstein and his Theory of Relativity and it\'s evolution since. His theory alone, is the reason we are able to create Cliodna and keep it safe in a place many are not able to reach. The Tribute room is made for those whom have advanced civilization. Much like the Nobel Prize, this room is a dedicated to our greatest thinkers and creators, and doers, those we are proud of and hold great respect for.\n\nWhat we hope to achieve with this is simple; protect the things that make us human. And in doing so, remind us what we are capable of. Our future generations, be it from Earth, Cliodna, or some far off place, will make their own discoveries, their own creations, and we as their support must help them achieve that. We must show them how the think and grow, and put them on the right path toward becoming better. We must build their foundation and educate them, and nourish their minds.\n\nIt cannot be emphasized enough that we are truly limitless, and infinite.\n\n&nbsp;\n\n&nbsp;\n\npic:\n\nhttp://community.imaginefx.com/fxpose/phoenix-06s_portfolio/images/197857/original.aspx','Cliodna','','inherit','open','open','','3118-revision','','','2012-12-12 04:11:57','2012-12-12 10:11:57','',3118,'http://jeanatacc.com/2011/?p=3120',0,'revision','',0),(3121,66,'2012-12-12 04:12:12','2012-12-12 10:12:12','2099 A.D.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b.jpg\"><img class=\"alignright size-medium wp-image-3119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b-300x168.jpg\" alt=\"\" width=\"300\" height=\"168\" /></a>\r\n\r\nAs far as we know, we are the most unique species in existence. We have the power of Gods, to create and destroy, to reshape and re imagine  We are only limited by our means and technology, by which will only evolve further along with us. We are invariably limitless, wherein we can think both infinitely outward as well as infinitely inward. Thus, the things that have shaped our species, that have molded our cultures, and the things created by the most imaginative and intelligent of us must be maintained and preserved. Nothing is lasting, and yet it is in our nature to work against the hands of time to make sure we are known, and that we leave something to remember us if our time in this universe must pass.\r\n\r\n<!--more-->\r\n\r\nOur relics are the greatest mementos of our cultures and how they formed. We\'ve spent a fraction of time in existence being alive, and yet in that time we\'ve done so much. This is why we must keep going, we must keep growing and evolving and changing. We are not perfect, but we always strive to be. All we\'ve known is each other, and so we always much compete with one another. But our time has come where we must venture out past the our horizon, towards new and brighter ones. We will search the stars beyond for the answers we\'ve longed for since the dawn of humanity. This planet shall always be our home, it shall always be protected, nurtured, and cared for. We have come a long way since our last conflicts, the many that brought us to the brink, and the few that made us less than human, and now that time has passed. We are scientists, creators, and discoverers. We\'ve looked longingly at the stars too far away for us to reach, but now within our grasp. We will make it, and we will strive to perfect our humanity.\r\n\r\nOur creations, our relics, art works, music, architecture, our discoveries and monuments shall be protected. In a place untouched by things capable of harming everything we\'ve created, shall such a place reside. As Noah sheltered his cargo from the flood, we too shall protect everything dear to us in an ark made by human hands. This such sanctuary shall be named <strong><em>Cliodna</em></strong>.\r\n\r\nThe basis for this sanctum will be a micro-Dyson sphere, capable of shifting from one Third-Dimension to another, or maintaining itself in between these dimensions. Once we understood that gravity was the key to shifting dimensions, Cliodna became our most plausible option. Its equatorial radius is 1,900 kilometers, just a bit larger than Luna. The outer shell will consist mainly of Titanium 6.6.2, 50 kilometers thick, supplied by the multiple Large Hadron colliders in Russia, China, and Australia. The polar regions will be much more fortified to maintain stability and orientation from the exterior. The interior will be lush and fertile and green. The core will be composed of a stabilized thermo-nuclear reaction capable of sustaining itself for an estimated 500 years. Night will be simulated by injecting the fusion reaction with ionized ethanol causing the reaction to glow a dim blue rather than the bright white, much like the dull glow of our moon. The reaction can be maintained for around 10 hours, enough for a normal sleep cycle. Weather and seasons will mimic Earth\'s, but will only so much as border on uncomfortable randomly to maintain variation. The cities will be minimal, but will still be able to provide for the population. The determining factors are still to be decided as to whom to allow, but it is estimated to be able to hold one third of Earth\'s 4.2 billion.\r\n\r\nThis is all for a single idea; to maintain, preserve and protect the things that have created our culture. I shall briefly run through the Athenaeum, the place where everything will be kept, and by using some examples I hope to give you a better understanding of the place where we keep our history.\r\n\r\nThe building itself is larger than most, but not nearly as large as the museums still open on Earth. The entrance is not illustrious, but rather composed and simple. It will allow those given special permission only to view what is displayed that day. Patrons will enter and check in with the attendant upon arrival. The entire design mimics the shape of a plus (+) sign. With a theater to the left, a music hall to the right, in the center will be an ancient relic from thousands of years past, and towards the back shall be the tribute room for the greatest discoveries of mankind. All artifacts are original, those that could not be brought are stored in the Athenaeum\'s data source, and are freely accessible. The data source is the largest tower in Cliodna, providing everyone with any information the could ever hope to know.\r\n\r\nAs a patron visiting one day, you would enter and speak with the attendant who will inform you what is being displayed that. Day one will be Donatello\'s Bronze statue of David, Mozart\'s Don Giovanni shown in the music hall, Thomas Edison\'s record of a sneeze played outside the theater for it brevity, and towards the back will be out tribute to Albert Einstein\'s Theory of Relativity.\r\n\r\nDonatello\'s statue of David will be shown and a module will be displayed next to it. The module will give information about it\'s history, the context, why it was created, it\'s historical impacts, and the interpretations through out history. Other works from the same time period will be compared and holographically displayed for patron\'s to compare to.\r\n\r\nThe music hall will play Mozart\'s Don Giovanni inside hall 4 times a day. Outside the hall will be a modular display giving brief information on Mozart, his history, achievements, and the significance and impact Don Giovanni has had throughout history, as well as the moral interpretations by scholars throughout. Other opera\'s will be suggested from Mozart or the other composers so that patrons who take interest may return to enjoy those when displayed.\r\n\r\nThe Theater will not be open simply because Edison\'s record of a sneeze is so brief that it does not require any film time. Therefore an animated display of the clip will be shown outside the theater along with a module providing more information on it. Though there isn\'t much to compare with, it\'s development and history will also be displayed along with the evolution of cinema and photography since.\r\n\r\nAnd finally at the back will be out tribute to Einstein and his Theory of Relativity and it\'s evolution since. His theory alone, is the reason we are able to create Cliodna and keep it safe in a place many are not able to reach. The Tribute room is made for those whom have advanced civilization. Much like the Nobel Prize, this room is a dedicated to our greatest thinkers and creators, and doers, those we are proud of and hold great respect for.\r\n\r\nWhat we hope to achieve with this is simple; protect the things that make us human. And in doing so, remind us what we are capable of. Our future generations, be it from Earth, Cliodna, or some far off place, will make their own discoveries, their own creations, and we as their support must help them achieve that. We must show them how the think and grow, and put them on the right path toward becoming better. We must build their foundation and educate them, and nourish their minds.\r\n\r\nIt cannot be emphasized enough that we are truly limitless, and infinite.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\npic:\r\n\r\nhttp://community.imaginefx.com/fxpose/phoenix-06s_portfolio/images/197857/original.aspx','Cliodna','','inherit','open','open','','3118-revision-2','','','2012-12-12 04:12:12','2012-12-12 10:12:12','',3118,'http://jeanatacc.com/2011/?p=3121',0,'revision','',0),(3122,66,'2012-12-12 04:12:53','2012-12-12 10:12:53','2099 A.D.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b.jpg\"><img class=\"alignright size-medium wp-image-3119\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/12/cd541c4f66490c1c59903ed1cb89b63b-300x168.jpg\" alt=\"\" width=\"300\" height=\"168\" /></a>\r\n\r\nAs far as we know, we are the most unique species in existence. We have the power of Gods, to create and destroy, to reshape and re imagine  We are only limited by our means and technology, by which will only evolve further along with us. We are invariably limitless, wherein we can think both infinitely outward as well as infinitely inward. Thus, the things that have shaped our species, that have molded our cultures, and the things created by the most imaginative and intelligent of us must be maintained and preserved. Nothing is lasting, and yet it is in our nature to work against the hands of time to make sure we are known, and that we leave something to remember us if our time in this universe must pass.\r\n\r\n<!--more-->\r\n\r\nOur relics are the greatest mementos of our cultures and how they formed. We\'ve spent a fraction of time in existence being alive, and yet in that time we\'ve done so much. This is why we must keep going, we must keep growing and evolving and changing. We are not perfect, but we always strive to be. All we\'ve known is each other, and so we always much compete with one another. But our time has come where we must venture out past the our horizon, towards new and brighter ones. We will search the stars beyond for the answers we\'ve longed for since the dawn of humanity. This planet shall always be our home, it shall always be protected, nurtured, and cared for. We have come a long way since our last conflicts, the many that brought us to the brink, and the few that made us less than human, and now that time has passed. We are scientists, creators, and discoverers. We\'ve looked longingly at the stars too far away for us to reach, but now within our grasp. We will make it, and we will strive to perfect our humanity.\r\n\r\nOur creations, our relics, art works, music, architecture, our discoveries and monuments shall be protected. In a place untouched by things capable of harming everything we\'ve created, shall such a place reside. As Noah sheltered his cargo from the flood, we too shall protect everything dear to us in an ark made by human hands. This such sanctuary shall be named <strong><em>Cliodna</em></strong>.\r\n\r\nThe basis for this sanctum will be a micro-Dyson sphere, capable of shifting from one Third-Dimension to another, or maintaining itself in between these dimensions. Once we understood that gravity was the key to shifting dimensions, Cliodna became our most plausible option. Its equatorial radius is 1,900 kilometers, just a bit larger than Luna. The outer shell will consist mainly of Titanium 6.6.2, 50 kilometers thick, supplied by the multiple Large Hadron colliders in Russia, China, and Australia. The polar regions will be much more fortified to maintain stability and orientation from the exterior. The interior will be lush and fertile and green. The core will be composed of a stabilized thermo-nuclear reaction capable of sustaining itself for an estimated 500 years. Night will be simulated by injecting the fusion reaction with ionized ethanol causing the reaction to glow a dim blue rather than the bright white, much like the dull glow of our moon. The reaction can be maintained for around 10 hours, enough for a normal sleep cycle. Weather and seasons will mimic Earth\'s, but will only so much as border on uncomfortable randomly to maintain variation. The cities will be minimal, but will still be able to provide for the population. The determining factors are still to be decided as to whom to allow, but it is estimated to be able to hold one third of Earth\'s 4.2 billion.\r\n\r\nThis is all for a single idea; to maintain, preserve and protect the things that have created our culture. I shall briefly run through the Athenaeum, the place where everything will be kept, and by using some examples I hope to give you a better understanding of the place where we keep our history.\r\n\r\nThe building itself is larger than most, but not nearly as large as the museums still open on Earth. The entrance is not illustrious, but rather composed and simple. It will allow those given special permission only to view what is displayed that day. Patrons will enter and check in with the attendant upon arrival. The entire design mimics the shape of a plus (+) sign. With a theater to the left, a music hall to the right, in the center will be an ancient relic from thousands of years past, and towards the back shall be the tribute room for the greatest discoveries of mankind. All artifacts are original, those that could not be brought are stored in the Athenaeum\'s data source, and are freely accessible. The data source is the largest tower in Cliodna, providing everyone with any information the could ever hope to know.\r\n\r\nAs a patron visiting one day, you would enter and speak with the attendant who will inform you what is being displayed that. Day one will be Donatello\'s Bronze statue of David, Mozart\'s Don Giovanni shown in the music hall, Thomas Edison\'s record of a sneeze played outside the theater for it brevity, and towards the back will be out tribute to Albert Einstein\'s Theory of Relativity.\r\n\r\nDonatello\'s statue of David will be shown and a module will be displayed next to it. The module will give information about it\'s history, the context, why it was created, it\'s historical impacts, and the interpretations through out history. Other works from the same time period will be compared and holographically displayed for patron\'s to compare to.\r\n\r\nThe music hall will play Mozart\'s Don Giovanni inside hall 4 times a day. Outside the hall will be a modular display giving brief information on Mozart, his history, achievements, and the significance and impact Don Giovanni has had throughout history, as well as the moral interpretations by scholars throughout. Other opera\'s will be suggested from Mozart or the other composers so that patrons who take interest may return to enjoy those when displayed.\r\n\r\nThe Theater will not be open simply because Edison\'s record of a sneeze is so brief that it does not require any film time. Therefore an animated display of the clip will be shown outside the theater along with a module providing more information on it. Though there isn\'t much to compare with, it\'s development and history will also be displayed along with the evolution of cinema and photography since.\r\n\r\nAnd finally at the back will be out tribute to Einstein and his Theory of Relativity and it\'s evolution since. His theory alone, is the reason we are able to create Cliodna and keep it safe in a place many are not able to reach. The Tribute room is made for those whom have advanced civilization. Much like the Nobel Prize, this room is a dedicated to our greatest thinkers and creators, and doers, those we are proud of and hold great respect for.\r\n\r\nWhat we hope to achieve with this is simple; protect the things that make us human. And in doing so, remind us what we are capable of. Our future generations, be it from Earth, Cliodna, or some far off place, will make their own discoveries, their own creations, and we as their support must help them achieve that. We must show them how the think and grow, and put them on the right path toward becoming better. We must build their foundation and educate them, and nourish their minds.\r\n\r\nIt cannot be emphasized enough that we are truly limitless, and infinite.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\npic:\r\n\r\nhttp://community.imaginefx.com/fxpose/phoenix-06s_portfolio/images/197857/original.aspx','Cliodna','','inherit','open','open','','3118-revision-3','','','2012-12-12 04:12:53','2012-12-12 10:12:53','',3118,'http://jeanatacc.com/2011/?p=3122',0,'revision','',0),(3332,74,'2013-09-23 19:27:57','2013-09-24 01:27:57','[caption id=\"\" align=\"aligncenter\" width=\"507\"]<a href=\"http://upload.wikimedia.org/wikipedia/en/5/5f/Donquixote.JPG\"><img alt=\"\" src=\"http://upload.wikimedia.org/wikipedia/en/5/5f/Donquixote.JPG\" width=\"507\" height=\"601\" /></a> Don Quixote by Pablo Picasso http://en.wikipedia.org/wiki/File:Donquixote.JPG[/caption]\r\n<p dir=\"ltr\" id=\"docs-internal-guid-308a791a-4be3-ca63-5cdc-5329ada5d8f8\">    <em>Don Quixote</em> is a spanish language novel written by Miguel de Cervantes and published in two parts, the first in 1605 AD and the second in 1615 AD. It\'s importance to western literature is immeasurable, since it was the first full-length novel published in Europe and it\'s characterization of the title character is complex and iconic. The story follows an idealistic nobleman who has spent all of his money on tales about chivalry and knighthood and decides to become a knight errant, righting injustice in Spain. He recruits his neighbor Sancho Panza as his squire and sets out on an epic quest. He imagines a beautiful princess named Dulcinea to give a purpose to his valiant deeds. The story is rife with comedy as Don Quixote imagines ordinary situations in the framework of a medieval tale, such as an encounter with windmills that he believes to be fearsome giants terrorizing the countryside. <em>Don Quixote</em> was written following several important historical events.  Cervantes had fought in the last Christian crusade in the Middle East. The Spanish Inquisition had occured, which had evicted a long-standing Muslim and Jewish presence from the region in favor of Catholocism. And finally, Spain was gaining tremendous profits from their ventures in the New World, changing the traditional society of peasants and aristocrats with a newly formed middle class.<!--more--></p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is thematically similar to a popular form of book at the time called the piqaresque novel. These books starred an underdog hero and were humorous, telling small episodic tales. They were written in Spanish because they were considered a crude form of entertainment, rather than the Latin reserved for highbrow literature. The main character would be someone of low-standing living in a corrupt world who outsmarts the machinations of those around him. <em>Don Quixote</em> plays with this idea by instead making the protagonist a delusional dunce surrounded by people who are much savvier than him. His companion Sancho is a realist who has to guide him through the everyday folk who are often baffled by Don Quixote\'s ridiculous assertions. Often times Don Quixote is defeated in his encounters or tricked into believing he has accomplished his duties. What sets <em>Don Quixote</em> apart from contemporary novels is the psychological profile of the main character. He is motivated by pure idealism and a belief in right and wrong that often conflicts with the reality he finds himself in. This theme eschews other picaresque literature which did not approach such profound questions of existence. It also tells a longform story that builds up on past events, weaving a complex narrative. <em>Don Quixote</em> was such a success that many copycat authors wrote unauthorized sequels. This motivated Miguel de Cervantes to write a part two to reclaim his beloved characters. Even past Cervantes\' death, <em>Don Quixote</em> continued to be an inspiration in art. It has been adapted into plays and films, and in 2002 The Guardian published an article claiming it to be the world\'s best book in a poll given to influential authors. If anything it\'s status as a cultural artifact has improved over time and influenced countless people. Popular at the time it\'s status is now that of a formative work of world literature.</p>\r\n<p dir=\"ltr\">    I enjoy <em>Don Quixote</em> and find the satire to still hold up to todays society. The deeply held beliefs of the main character contrasted with what actually goes on around him echo an insecurity I have about having an immature view of the world. It\'s inspirational to see Don Quixote hold steadfastly to these ideals and funny to see him reason away events so that they fall in line with the story in his head of him being a courageous knight.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is similar to the tragic work Hamlet by William Shakespeare in how the story focuses on the inner turmoil of the protagonist. Both works provide highly detailed portraits of the protagonist, going into depth on their appearance, beliefs, relationships, and the world surrounding them. Both are singularly obsessed with a goal that others either do not understand or challenge completely. One difference is that the delusions Hamlet experiences turn out to be based on fact instead of flights of the imagination, but nonetheless the visions of both protagonists lead to their mistreatment and downfall. Both men are highly pursuant of justice, neglecting everything else in their emotional and spiritual journey through the story. They are well-read and use what they\'ve learned to inspire their actions. In Hamlet these actions form tragic consequences as the people around Hamlet die. In <em>Don Quixote</em>, they are humorous as the title character is battered around and forced to dust himself off. In the end, neither men can change the nature of those around them. Hamlet avenges his father\'s death but himself dies cruelly. Don Quixote finally realizes how crazy his behavior was and metaphorically kills the man he once was.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is important to future generations because it raises the question of how to reconcile our dreams with our reality. In today\'s world many things are becoming possible due to the wonders of technology, and the potential for ill often outpaces the altruistic hope for peace and happiness for everyone. Instead of blind belief in an ideal world, Cervantes urges the reader to think first and consider what is happening around them. By imploring consideration and thought before instant emotional reactions, <em>Don Quixote</em> is a work that resonates with the fast-changing lifestyles of today that increase in complexity as time moves on.</p>\r\n<p dir=\"ltr\">Bibliography:</p>\r\n<p dir=\"ltr\">Duran, Manuel. <i>Don Quixote and Hamlet: Strangers or Brothers? </i>Confluencia, 2004</p>\r\n<p dir=\"ltr\">  This source provided information for comparing <em>Don Quixote</em> to Hamlet.</p>\r\n<p dir=\"ltr\">Zimic, Stanislav.<i> Don Quixote: Some Observations on the Creation and Evolution of Its Protagonist and on Its Novelistic Structures. </i>Bulletin of Spanish Studies, 2011</p>\r\n  This source was useful for figuring out the importance of the novel and it\'s influence on literature.\r\n<div>Lichtenberg, Joseph M.D.<i> Cervantes and Don Quixote.</i> Psychoanalytic Inquiry, 2010</div>\r\nThis source helped explain the character of Don Quixote and his psychological depth.\r\n\r\nKrueger, Alison. \"Historical Context for Don Quixote by Miguel De Cervantes.\" <i>Columbia College</i>. Columbia College, n.d. Web. 23 Sept. 2013.\r\n\r\nThis source gave background information on contextual events during Cervantes\' time period.\r\n\r\n<i>Cervantes and the legend of Don Quijote [electronic resource (video)] : spirit of a book / Radiotelevisioń Espanõla</i>. (2006). New York, N.Y. : Films Media Group, [2006], c2004.\r\n\r\nThis documentary provided general information including historical importance and details about the book.','Don Quixote Time Capsule 1','','inherit','open','open','','3250-revision-v1','','','2013-09-23 19:27:57','2013-09-24 01:27:57','',3250,'http://jeanatacc.com/2011/?p=3332',0,'revision','',0),(3333,74,'2013-09-23 19:28:22','2013-09-24 01:28:22','[caption id=\"\" align=\"aligncenter\" width=\"507\"]<a href=\"http://upload.wikimedia.org/wikipedia/en/5/5f/Donquixote.JPG\"><img alt=\"\" src=\"http://upload.wikimedia.org/wikipedia/en/5/5f/Donquixote.JPG\" width=\"507\" height=\"601\" /></a> Don Quixote by Pablo Picasso http://en.wikipedia.org/wiki/File:Donquixote.JPG[/caption]\r\n<p dir=\"ltr\" id=\"docs-internal-guid-308a791a-4be3-ca63-5cdc-5329ada5d8f8\">    <em>Don Quixote</em> is a spanish language novel written by Miguel de Cervantes and published in two parts, the first in 1605 AD and the second in 1615 AD. It\'s importance to western literature is immeasurable, since it was the first full-length novel published in Europe and it\'s characterization of the title character is complex and iconic. The story follows an idealistic nobleman who has spent all of his money on tales about chivalry and knighthood and decides to become a knight errant, righting injustice in Spain. He recruits his neighbor Sancho Panza as his squire and sets out on an epic quest. He imagines a beautiful princess named Dulcinea to give a purpose to his valiant deeds. The story is rife with comedy as Don Quixote imagines ordinary situations in the framework of a medieval tale, such as an encounter with windmills that he believes to be fearsome giants terrorizing the countryside. <em>Don Quixote</em> was written following several important historical events.  Cervantes had fought in the last Christian crusade in the Middle East. The Spanish Inquisition had occured, which had evicted a long-standing Muslim and Jewish presence from the region in favor of Catholocism. And finally, Spain was gaining tremendous profits from their ventures in the New World, changing the traditional society of peasants and aristocrats with a newly formed middle class.<!--more--></p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is thematically similar to a popular form of book at the time called the piqaresque novel. These books starred an underdog hero and were humorous, telling small episodic tales. They were written in Spanish because they were considered a crude form of entertainment, rather than the Latin reserved for highbrow literature. The main character would be someone of low-standing living in a corrupt world who outsmarts the machinations of those around him. <em>Don Quixote</em> plays with this idea by instead making the protagonist a delusional dunce surrounded by people who are much savvier than him. His companion Sancho is a realist who has to guide him through the everyday folk who are often baffled by Don Quixote\'s ridiculous assertions. Often times Don Quixote is defeated in his encounters or tricked into believing he has accomplished his duties. What sets <em>Don Quixote</em> apart from contemporary novels is the psychological profile of the main character. He is motivated by pure idealism and a belief in right and wrong that often conflicts with the reality he finds himself in. This theme eschews other picaresque literature which did not approach such profound questions of existence. It also tells a longform story that builds up on past events, weaving a complex narrative. <em>Don Quixote</em> was such a success that many copycat authors wrote unauthorized sequels. This motivated Miguel de Cervantes to write a part two to reclaim his beloved characters. Even past Cervantes\' death, <em>Don Quixote</em> continued to be an inspiration in art. It has been adapted into plays and films, and in 2002 The Guardian published an article claiming it to be the world\'s best book in a poll given to influential authors. If anything it\'s status as a cultural artifact has improved over time and influenced countless people. Popular at the time it\'s status is now that of a formative work of world literature.</p>\r\n<p dir=\"ltr\">    I enjoy <em>Don Quixote</em> and find the satire to still hold up to todays society. The deeply held beliefs of the main character contrasted with what actually goes on around him echo an insecurity I have about having an immature view of the world. It\'s inspirational to see Don Quixote hold steadfastly to these ideals and funny to see him reason away events so that they fall in line with the story in his head of him being a courageous knight.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is similar to the tragic work Hamlet by William Shakespeare in how the story focuses on the inner turmoil of the protagonist. Both works provide highly detailed portraits of the protagonist, going into depth on their appearance, beliefs, relationships, and the world surrounding them. Both are singularly obsessed with a goal that others either do not understand or challenge completely. One difference is that the delusions Hamlet experiences turn out to be based on fact instead of flights of the imagination, but nonetheless the visions of both protagonists lead to their mistreatment and downfall. Both men are highly pursuant of justice, neglecting everything else in their emotional and spiritual journey through the story. They are well-read and use what they\'ve learned to inspire their actions. In Hamlet these actions form tragic consequences as the people around Hamlet die. In <em>Don Quixote</em>, they are humorous as the title character is battered around and forced to dust himself off. In the end, neither men can change the nature of those around them. Hamlet avenges his father\'s death but himself dies cruelly. Don Quixote finally realizes how crazy his behavior was and metaphorically kills the man he once was.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is important to future generations because it raises the question of how to reconcile our dreams with our reality. In today\'s world many things are becoming possible due to the wonders of technology, and the potential for ill often outpaces the altruistic hope for peace and happiness for everyone. Instead of blind belief in an ideal world, Cervantes urges the reader to think first and consider what is happening around them. By imploring consideration and thought before instant emotional reactions, <em>Don Quixote</em> is a work that resonates with the fast-changing lifestyles of today that increase in complexity as time moves on.</p>\r\n<p dir=\"ltr\">Bibliography:</p>\r\n<p dir=\"ltr\">Duran, Manuel. <i>Don Quixote and Hamlet: Strangers or Brothers? </i>Confluencia, 2004</p>\r\n<p dir=\"ltr\">  This source provided information for comparing <em>Don Quixote</em> to Hamlet.</p>\r\n<p dir=\"ltr\">Zimic, Stanislav.<i> Don Quixote: Some Observations on the Creation and Evolution of Its Protagonist and on Its Novelistic Structures. </i>Bulletin of Spanish Studies, 2011</p>\r\n  This source was useful for figuring out the importance of the novel and it\'s influence on literature.\r\n<div>Lichtenberg, Joseph M.D.<i> Cervantes and Don Quixote.</i> Psychoanalytic Inquiry, 2010</div>\r\n<div></div>\r\nThis source helped explain the character of Don Quixote and his psychological depth.\r\n\r\nKrueger, Alison. \"Historical Context for Don Quixote by Miguel De Cervantes.\" <i>Columbia College</i>. Columbia College, n.d. Web. 23 Sept. 2013.\r\n\r\nThis source gave background information on contextual events during Cervantes\' time period.\r\n\r\n<i>Cervantes and the legend of Don Quijote [electronic resource (video)] : spirit of a book / Radiotelevisioń Espanõla</i>. (2006). New York, N.Y. : Films Media Group, [2006], c2004.\r\n\r\nThis documentary provided general information including historical importance and details about the book.','Don Quixote Time Capsule 1','','inherit','open','open','','3250-revision-v1','','','2013-09-23 19:28:22','2013-09-24 01:28:22','',3250,'http://jeanatacc.com/2011/?p=3333',0,'revision','',0),(3124,64,'2012-12-12 05:14:01','2012-12-12 11:14:01','It is the year 2100, and Earth as we know it is no longer a habitable planet to live. Humans have lost all privileges to live on Earth and have destroyed the one planet that it truly took for granted. Due to our increased levels of emissions and pollution year after year it has finally depleted Earths ozone, with Earths excessive use of pollution and carbon dioxide it has created a drastic effect on an increase in Earths global average surface temperature, raising it to +200 plus degree weather which has slowly decimated all life form on Earth. A Mother ship has been built to salvage all remaining life on Earth and was the only ship built, the ship will only be allowed to carry four works of art that best represent Earth, not just as a society but who we humans were and what we stood for and didn’t stand for, how we thought and what inspired us, what we were willing to die and fight for and most importantly what we strived for. The four works of art that I have chosen to be preserved for future generations will be; Giovanni Pico Mirandola’s Oration of the Dignity of Man, Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, The Statue of Liberty, and Howard Hughes’ film Hell’s Angels. All of these works of art should be preserved for future generations for specific reasons; first I will describe the museum, and then describe each work’s significance on why it should be preserved for future generations.<!--more-->\r\n\r\nAs we have learned, a works true significance cannot be revealed without knowing what was going on during the time the work was created, the construction of the museum was built with that in consideration. The museum has four chambers that consist of the work of art at the end of a 400 foot walk down a hallway that has holographic displays of everything that was going on during the times of the work of art, So you will essentially get a short walk through time to truly understand the timeframe of the work of art before reaching the actual work. There will be multiple images of life like representations happening, you will be witnessing wars and famine, tortures and pain that went along with the works and you will also be able to smell all that was going on to get a better understanding of how it was before reaching the work of art.\r\n\r\nThe first work of art will be Giovanni Pico Mirandolla’s Oration of the Dignity of Man, as you first step on the walk way you will see the Mayan civilization that was around during the late 1400’s, you will also see the beautiful construction of the city Maccu Pichu which was also around during the late 1400s. The late 1400’s Christopher Columbus just set sail to discover new lands in 1492 which inspired people to take on new adventures. The time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\r\n\r\nI believe people in space would be captivated by the writing’s of Pico, because all that was going on during those times, the people should be able to smell the skin being burned from a holographic burning of a human who went against the beliefs of the church and this writing shows exactly that it did go against the church, the people in space will appreciate that and know who humans were, and what we were willing to die for such reasons. At the final stage of the path, space forms will witness the work on display in a glass case.\r\n\r\nMy next work of art is Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, as our future space life form begins the walk down the path to Bach’s masterpiece they will witness all that went on during the times as well in a holographic way to represent the true significance of the work of art. The space life form will witness Issac Newton sitting under a apple tree writing the Mathematical Principles of Natural Philosophy that was published in the late 1600’s, they will also see Robert Hooke discovering cells while working in a lab in during the time frame, and they will be walking down isles witnessing many people being tortured for going against the church at the time which was mast significant. They will also see the first ever bible being translated from Greek to German by Martin Luther who started the Protestant Reformation. The space life forms will understand that Bach’s piece represented the Reformation and will appreciate it for that, also what it was going against people during those times and what was at risk for going against the church during those times. “A Mighty Fortress is Our God” his piece translated is the scriptures from 2 Thessalonians 2:3-8 which talk about a man of Lawlessness, or a man of sin,(when translated) verse 3 of chapter 2 in the New testament of the Holy Bible also the first part of Bach’s “A Mighty Fortress is Our God” say “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of sin (some translations say rebellion) is revealed, the man doomed to destruction.”(2) Bach’s piece is warning us of sin.“ A Mighty Fortress is Our God” by Bach had a much more huge significance in the past than in today’s times because in those times people were willing to die for their own given right to practice what they religiously believed in, an example was Martin Luther’s friend Ulrich Zwingli, “who died Oct. 11, 1531, who was part of the Reformation as well, and believed one simple truth, it was the bible was the truth and anything else was not. I believe the people in space will appreciate the work of Bach and understand what the song represents, it will help them remind them not to take for granted some of the many opportunities that we do have, and to cherish them and to be grateful of your present freedoms, that is what Bach’s Ein Feste Burg Ist Unser Gott represents and for that is should be preserved for future generations. Finally reaching the end of the work the space forms will be witnessing a holographic version of Bach playing Ein Feste Burg Ist Unser Gott in the room.\r\n\r\nOur next work of art is the Statue of Liberty. The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future. The people in space will start on their walk path and see some of the many things that went on during the timeframe of the construction of the Statue of Liberty. They will witness the United States Navy constructing and producing warships made of iron and steel and hear all that went with it, they will see Alexander Gram Bell inventing the telephone in the late 1800’s. The space forms will also see the construction of the Eiffel Tower that was also built during the progressive era. Most of all the people would understand the true significance of the Statue of Liberty and appreciate that it was innovative sculpture design. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(3 Marvin) I believe the space forms will appreciate the true design and structure of the Statue of Liberty and for these reasons it should be preserved for future generations. At the end of the walk way our space forms will be looking at a smaller version of the Statue of Liberty, which would be all the same intricate designing but a 20 foot version of the Statue of Liberty, space forms will truly appreciate the technology behind the build of the Statue of Liberty, being able to witness technology in the form of a statue and how it can be represented as a high technology sculpture since space forms live in a world of high technology they will love the Statue of Liberty.\r\n\r\nOur Final work of art is Howard Hughes’ Hells Angels, Howard Hughes revolutionized the movie industry, and he elevated and pushed film to new and higher extremes and went beyond the limits of film making. Howard Hughes was a pioneer to the film industry. When Howard Hughes dove into film he directed, produced and partially wrote “Hell’s Angels” which became Hollywood’s first million dollar blockbuster movie ever. On his unprecedented work of “Hells Angels” Howard introduced the world to a newer perspective type of action, a type of action that is seen from the cock pit of an airplane that views the aerial battles from all possible angles during the memorable dog fight scenes in the movie. Howard Hughes recreated what war was like in the air from a pilot’s perspective and pushed the pilots to go beyond all levels of safety to recapture the reality of battle on film. Hells Angels had amazing special effects and ground breaking footage that achieved graphic realism from a whole new different perspective, for all these reasons this film should be preserved for future generations. As the future space forms begin their walk down the path of the early 1900’s they will begin to witness some of the many great things that went on along those times. First, they will see just how much technology captivated America during those times and see the will many changes that were going on at the time and new inventions and new discoveries were being found. In film, movies were just starting to implement the use of sound and color in films which was a major breakthrough for the industry and created a much bigger interest of audience, space forms will be able to see the recreation of those inventions taking place as if they were there during the invention, they will witness the invention of the radio which changed many lives in America, which defiantly help expand not just the news but Hollywood and entertainment which lead to a growing interest in entertainment and the movie industry. The space forms will see some of the ugliness and reality of World War One which ended a couple of years earlier; this had also helped the movie industry at the time. American’s could go and watch a movie and for a brief moment and forget about what was going on in the real world for an hour or two and enjoy themselves while lifting their morale or spirits. The movie industry definitely helped American’s get through some tough times. In 1919 a law was passed for the Prohibition of the consumption and possession of alcohol making it illegal, this as well helped the movie industry during the times, bringing more consumers towards the movies, space forms will witness all the things that went on with prohibition as if they were there smuggling the booze themselves. Jazz was the music of popular choice at the time and some of the more popular artists were Duke Ellington and Al Jolson. A popular composer at the time was George Gershwin who will be playing in holographic form.\r\n\r\nThe significance of the film is what catapults the film to iconic status. From a technical standpoint the dog fight scenes contained amazing aerial footage. Hells Angles created unpretentious grandeur for its aerial performance. Pilots took the planes past what was known as safe, they zoomed from beyond dangerous levels and perform stunts that cost one pilot and one mechanic their lives while shooting the film. When a pilot refused to due a risky stunt that was two dangerous Howard would get in the plane and perform the stunt himself just to get the realization of the pilots view on film. There is an aerial fight seen that involves a German zeppelin that is shot in a dual Technicolor with a purple backdrop, this complimented certain scenes that involved explosions and captured fire in its real form and changed special effects and made it more visual and real. Every detail in the film with aviation was stellar, from the take off’s to the flying v formation. The realism of the planes tale spinning out of control was epic, and was recreated to perfection and is seen throughout the dog fights. “The monumental dog fight scenes were incorporated in dozens of other films and are still stolen today.”(4 Historynet)\r\n\r\nDuring the release of Hells Angels was a time when sound was first becoming part of a movie. Inventor Lee de Forest successfully demonstrated his sound on film process called the Phonofilm. A popular film at the time was Demile’s “Ten Commandments, which was a great American silent film classic released by Paramount Pictures which also used the Technicolor film process. In 1925 the Great Charlie Chaplin wrote, produced, directed and starred in the classic silent comedy “The Gold Rush.” Hells Angels broke away from the modern classic films of the time, people were just not used to in you’re face action and mind blowing stunts that dazzled audiences. Hells Angels revolutionized film to a new category of action with flight through dog fight scenes. Hells Angles was innovative of its time and took film to a whole new level. I think the space forms will truly appreciate the film Hells Angels because it broke out from the norm of these silent movies and captivated America by becoming its first ever blockbuster film. The movie stretched our imagination of what can be done not just in flight and aviation but in technology and film as well, space forms should defiantly appreciate that being in a year 2100 where I am sure everything is ran on technology in the time of 2100. Coming to the very end of the path space forms will be able to walk into an old 1920’s movie theater and witness all the realism of the 1920s completely. They will watch the movie on its original sound and see everything just how it was during those times to best represent the true significance of the work of art.\r\n\r\nWorks Cited\r\n\r\n1. Fiero, The Humanistic Tradition. 2012. Online book.\r\n2. The Holy Bible, New International Version. Zondervan, Grand Rapids, M.I. 200\r\n3. Marvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\r\n4. www.historynet.com','The Year 2100','','publish','open','open','','the-year-2100','','','2012-12-12 14:58:57','2012-12-12 20:58:57','',0,'http://jeanatacc.com/2011/?p=3124',0,'post','',8),(3125,64,'2012-12-12 05:08:29','2012-12-12 11:08:29','','Auto Draft','','inherit','open','open','','3124-revision','','','2012-12-12 05:08:29','2012-12-12 11:08:29','',3124,'http://jeanatacc.com/2011/?p=3125',0,'revision','',0),(3126,64,'2012-12-12 05:10:38','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-12-12 05:10:38','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3126',0,'post','',0),(3127,64,'2012-12-12 05:11:59','2012-12-12 11:11:59','It is the year 2100, and Earth as we know it is no longer a habitable planet to live. Humans have lost all privileges to live on Earth and have destroyed the one planet that it truly took for granted. Due to our increased levels of emissions and pollution year after year it has finally depleted Earths ozone, with Earths excessive use of pollution and carbon dioxide it has created a drastic effect on an increase in Earths global average surface temperature, raising it to +200 plus degree weather which has slowly decimated all life form on Earth. A Mother ship has been built to salvage all remaining life on Earth and was the only ship built, the ship will only be allowed to carry four works of art that best represent Earth, not just as a society but who we humans were and what we stood for and didn’t stand for, how we thought and what inspired us, what we were willing to die and fight for and most importantly what we strived for. The four works of art that I have chosen to be preserved for future generations will be; Giovanni Pico Mirandola’s Oration of the Dignity of Man, Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, The Statue of Liberty, and Howard Hughes’ film Hell’s Angels. All of these works of art should be preserved for future generations for specific reasons; first I will describe the museum, and then describe each work’s significance on why it should be preserved for future generations.\nAs we have learned, a works true significance cannot be revealed without knowing what was going on during the time the work was created, the construction of the museum was built with that in consideration. The museum has four chambers that consist of the work of art at the end of a 400 foot walk down a hallway that has holographic displays of everything that was going on during the times of the work of art, So you will essentially get a short walk through time to truly understand the timeframe of the work of art before reaching the actual work. There will be multiple images of life like representations happening, you will be witnessing wars and famine, tortures and pain that went along with the works and you will also be able to smell all that was going on to get a better understanding of how it was before reaching the work of art.\nThe first work of art will be Giovanni Pico Mirandolla’s Oration of the Dignity of Man, as you first step on the walk way you will see the Mayan civilization that was around during the late 1400’s, you will also see the beautiful construction of the city Maccu Pichu which was also around during the late 1400s. The late 1400’s Christopher Columbus just set sail to discover new lands in 1492 which inspired people to take on new adventures. The time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\nI believe people in space would be captivated by the writing’s of Pico, because all that was going on during those times, the people should be able to smell the skin being burned from a holographic burning of a human who went against the beliefs of the church and this writing shows exactly that it did go against the church, the people in space will appreciate that and know who humans were, and what we were willing to die for such reasons. At the final stage of the path, space forms will witness the work on display in a glass case.\nMy next work of art is Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, as our future space life form begins the walk down the path to Bach’s masterpiece they will witness all that went on during the times as well in a holographic way to represent the true significance of the work of art. The space life form will witness Issac Newton sitting under a apple tree writing the Mathematical Principles of Natural Philosophy that was published in the late 1600’s, they will also see Robert Hooke discovering cells while working in a lab in during the time frame, and they will be walking down isles witnessing many people being tortured for going against the church at the time which was mast significant. They will also see the first ever bible being translated from Greek to German by Martin Luther who started the Protestant Reformation. The space life forms will understand that Bach’s piece represented the Reformation and will appreciate it for that, also what it was going against people during those times and what was at risk for going against the church during those times. “A Mighty Fortress is Our God” his piece translated is the scriptures from 2 Thessalonians 2:3-8 which talk about a man of Lawlessness, or a man of sin,(when translated) verse 3 of chapter 2 in the New testament of the Holy Bible also the first part of Bach’s “A Mighty Fortress is Our God” say “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of sin (some translations say rebellion) is revealed, the man doomed to destruction.”(2) Bach’s piece is warning us of sin.“ A Mighty Fortress is Our God” by Bach had a much more huge significance in the past than in today’s times because in those times people were willing to die for their own given right to practice what they religiously believed in, an example was Martin Luther’s friend Ulrich Zwingli, “who died Oct. 11, 1531, who was part of the Reformation as well, and believed one simple truth, it was the bible was the truth and anything else was not. I believe the people in space will appreciate the work of Bach and understand what the song represents, it will help them remind them not to take for granted some of the many opportunities that we do have, and to cherish them and to be grateful of your present freedoms, that is what Bach’s Ein Feste Burg Ist Unser Gott represents and for that is should be preserved for future generations. Finally reaching the end of the work the space forms will be witnessing a holographic version of Bach playing Ein Feste Burg Ist Unser Gott in the room.\nOur next work of art is the Statue of Liberty. The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future. The people in space will start on their walk path and see some of the many things that went on during the timeframe of the construction of the Statue of Liberty. They will witness the United States Navy constructing and producing warships made of iron and steel and hear all that went with it, they will see Alexander Gram Bell inventing the telephone in the late 1800’s. The space forms will also see the construction of the Eiffel Tower that was also built during the progressive era. Most of all the people would understand the true significance of the Statue of Liberty and appreciate that it was innovative sculpture design. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(3 Marvin) I believe the space forms will appreciate the true design and structure of the Statue of Liberty and for these reasons it should be preserved for future generations. At the end of the walk way our space forms will be looking at a smaller version of the Statue of Liberty, which would be all the same intricate designing but a 20 foot version of the Statue of Liberty, space forms will truly appreciate the technology behind the build of the Statue of Liberty, being able to witness technology in the form of a statue and how it can be represented as a high technology sculpture since space forms live in a world of high technology they will love the Statue of Liberty.\nOur Final work of art is Howard Hughes’ Hells Angels, Howard Hughes revolutionized the movie industry, and he elevated and pushed film to new and higher extremes and went beyond the limits of film making. Howard Hughes was a pioneer to the film industry. When Howard Hughes dove into film he directed, produced and partially wrote “Hell’s Angels” which became Hollywood’s first million dollar blockbuster movie ever. On his unprecedented work of “Hells Angels” Howard introduced the world to a newer perspective type of action, a type of action that is seen from the cock pit of an airplane that views the aerial battles from all possible angles during the memorable dog fight scenes in the movie. Howard Hughes recreated what war was like in the air from a pilot’s perspective and pushed the pilots to go beyond all levels of safety to recapture the reality of battle on film. Hells Angels had amazing special effects and ground breaking footage that achieved graphic realism from a whole new different perspective, for all these reasons this film should be preserved for future generations. As the future space forms begin their walk down the path of the early 1900’s they will begin to witness some of the many great things that went on along those times. First, they will see just how much technology captivated America during those times and see the will many changes that were going on at the time and new inventions and new discoveries were being found. In film, movies were just starting to implement the use of sound and color in films which was a major breakthrough for the industry and created a much bigger interest of audience, space forms will be able to see the recreation of those inventions taking place as if they were there during the invention, they will witness the invention of the radio which changed many lives in America, which defiantly help expand not just the news but Hollywood and entertainment which lead to a growing interest in entertainment and the movie industry. The space forms will see some of the ugliness and reality of World War One which ended a couple of years earlier; this had also helped the movie industry at the time. American’s could go and watch a movie and for a brief moment and forget about what was going on in the real world for an hour or two and enjoy themselves while lifting their morale or spirits. The movie industry definitely helped American’s get through some tough times. In 1919 a law was passed for the Prohibition of the consumption and possession of alcohol making it illegal, this as well helped the movie industry during the times, bringing more consumers towards the movies, space forms will witness all the things that went on with prohibition as if they were there smuggling the booze themselves. Jazz was the music of popular choice at the time and some of the more popular artists were Duke Ellington and Al Jolson. A popular composer at the time was George Gershwin who will be playing in holographic form.\nThe significance of the film is what catapults the film to iconic status. From a technical standpoint the dog fight scenes contained amazing aerial footage. Hells Angles created unpretentious grandeur for its aerial performance. Pilots took the planes past what was known as safe, they zoomed from beyond dangerous levels and perform stunts that cost one pilot and one mechanic their lives while shooting the film. When a pilot refused to due a risky stunt that was two dangerous Howard would get in the plane and perform the stunt himself just to get the realization of the pilots view on film. There is an aerial fight seen that involves a German zeppelin that is shot in a dual Technicolor with a purple backdrop, this complimented certain scenes that involved explosions and captured fire in its real form and changed special effects and made it more visual and real. Every detail in the film with aviation was stellar, from the take off’s to the flying v formation. The realism of the planes tale spinning out of control was epic, and was recreated to perfection and is seen throughout the dog fights. “The monumental dog fight scenes were incorporated in dozens of other films and are still stolen today.”(4 Historynet)\nDuring the release of Hells Angels was a time when sound was first becoming part of a movie. Inventor Lee de Forest successfully demonstrated his sound on film process called the Phonofilm. A popular film at the time was Demile’s “Ten Commandments, which was a great American silent film classic released by Paramount Pictures which also used the Technicolor film process. In 1925 the Great Charlie Chaplin wrote, produced, directed and starred in the classic silent comedy “The Gold Rush.” Hells Angels broke away from the modern classic films of the time, people were just not used to in you’re face action and mind blowing stunts that dazzled audiences. Hells Angels revolutionized film to a new category of action with flight through dog fight scenes. Hells Angles was innovative of its time and took film to a whole new level. I think the space forms will truly appreciate the film Hells Angels because it broke out from the norm of these silent movies and captivated America by becoming its first ever blockbuster film. The movie stretched our imagination of what can be done not just in flight and aviation but in technology and film as well, space forms should defiantly appreciate that being in a year 2100 where I am sure everything is ran on technology in the time of 2100. Coming to the very end of the path space forms will be able to walk into an old 1920’s movie theater and witness all the realism of the 1920s completely. They will watch the movie on its original sound and see everything just how it was during those times to best represent the true significance of the work of art.\n\nWorks Cited\n\n1. Fiero, The Humanistic Tradition. 2012. Online book.\n2. The Holy Bible, New International Version. Zondervan, Grand Rapids, M.I. 200\n3. Marvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\n4. www.historynet.com','The Year 2100','','inherit','open','open','','3124-revision-2','','','2012-12-12 05:11:59','2012-12-12 11:11:59','',3124,'http://jeanatacc.com/2011/?p=3127',0,'revision','',0),(3128,64,'2012-12-12 05:12:14','2012-12-12 11:12:14','It is the year 2100, and Earth as we know it is no longer a habitable planet to live. Humans have lost all privileges to live on Earth and have destroyed the one planet that it truly took for granted. Due to our increased levels of emissions and pollution year after year it has finally depleted Earths ozone, with Earths excessive use of pollution and carbon dioxide it has created a drastic effect on an increase in Earths global average surface temperature, raising it to +200 plus degree weather which has slowly decimated all life form on Earth. A Mother ship has been built to salvage all remaining life on Earth and was the only ship built, the ship will only be allowed to carry four works of art that best represent Earth, not just as a society but who we humans were and what we stood for and didn’t stand for, how we thought and what inspired us, what we were willing to die and fight for and most importantly what we strived for. The four works of art that I have chosen to be preserved for future generations will be; Giovanni Pico Mirandola’s Oration of the Dignity of Man, Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, The Statue of Liberty, and Howard Hughes’ film Hell’s Angels. All of these works of art should be preserved for future generations for specific reasons; first I will describe the museum, and then describe each work’s significance on why it should be preserved for future generations.\r\nAs we have learned, a works true significance cannot be revealed without knowing what was going on during the time the work was created, the construction of the museum was built with that in consideration. The museum has four chambers that consist of the work of art at the end of a 400 foot walk down a hallway that has holographic displays of everything that was going on during the times of the work of art, So you will essentially get a short walk through time to truly understand the timeframe of the work of art before reaching the actual work. There will be multiple images of life like representations happening, you will be witnessing wars and famine, tortures and pain that went along with the works and you will also be able to smell all that was going on to get a better understanding of how it was before reaching the work of art.\r\nThe first work of art will be Giovanni Pico Mirandolla’s Oration of the Dignity of Man, as you first step on the walk way you will see the Mayan civilization that was around during the late 1400’s, you will also see the beautiful construction of the city Maccu Pichu which was also around during the late 1400s. The late 1400’s Christopher Columbus just set sail to discover new lands in 1492 which inspired people to take on new adventures. The time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\r\nI believe people in space would be captivated by the writing’s of Pico, because all that was going on during those times, the people should be able to smell the skin being burned from a holographic burning of a human who went against the beliefs of the church and this writing shows exactly that it did go against the church, the people in space will appreciate that and know who humans were, and what we were willing to die for such reasons. At the final stage of the path, space forms will witness the work on display in a glass case.\r\nMy next work of art is Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, as our future space life form begins the walk down the path to Bach’s masterpiece they will witness all that went on during the times as well in a holographic way to represent the true significance of the work of art. The space life form will witness Issac Newton sitting under a apple tree writing the Mathematical Principles of Natural Philosophy that was published in the late 1600’s, they will also see Robert Hooke discovering cells while working in a lab in during the time frame, and they will be walking down isles witnessing many people being tortured for going against the church at the time which was mast significant. They will also see the first ever bible being translated from Greek to German by Martin Luther who started the Protestant Reformation. The space life forms will understand that Bach’s piece represented the Reformation and will appreciate it for that, also what it was going against people during those times and what was at risk for going against the church during those times. “A Mighty Fortress is Our God” his piece translated is the scriptures from 2 Thessalonians 2:3-8 which talk about a man of Lawlessness, or a man of sin,(when translated) verse 3 of chapter 2 in the New testament of the Holy Bible also the first part of Bach’s “A Mighty Fortress is Our God” say “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of sin (some translations say rebellion) is revealed, the man doomed to destruction.”(2) Bach’s piece is warning us of sin.“ A Mighty Fortress is Our God” by Bach had a much more huge significance in the past than in today’s times because in those times people were willing to die for their own given right to practice what they religiously believed in, an example was Martin Luther’s friend Ulrich Zwingli, “who died Oct. 11, 1531, who was part of the Reformation as well, and believed one simple truth, it was the bible was the truth and anything else was not. I believe the people in space will appreciate the work of Bach and understand what the song represents, it will help them remind them not to take for granted some of the many opportunities that we do have, and to cherish them and to be grateful of your present freedoms, that is what Bach’s Ein Feste Burg Ist Unser Gott represents and for that is should be preserved for future generations. Finally reaching the end of the work the space forms will be witnessing a holographic version of Bach playing Ein Feste Burg Ist Unser Gott in the room.\r\nOur next work of art is the Statue of Liberty. The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future. The people in space will start on their walk path and see some of the many things that went on during the timeframe of the construction of the Statue of Liberty. They will witness the United States Navy constructing and producing warships made of iron and steel and hear all that went with it, they will see Alexander Gram Bell inventing the telephone in the late 1800’s. The space forms will also see the construction of the Eiffel Tower that was also built during the progressive era. Most of all the people would understand the true significance of the Statue of Liberty and appreciate that it was innovative sculpture design. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(3 Marvin) I believe the space forms will appreciate the true design and structure of the Statue of Liberty and for these reasons it should be preserved for future generations. At the end of the walk way our space forms will be looking at a smaller version of the Statue of Liberty, which would be all the same intricate designing but a 20 foot version of the Statue of Liberty, space forms will truly appreciate the technology behind the build of the Statue of Liberty, being able to witness technology in the form of a statue and how it can be represented as a high technology sculpture since space forms live in a world of high technology they will love the Statue of Liberty.\r\nOur Final work of art is Howard Hughes’ Hells Angels, Howard Hughes revolutionized the movie industry, and he elevated and pushed film to new and higher extremes and went beyond the limits of film making. Howard Hughes was a pioneer to the film industry. When Howard Hughes dove into film he directed, produced and partially wrote “Hell’s Angels” which became Hollywood’s first million dollar blockbuster movie ever. On his unprecedented work of “Hells Angels” Howard introduced the world to a newer perspective type of action, a type of action that is seen from the cock pit of an airplane that views the aerial battles from all possible angles during the memorable dog fight scenes in the movie. Howard Hughes recreated what war was like in the air from a pilot’s perspective and pushed the pilots to go beyond all levels of safety to recapture the reality of battle on film. Hells Angels had amazing special effects and ground breaking footage that achieved graphic realism from a whole new different perspective, for all these reasons this film should be preserved for future generations. As the future space forms begin their walk down the path of the early 1900’s they will begin to witness some of the many great things that went on along those times. First, they will see just how much technology captivated America during those times and see the will many changes that were going on at the time and new inventions and new discoveries were being found. In film, movies were just starting to implement the use of sound and color in films which was a major breakthrough for the industry and created a much bigger interest of audience, space forms will be able to see the recreation of those inventions taking place as if they were there during the invention, they will witness the invention of the radio which changed many lives in America, which defiantly help expand not just the news but Hollywood and entertainment which lead to a growing interest in entertainment and the movie industry. The space forms will see some of the ugliness and reality of World War One which ended a couple of years earlier; this had also helped the movie industry at the time. American’s could go and watch a movie and for a brief moment and forget about what was going on in the real world for an hour or two and enjoy themselves while lifting their morale or spirits. The movie industry definitely helped American’s get through some tough times. In 1919 a law was passed for the Prohibition of the consumption and possession of alcohol making it illegal, this as well helped the movie industry during the times, bringing more consumers towards the movies, space forms will witness all the things that went on with prohibition as if they were there smuggling the booze themselves. Jazz was the music of popular choice at the time and some of the more popular artists were Duke Ellington and Al Jolson. A popular composer at the time was George Gershwin who will be playing in holographic form.\r\nThe significance of the film is what catapults the film to iconic status. From a technical standpoint the dog fight scenes contained amazing aerial footage. Hells Angles created unpretentious grandeur for its aerial performance. Pilots took the planes past what was known as safe, they zoomed from beyond dangerous levels and perform stunts that cost one pilot and one mechanic their lives while shooting the film. When a pilot refused to due a risky stunt that was two dangerous Howard would get in the plane and perform the stunt himself just to get the realization of the pilots view on film. There is an aerial fight seen that involves a German zeppelin that is shot in a dual Technicolor with a purple backdrop, this complimented certain scenes that involved explosions and captured fire in its real form and changed special effects and made it more visual and real. Every detail in the film with aviation was stellar, from the take off’s to the flying v formation. The realism of the planes tale spinning out of control was epic, and was recreated to perfection and is seen throughout the dog fights. “The monumental dog fight scenes were incorporated in dozens of other films and are still stolen today.”(4 Historynet)\r\nDuring the release of Hells Angels was a time when sound was first becoming part of a movie. Inventor Lee de Forest successfully demonstrated his sound on film process called the Phonofilm. A popular film at the time was Demile’s “Ten Commandments, which was a great American silent film classic released by Paramount Pictures which also used the Technicolor film process. In 1925 the Great Charlie Chaplin wrote, produced, directed and starred in the classic silent comedy “The Gold Rush.” Hells Angels broke away from the modern classic films of the time, people were just not used to in you’re face action and mind blowing stunts that dazzled audiences. Hells Angels revolutionized film to a new category of action with flight through dog fight scenes. Hells Angles was innovative of its time and took film to a whole new level. I think the space forms will truly appreciate the film Hells Angels because it broke out from the norm of these silent movies and captivated America by becoming its first ever blockbuster film. The movie stretched our imagination of what can be done not just in flight and aviation but in technology and film as well, space forms should defiantly appreciate that being in a year 2100 where I am sure everything is ran on technology in the time of 2100. Coming to the very end of the path space forms will be able to walk into an old 1920’s movie theater and witness all the realism of the 1920s completely. They will watch the movie on its original sound and see everything just how it was during those times to best represent the true significance of the work of art.\r\n\r\nWorks Cited\r\n\r\n1. Fiero, The Humanistic Tradition. 2012. Online book.\r\n2. The Holy Bible, New International Version. Zondervan, Grand Rapids, M.I. 200\r\n3. Marvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\r\n4. www.historynet.com','The Year 2100','','inherit','open','open','','3124-revision-3','','','2012-12-12 05:12:14','2012-12-12 11:12:14','',3124,'http://jeanatacc.com/2011/?p=3128',0,'revision','',0),(3129,64,'2012-12-12 05:12:30','2012-12-12 11:12:30','It is the year 2100, and Earth as we know it is no longer a habitable planet to live. Humans have lost all privileges to live on Earth and have destroyed the one planet that it truly took for granted. Due to our increased levels of emissions and pollution year after year it has finally depleted Earths ozone, with Earths excessive use of pollution and carbon dioxide it has created a drastic effect on an increase in Earths global average surface temperature, raising it to +200 plus degree weather which has slowly decimated all life form on Earth. A Mother ship has been built to salvage all remaining life on Earth and was the only ship built, the ship will only be allowed to carry four works of art that best represent Earth, not just as a society but who we humans were and what we stood for and didn’t stand for, how we thought and what inspired us, what we were willing to die and fight for and most importantly what we strived for. The four works of art that I have chosen to be preserved for future generations will be; Giovanni Pico Mirandola’s Oration of the Dignity of Man, Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, The Statue of Liberty, and Howard Hughes’ film Hell’s Angels. All of these works of art should be preserved for future generations for specific reasons; first I will describe the museum, and then describe each work’s significance on why it should be preserved for future generations.\r\nAs we have learned, a works true significance cannot be revealed without knowing what was going on during the time the work was created, the construction of the museum was built with that in consideration. The museum has four chambers that consist of the work of art at the end of a 400 foot walk down a hallway that has holographic displays of everything that was going on during the times of the work of art, So you will essentially get a short walk through time to truly understand the timeframe of the work of art before reaching the actual work. There will be multiple images of life like representations happening, you will be witnessing wars and famine, tortures and pain that went along with the works and you will also be able to smell all that was going on to get a better understanding of how it was before reaching the work of art.\r\nThe first work of art will be Giovanni Pico Mirandolla’s Oration of the Dignity of Man, as you first step on the walk way you will see the Mayan civilization that was around during the late 1400’s, you will also see the beautiful construction of the city Maccu Pichu which was also around during the late 1400s. The late 1400’s Christopher Columbus just set sail to discover new lands in 1492 which inspired people to take on new adventures. The time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\r\nI believe people in space would be captivated by the writing’s of Pico, because all that was going on during those times, the people should be able to smell the skin being burned from a holographic burning of a human who went against the beliefs of the church and this writing shows exactly that it did go against the church, the people in space will appreciate that and know who humans were, and what we were willing to die for such reasons. At the final stage of the path, space forms will witness the work on display in a glass case.\r\nMy next work of art is Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, as our future space life form begins the walk down the path to Bach’s masterpiece they will witness all that went on during the times as well in a holographic way to represent the true significance of the work of art. The space life form will witness Issac Newton sitting under a apple tree writing the Mathematical Principles of Natural Philosophy that was published in the late 1600’s, they will also see Robert Hooke discovering cells while working in a lab in during the time frame, and they will be walking down isles witnessing many people being tortured for going against the church at the time which was mast significant. They will also see the first ever bible being translated from Greek to German by Martin Luther who started the Protestant Reformation. The space life forms will understand that Bach’s piece represented the Reformation and will appreciate it for that, also what it was going against people during those times and what was at risk for going against the church during those times. “A Mighty Fortress is Our God” his piece translated is the scriptures from 2 Thessalonians 2:3-8 which talk about a man of Lawlessness, or a man of sin,(when translated) verse 3 of chapter 2 in the New testament of the Holy Bible also the first part of Bach’s “A Mighty Fortress is Our God” say “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of sin (some translations say rebellion) is revealed, the man doomed to destruction.”(2) Bach’s piece is warning us of sin.“ A Mighty Fortress is Our God” by Bach had a much more huge significance in the past than in today’s times because in those times people were willing to die for their own given right to practice what they religiously believed in, an example was Martin Luther’s friend Ulrich Zwingli, “who died Oct. 11, 1531, who was part of the Reformation as well, and believed one simple truth, it was the bible was the truth and anything else was not. I believe the people in space will appreciate the work of Bach and understand what the song represents, it will help them remind them not to take for granted some of the many opportunities that we do have, and to cherish them and to be grateful of your present freedoms, that is what Bach’s Ein Feste Burg Ist Unser Gott represents and for that is should be preserved for future generations. Finally reaching the end of the work the space forms will be witnessing a holographic version of Bach playing Ein Feste Burg Ist Unser Gott in the room.\r\nOur next work of art is the Statue of Liberty. The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future. The people in space will start on their walk path and see some of the many things that went on during the timeframe of the construction of the Statue of Liberty. They will witness the United States Navy constructing and producing warships made of iron and steel and hear all that went with it, they will see Alexander Gram Bell inventing the telephone in the late 1800’s. The space forms will also see the construction of the Eiffel Tower that was also built during the progressive era. Most of all the people would understand the true significance of the Statue of Liberty and appreciate that it was innovative sculpture design. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(3 Marvin) I believe the space forms will appreciate the true design and structure of the Statue of Liberty and for these reasons it should be preserved for future generations. At the end of the walk way our space forms will be looking at a smaller version of the Statue of Liberty, which would be all the same intricate designing but a 20 foot version of the Statue of Liberty, space forms will truly appreciate the technology behind the build of the Statue of Liberty, being able to witness technology in the form of a statue and how it can be represented as a high technology sculpture since space forms live in a world of high technology they will love the Statue of Liberty.\r\nOur Final work of art is Howard Hughes’ Hells Angels, Howard Hughes revolutionized the movie industry, and he elevated and pushed film to new and higher extremes and went beyond the limits of film making. Howard Hughes was a pioneer to the film industry. When Howard Hughes dove into film he directed, produced and partially wrote “Hell’s Angels” which became Hollywood’s first million dollar blockbuster movie ever. On his unprecedented work of “Hells Angels” Howard introduced the world to a newer perspective type of action, a type of action that is seen from the cock pit of an airplane that views the aerial battles from all possible angles during the memorable dog fight scenes in the movie. Howard Hughes recreated what war was like in the air from a pilot’s perspective and pushed the pilots to go beyond all levels of safety to recapture the reality of battle on film. Hells Angels had amazing special effects and ground breaking footage that achieved graphic realism from a whole new different perspective, for all these reasons this film should be preserved for future generations. As the future space forms begin their walk down the path of the early 1900’s they will begin to witness some of the many great things that went on along those times. First, they will see just how much technology captivated America during those times and see the will many changes that were going on at the time and new inventions and new discoveries were being found. In film, movies were just starting to implement the use of sound and color in films which was a major breakthrough for the industry and created a much bigger interest of audience, space forms will be able to see the recreation of those inventions taking place as if they were there during the invention, they will witness the invention of the radio which changed many lives in America, which defiantly help expand not just the news but Hollywood and entertainment which lead to a growing interest in entertainment and the movie industry. The space forms will see some of the ugliness and reality of World War One which ended a couple of years earlier; this had also helped the movie industry at the time. American’s could go and watch a movie and for a brief moment and forget about what was going on in the real world for an hour or two and enjoy themselves while lifting their morale or spirits. The movie industry definitely helped American’s get through some tough times. In 1919 a law was passed for the Prohibition of the consumption and possession of alcohol making it illegal, this as well helped the movie industry during the times, bringing more consumers towards the movies, space forms will witness all the things that went on with prohibition as if they were there smuggling the booze themselves. Jazz was the music of popular choice at the time and some of the more popular artists were Duke Ellington and Al Jolson. A popular composer at the time was George Gershwin who will be playing in holographic form.\r\nThe significance of the film is what catapults the film to iconic status. From a technical standpoint the dog fight scenes contained amazing aerial footage. Hells Angles created unpretentious grandeur for its aerial performance. Pilots took the planes past what was known as safe, they zoomed from beyond dangerous levels and perform stunts that cost one pilot and one mechanic their lives while shooting the film. When a pilot refused to due a risky stunt that was two dangerous Howard would get in the plane and perform the stunt himself just to get the realization of the pilots view on film. There is an aerial fight seen that involves a German zeppelin that is shot in a dual Technicolor with a purple backdrop, this complimented certain scenes that involved explosions and captured fire in its real form and changed special effects and made it more visual and real. Every detail in the film with aviation was stellar, from the take off’s to the flying v formation. The realism of the planes tale spinning out of control was epic, and was recreated to perfection and is seen throughout the dog fights. “The monumental dog fight scenes were incorporated in dozens of other films and are still stolen today.”(4 Historynet)\r\nDuring the release of Hells Angels was a time when sound was first becoming part of a movie. Inventor Lee de Forest successfully demonstrated his sound on film process called the Phonofilm. A popular film at the time was Demile’s “Ten Commandments, which was a great American silent film classic released by Paramount Pictures which also used the Technicolor film process. In 1925 the Great Charlie Chaplin wrote, produced, directed and starred in the classic silent comedy “The Gold Rush.” Hells Angels broke away from the modern classic films of the time, people were just not used to in you’re face action and mind blowing stunts that dazzled audiences. Hells Angels revolutionized film to a new category of action with flight through dog fight scenes. Hells Angles was innovative of its time and took film to a whole new level. I think the space forms will truly appreciate the film Hells Angels because it broke out from the norm of these silent movies and captivated America by becoming its first ever blockbuster film. The movie stretched our imagination of what can be done not just in flight and aviation but in technology and film as well, space forms should defiantly appreciate that being in a year 2100 where I am sure everything is ran on technology in the time of 2100. Coming to the very end of the path space forms will be able to walk into an old 1920’s movie theater and witness all the realism of the 1920s completely. They will watch the movie on its original sound and see everything just how it was during those times to best represent the true significance of the work of art.\r\n\r\nWorks Cited\r\n\r\n1. Fiero, The Humanistic Tradition. 2012. Online book.\r\n2. The Holy Bible, New International Version. Zondervan, Grand Rapids, M.I. 200\r\n3. Marvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\r\n4. www.historynet.com','The Year 2100','','inherit','open','open','','3124-revision-4','','','2012-12-12 05:12:30','2012-12-12 11:12:30','',3124,'http://jeanatacc.com/2011/?p=3129',0,'revision','',0),(3130,64,'2012-12-12 05:12:59','2012-12-12 11:12:59','&nbsp;\n\n&nbsp;\n\nIt is the year 2100, and Earth as we know it is no longer a habitable planet to live. Humans have lost all privileges to live on Earth and have destroyed the one planet that it truly took for granted. Due to our increased levels of emissions and pollution year after year it has finally depleted Earths ozone, with Earths excessive use of pollution and carbon dioxide it has created a drastic effect on an increase in Earths global average surface temperature, raising it to +200 plus degree weather which has slowly decimated all life form on Earth. A Mother ship has been built to salvage all remaining life on Earth and was the only ship built, the ship will only be allowed to carry four works of art that best represent Earth, not just as a society but who we humans were and what we stood for and didn’t stand for, how we thought and what inspired us, what we were willing to die and fight for and most importantly what we strived for. The four works of art that I have chosen to be preserved for future generations will be; Giovanni Pico Mirandola’s Oration of the Dignity of Man, Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, The Statue of Liberty, and Howard Hughes’ film Hell’s Angels. All of these works of art should be preserved for future generations for specific reasons; first I will describe the museum, and then describe each work’s significance on why it should be preserved for future generations.\nAs we have learned, a works true significance cannot be revealed without knowing what was going on during the time the work was created, the construction of the museum was built with that in consideration. The museum has four chambers that consist of the work of art at the end of a 400 foot walk down a hallway that has holographic displays of everything that was going on during the times of the work of art, So you will essentially get a short walk through time to truly understand the timeframe of the work of art before reaching the actual work. There will be multiple images of life like representations happening, you will be witnessing wars and famine, tortures and pain that went along with the works and you will also be able to smell all that was going on to get a better understanding of how it was before reaching the work of art.\nThe first work of art will be Giovanni Pico Mirandolla’s Oration of the Dignity of Man, as you first step on the walk way you will see the Mayan civilization that was around during the late 1400’s, you will also see the beautiful construction of the city Maccu Pichu which was also around during the late 1400s. The late 1400’s Christopher Columbus just set sail to discover new lands in 1492 which inspired people to take on new adventures. The time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\nI believe people in space would be captivated by the writing’s of Pico, because all that was going on during those times, the people should be able to smell the skin being burned from a holographic burning of a human who went against the beliefs of the church and this writing shows exactly that it did go against the church, the people in space will appreciate that and know who humans were, and what we were willing to die for such reasons. At the final stage of the path, space forms will witness the work on display in a glass case.\nMy next work of art is Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, as our future space life form begins the walk down the path to Bach’s masterpiece they will witness all that went on during the times as well in a holographic way to represent the true significance of the work of art. The space life form will witness Issac Newton sitting under a apple tree writing the Mathematical Principles of Natural Philosophy that was published in the late 1600’s, they will also see Robert Hooke discovering cells while working in a lab in during the time frame, and they will be walking down isles witnessing many people being tortured for going against the church at the time which was mast significant. They will also see the first ever bible being translated from Greek to German by Martin Luther who started the Protestant Reformation. The space life forms will understand that Bach’s piece represented the Reformation and will appreciate it for that, also what it was going against people during those times and what was at risk for going against the church during those times. “A Mighty Fortress is Our God” his piece translated is the scriptures from 2 Thessalonians 2:3-8 which talk about a man of Lawlessness, or a man of sin,(when translated) verse 3 of chapter 2 in the New testament of the Holy Bible also the first part of Bach’s “A Mighty Fortress is Our God” say “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of sin (some translations say rebellion) is revealed, the man doomed to destruction.”(2) Bach’s piece is warning us of sin.“ A Mighty Fortress is Our God” by Bach had a much more huge significance in the past than in today’s times because in those times people were willing to die for their own given right to practice what they religiously believed in, an example was Martin Luther’s friend Ulrich Zwingli, “who died Oct. 11, 1531, who was part of the Reformation as well, and believed one simple truth, it was the bible was the truth and anything else was not. I believe the people in space will appreciate the work of Bach and understand what the song represents, it will help them remind them not to take for granted some of the many opportunities that we do have, and to cherish them and to be grateful of your present freedoms, that is what Bach’s Ein Feste Burg Ist Unser Gott represents and for that is should be preserved for future generations. Finally reaching the end of the work the space forms will be witnessing a holographic version of Bach playing Ein Feste Burg Ist Unser Gott in the room.\nOur next work of art is the Statue of Liberty. The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future. The people in space will start on their walk path and see some of the many things that went on during the timeframe of the construction of the Statue of Liberty. They will witness the United States Navy constructing and producing warships made of iron and steel and hear all that went with it, they will see Alexander Gram Bell inventing the telephone in the late 1800’s. The space forms will also see the construction of the Eiffel Tower that was also built during the progressive era. Most of all the people would understand the true significance of the Statue of Liberty and appreciate that it was innovative sculpture design. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(3 Marvin) I believe the space forms will appreciate the true design and structure of the Statue of Liberty and for these reasons it should be preserved for future generations. At the end of the walk way our space forms will be looking at a smaller version of the Statue of Liberty, which would be all the same intricate designing but a 20 foot version of the Statue of Liberty, space forms will truly appreciate the technology behind the build of the Statue of Liberty, being able to witness technology in the form of a statue and how it can be represented as a high technology sculpture since space forms live in a world of high technology they will love the Statue of Liberty.\nOur Final work of art is Howard Hughes’ Hells Angels, Howard Hughes revolutionized the movie industry, and he elevated and pushed film to new and higher extremes and went beyond the limits of film making. Howard Hughes was a pioneer to the film industry. When Howard Hughes dove into film he directed, produced and partially wrote “Hell’s Angels” which became Hollywood’s first million dollar blockbuster movie ever. On his unprecedented work of “Hells Angels” Howard introduced the world to a newer perspective type of action, a type of action that is seen from the cock pit of an airplane that views the aerial battles from all possible angles during the memorable dog fight scenes in the movie. Howard Hughes recreated what war was like in the air from a pilot’s perspective and pushed the pilots to go beyond all levels of safety to recapture the reality of battle on film. Hells Angels had amazing special effects and ground breaking footage that achieved graphic realism from a whole new different perspective, for all these reasons this film should be preserved for future generations. As the future space forms begin their walk down the path of the early 1900’s they will begin to witness some of the many great things that went on along those times. First, they will see just how much technology captivated America during those times and see the will many changes that were going on at the time and new inventions and new discoveries were being found. In film, movies were just starting to implement the use of sound and color in films which was a major breakthrough for the industry and created a much bigger interest of audience, space forms will be able to see the recreation of those inventions taking place as if they were there during the invention, they will witness the invention of the radio which changed many lives in America, which defiantly help expand not just the news but Hollywood and entertainment which lead to a growing interest in entertainment and the movie industry. The space forms will see some of the ugliness and reality of World War One which ended a couple of years earlier; this had also helped the movie industry at the time. American’s could go and watch a movie and for a brief moment and forget about what was going on in the real world for an hour or two and enjoy themselves while lifting their morale or spirits. The movie industry definitely helped American’s get through some tough times. In 1919 a law was passed for the Prohibition of the consumption and possession of alcohol making it illegal, this as well helped the movie industry during the times, bringing more consumers towards the movies, space forms will witness all the things that went on with prohibition as if they were there smuggling the booze themselves. Jazz was the music of popular choice at the time and some of the more popular artists were Duke Ellington and Al Jolson. A popular composer at the time was George Gershwin who will be playing in holographic form.\nThe significance of the film is what catapults the film to iconic status. From a technical standpoint the dog fight scenes contained amazing aerial footage. Hells Angles created unpretentious grandeur for its aerial performance. Pilots took the planes past what was known as safe, they zoomed from beyond dangerous levels and perform stunts that cost one pilot and one mechanic their lives while shooting the film. When a pilot refused to due a risky stunt that was two dangerous Howard would get in the plane and perform the stunt himself just to get the realization of the pilots view on film. There is an aerial fight seen that involves a German zeppelin that is shot in a dual Technicolor with a purple backdrop, this complimented certain scenes that involved explosions and captured fire in its real form and changed special effects and made it more visual and real. Every detail in the film with aviation was stellar, from the take off’s to the flying v formation. The realism of the planes tale spinning out of control was epic, and was recreated to perfection and is seen throughout the dog fights. “The monumental dog fight scenes were incorporated in dozens of other films and are still stolen today.”(4 Historynet)\nDuring the release of Hells Angels was a time when sound was first becoming part of a movie. Inventor Lee de Forest successfully demonstrated his sound on film process called the Phonofilm. A popular film at the time was Demile’s “Ten Commandments, which was a great American silent film classic released by Paramount Pictures which also used the Technicolor film process. In 1925 the Great Charlie Chaplin wrote, produced, directed and starred in the classic silent comedy “The Gold Rush.” Hells Angels broke away from the modern classic films of the time, people were just not used to in you’re face action and mind blowing stunts that dazzled audiences. Hells Angels revolutionized film to a new category of action with flight through dog fight scenes. Hells Angles was innovative of its time and took film to a whole new level. I think the space forms will truly appreciate the film Hells Angels because it broke out from the norm of these silent movies and captivated America by becoming its first ever blockbuster film. The movie stretched our imagination of what can be done not just in flight and aviation but in technology and film as well, space forms should defiantly appreciate that being in a year 2100 where I am sure everything is ran on technology in the time of 2100. Coming to the very end of the path space forms will be able to walk into an old 1920’s movie theater and witness all the realism of the 1920s completely. They will watch the movie on its original sound and see everything just how it was during those times to best represent the true significance of the work of art.\n\nWorks Cited\n\n1. Fiero, The Humanistic Tradition. 2012. Online book.\n2. The Holy Bible, New International Version. Zondervan, Grand Rapids, M.I. 200\n3. Marvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\n4. www.historynet.com','The Year 2100','','inherit','open','open','','3124-revision-5','','','2012-12-12 05:12:59','2012-12-12 11:12:59','',3124,'http://jeanatacc.com/2011/?p=3130',0,'revision','',0),(3131,57,'2012-12-12 14:49:07','2012-12-12 20:49:07','It’s 2100, the Earth is not how it used to be, and you can trust me on that because I have devoted my life to the study of American history. In the 1980’s, the Earth started a very destructive path down a road that ended in nuclear detonation, the Middle East gone. In 2025 it came out that we could now settle the ‘final frontier’, space, and thus began another colonization race. China completely relocated, taking over the entire planet of Mars. Most of Europe has relocated on various moons and planets, leaving the EU (European Union) in charge of the remaining population. Enough of North and South America has left that the United States government is now in charge of the two continents. After China left, North Korea took their land, and scared away most of Japan and South Korea.\r\n\r\n<!--more-->\r\n\r\nOne day, when I went to work at the Smithsonian Museum in Washington D.C., I was met by a couple of suits that said they needed me to go with them. I thought that maybe my tendency to pry with the government for confidential information had finally come back to bite me, and this thought I was sure of when we drove through the gates to the CIA headquarters. I was taken into a room, where I found about 50 other people, some of which I had recognized from various conventions. Once we all settled down, the room changed into a holographic auditorium where I realized people from all over Earth were gathered for this meeting. The United States was going to relocate; at least that’s how I understood it. North Korea was getting too strong, and the government felt it was in our best interest to leave. But before America was going to even announce this new information, they wanted to bring in historians from around the world to give us some heavy orders: save humanity.\r\n\r\nSave humanity, what a lofty task. They explained it to us more, each of us were to get our own ships and can save 4 things from the pending destruction America thought would happen once we left. We each had to put together a proposal to give to a board, on what we will save, how we will retrieve it, and how we will display it. Each ship was to be its own museum, and will eventually settle on a planet or moon. The proposal was difficult for me to start on, I met with my assigned team of archaeologists and immediately started asking what they thought should be saved. I felt it would be selfish to save things I believed should be saved, because I am not humanity by myself.\r\n\r\nThe proposal ended up as follows:\r\n\r\n&nbsp;\r\n\r\nMen and Women of the Board,\r\n\r\nAfter weeks of careful thinking, self-reflection, and research, I have come here to propose to you why we should save 4 very different items from Earths history. While there is a lot I want to save, I will have to trust in my colleagues to make un-selfish decisions themselves, as I hope I was able to personally achieve.\r\n\r\nFirst, I will like to save Martin Luther’s “95 Theses”. The “95 Theses” and all subsequent works and trials of Luther are completely relevant to represent the Renaissance, as he is credited for starting the Protestant Reformation. He promoted being your own minister, meaning you can talk to God directly. He also believed in everything in scripture, and felt that things not in scripture shouldn’t be part of religion; which was a direct slam to the Catholic Church. Luther ended up being excommunicated, and never reconciled with the Catholic Church. This work is important for future generations because it shows that if you believe in something enough, you can spark major changes. Retrieving the works of Luther and the trial notes will require missions to both Germany and the Vatican. The “95 Theses” will be displayed by putting the original is a display similar to the Guttenberg Bible at the University of Texas at Austin. I was to put as much information on the changes Luther sparked as possible in the room, giving the visitors a chance to really feel the inspiration and passion in his words. The room will be designed as a German street, with a chapel door in the middle with the main work under it.\r\n\r\nSecond, I will like to preserve the French Castle, The Palace of Versailles. The Palace was important for several reasons. One, the Palace is the best example we have of the government system of Absolutism. Built for the royal French family, King Louis the 14<sup>th</sup> (also known as the Sun King) changed the Palace into what we all know today. The vast rooms, theatres, and gardens all represented the power that the king and other nobles had at the time. The Palace is important for future generations because it is a beautiful piece of art that you can both admire and also look at and understand how much power governments at one time had. As far as retrieving the Palace, I am not proposing the saving of the actual building. But I will make a trip to France for pictures, paintings, and furniture from various rooms, as well as a wall from the Hall of Mirrors. I would also like to get ahold of blueprints, which will be changed into an interactive map that will allow people to look through the blueprints. The room will be designed as an ornate ballroom, similar to that of the one in the palace; all of these things added together I feel will make up for not being able to take the actual building itself.\r\n\r\nThird, I will like to propose the saving of Puccini’s Opera “Madama Butterfly”. Puccini’s opera should be saved for a few reasons. First of all, the Opera represents the opening of the Eastern World to the Western world, showing the mistreatment and exploitation the East experienced. Second, the Opera is still the most performed opera in The United States of America. This is important for the future generations because it gives people an opportunity to see what happens when things get taken advantage of, with a thrown in history lesson on American-Japanese relations at the end of the 1800’s. Receiving this Opera may be a little tricky, as there are several different companies, traveling and stalemate, which perform this opera. I would like to get music, sets, and outfits from various companies. This will allow visitors to see the different interpretations, as well as see how monumentally popular this show is. I would like a big room with the sets all combined to house this exhibit, with music playing and holograms acting out scenes that the visitors themselves can chose.\r\n\r\nLastly, I would like the board to consider saving Andy and Lana Wachowski’s “The Matrix”. This movie is important because it symbolizes the information age, and the popular concern that technology will eventually overpower humanity. This movie, made in 1999, is still relevant to this day as technology controls more and more of our lives and is important for the future generations as a lesson. Retrieving this movie is simple, as a product of the information age almost every movie collector owns this movie. Although, I would like to stage a trip to Old Hollywood, and retrieve old movie props and character outfits. Displaying the movie will be the fun part. I want the walls to have the green numbers falling, making you feel like you are inside the Matrix. Before going into the room, I want a dispenser of Cherry, Cinnamon, or Strawberry jellybeans to represent the red pill you have to take to enter the Matrix. I want this to be the most interactive display since it is about technology, and while I do want the movie to be screening I also want to make sure people also get an opportunity to learn about the psychology behind it.\r\n\r\nThank you for your time and considerations.\r\n\r\n&nbsp;\r\n\r\nAfter receiving the all clear from the board I went on adventures of a lifetime. I traveled the world attending performances of “Madama Butterfly”, and retrieving artifacts from each show. We stopped in France for an extended period and were able to get blueprints, as well as 7 pieces of art, some chairs, a fireplace, and a wall from the Hall of Mirrors. We skipped over to Germany where we got a Cathedral door and the court documents from Luther’s excommunication, as well as the “95 Theses” itself. The best part of the adventure was going to Old Hollywood where we were able to get ahold of everything still left behind from “The Matrix”.\r\n\r\nAfter setting up the museum, we took off. This was my first time in space; my job had kept me grounded. It was remarkable, life-changing really. We did a tour of most of the colonies before finally settling on our assigned plot on one of Mars’s moons where most of England had relocated to. When the United States announced their departure, the EU left as well. The planet is now controlled by the North Koreans, or as we refer to them now the Earthlings. While they have torn down a lot, they did save some wonders, although nothing that I thankfully saved. The world, well the universe, is completely changed now that it’s 2100; but my new life, my museum, is something I wouldn’t trade for anything.','Attempting to Save Humanity ','','publish','open','open','','attempting-to-save-humanity','','','2012-12-12 14:49:07','2012-12-12 20:49:07','',0,'http://jeanatacc.com/2011/?p=3131',0,'post','',4),(3132,57,'2012-12-12 14:47:36','2012-12-12 20:47:36','','Attempting to Save Humanity ','','inherit','open','open','','3131-revision','','','2012-12-12 14:47:36','2012-12-12 20:47:36','',3131,'http://jeanatacc.com/2011/?p=3132',0,'revision','',0),(3133,57,'2012-12-12 14:48:23','2012-12-12 20:48:23','It’s 2100, the Earth is not how it used to be, and you can trust me on that because I have devoted my life to the study of American history. In the 1980’s, the Earth started a very destructive path down a road that ended in nuclear detonation, the Middle East gone. In 2025 it came out that we could now settle the ‘final frontier’, space, and thus began another colonization race. China completely relocated, taking over the entire planet of Mars. Most of Europe has relocated on various moons and planets, leaving the EU (European Union) in charge of the remaining population. Enough of North and South America has left that the United States government is now in charge of the two continents. After China left, North Korea took their land, and scared away most of Japan and South Korea.\r\n\r\n<!--more-->\r\n\r\nOne day, when I went to work at the Smithsonian Museum in Washington D.C., I was met by a couple of suits that said they needed me to go with them. I thought that maybe my tendency to pry with the government for confidential information had finally come back to bite me, and this thought I was sure of when we drove through the gates to the CIA headquarters. I was taken into a room, where I found about 50 other people, some of which I had recognized from various conventions. Once we all settled down, the room changed into a holographic auditorium where I realized people from all over Earth were gathered for this meeting. The United States was going to relocate; at least that’s how I understood it. North Korea was getting too strong, and the government felt it was in our best interest to leave. But before America was going to even announce this new information, they wanted to bring in historians from around the world to give us some heavy orders: save humanity.\r\n\r\nSave humanity, what a lofty task. They explained it to us more, each of us were to get our own ships and can save 4 things from the pending destruction America thought would happen once we left. We each had to put together a proposal to give to a board, on what we will save, how we will retrieve it, and how we will display it. Each ship was to be its own museum, and will eventually settle on a planet or moon. The proposal was difficult for me to start on, I met with my assigned team of archaeologists and immediately started asking what they thought should be saved. I felt it would be selfish to save things I believed should be saved, because I am not humanity by myself.\r\n\r\nThe proposal ended up as follows:\r\n\r\n&nbsp;\r\n\r\nMen and Women of the Board,\r\n\r\nAfter weeks of careful thinking, self-reflection, and research, I have come here to propose to you why we should save 4 very different items from Earths history. While there is a lot I want to save, I will have to trust in my colleagues to make un-selfish decisions themselves, as I hope I was able to personally achieve.\r\n\r\nFirst, I will like to save Martin Luther’s “95 Theses”. The “95 Theses” and all subsequent works and trials of Luther are completely relevant to represent the Renaissance, as he is credited for starting the Protestant Reformation. He promoted being your own minister, meaning you can talk to God directly. He also believed in everything in scripture, and felt that things not in scripture shouldn’t be part of religion; which was a direct slam to the Catholic Church. Luther ended up being excommunicated, and never reconciled with the Catholic Church. This work is important for future generations because it shows that if you believe in something enough, you can spark major changes. Retrieving the works of Luther and the trial notes will require missions to both Germany and the Vatican. The “95 Theses” will be displayed by putting the original is a display similar to the Guttenberg Bible at the University of Texas at Austin. I was to put as much information on the changes Luther sparked as possible in the room, giving the visitors a chance to really feel the inspiration and passion in his words. The room will be designed as a German street, with a chapel door in the middle with the main work under it.\r\n\r\nSecond, I will like to preserve the French Castle, The Palace of Versailles. The Palace was important for several reasons. One, the Palace is the best example we have of the government system of Absolutism. Built for the royal French family, King Louis the 14<sup>th</sup> (also known as the Sun King) changed the Palace into what we all know today. The vast rooms, theatres, and gardens all represented the power that the king and other nobles had at the time. The Palace is important for future generations because it is a beautiful piece of art that you can both admire and also look at and understand how much power governments at one time had. As far as retrieving the Palace, I am not proposing the saving of the actual building. But I will make a trip to France for pictures, paintings, and furniture from various rooms, as well as a wall from the Hall of Mirrors. I would also like to get ahold of blueprints, which will be changed into an interactive map that will allow people to look through the blueprints. The room will be designed as an ornate ballroom, similar to that of the one in the palace; all of these things added together I feel will make up for not being able to take the actual building itself.\r\n\r\nThird, I will like to propose the saving of Puccini’s Opera “Madama Butterfly”. Puccini’s opera should be saved for a few reasons. First of all, the Opera represents the opening of the Eastern World to the Western world, showing the mistreatment and exploitation the East experienced. Second, the Opera is still the most performed opera in The United States of America. This is important for the future generations because it gives people an opportunity to see what happens when things get taken advantage of, with a thrown in history lesson on American-Japanese relations at the end of the 1800’s. Receiving this Opera may be a little tricky, as there are several different companies, traveling and stalemate, which perform this opera. I would like to get music, sets, and outfits from various companies. This will allow visitors to see the different interpretations, as well as see how monumentally popular this show is. I would like a big room with the sets all combined to house this exhibit, with music playing and holograms acting out scenes that the visitors themselves can chose.\r\n\r\nLastly, I would like the board to consider saving Andy and Lana Wachowski’s “The Matrix”. This movie is important because it symbolizes the information age, and the popular concern that technology will eventually overpower humanity. This movie, made in 1999, is still relevant to this day as technology controls more and more of our lives and is important for the future generations as a lesson. Retrieving this movie is simple, as a product of the information age almost every movie collector owns this movie. Although, I would like to stage a trip to Old Hollywood, and retrieve old movie props and character outfits. Displaying the movie will be the fun part. I want the walls to have the green numbers falling, making you feel like you are inside the Matrix. Before going into the room, I want a dispenser of Cherry, Cinnamon, or Strawberry jellybeans to represent the red pill you have to take to enter the Matrix. I want this to be the most interactive display since it is about technology, and while I do want the movie to be screening I also want to make sure people also get an opportunity to learn about the psychology behind it.\r\n\r\nThank you for your time and considerations.\r\n\r\n&nbsp;\r\n\r\nAfter receiving the all clear from the board I went on adventures of a lifetime. I traveled the world attending performances of “Madama Butterfly”, and retrieving artifacts from each show. We stopped in France for an extended period and were able to get blueprints, as well as 7 pieces of art, some chairs, a fireplace, and a wall from the Hall of Mirrors. We skipped over to Germany where we got a Cathedral door and the court documents from Luther’s excommunication, as well as the “95 Theses” itself. The best part of the adventure was going to Old Hollywood where we were able to get ahold of everything still left behind from “The Matrix”.\r\n\r\nAfter setting up the museum, we took off. This was my first time in space; my job had kept me grounded. It was remarkable, life-changing really. We did a tour of most of the colonies before finally settling on our assigned plot on one of Mars’s moons where most of England had relocated to. When the United States announced their departure, the EU left as well. The planet is now controlled by the North Koreans, or as we refer to them now the Earthlings. While they have torn down a lot, they did save some wonders, although nothing that I thankfully saved. The world, well the universe, is completely changed now that it’s 2100; but my new life, my museum, is something I wouldn’t trade for anything.','Attempting to Save Humanity ','','inherit','open','open','','3131-revision-2','','','2012-12-12 14:48:23','2012-12-12 20:48:23','',3131,'http://jeanatacc.com/2011/?p=3133',0,'revision','',0),(3134,1,'2012-12-12 14:58:35','2012-12-12 20:58:35','It is the year 2100, and Earth as we know it is no longer a habitable planet to live. Humans have lost all privileges to live on Earth and have destroyed the one planet that it truly took for granted. Due to our increased levels of emissions and pollution year after year it has finally depleted Earths ozone, with Earths excessive use of pollution and carbon dioxide it has created a drastic effect on an increase in Earths global average surface temperature, raising it to +200 plus degree weather which has slowly decimated all life form on Earth. A Mother ship has been built to salvage all remaining life on Earth and was the only ship built, the ship will only be allowed to carry four works of art that best represent Earth, not just as a society but who we humans were and what we stood for and didn’t stand for, how we thought and what inspired us, what we were willing to die and fight for and most importantly what we strived for. The four works of art that I have chosen to be preserved for future generations will be; Giovanni Pico Mirandola’s Oration of the Dignity of Man, Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, The Statue of Liberty, and Howard Hughes’ film Hell’s Angels. All of these works of art should be preserved for future generations for specific reasons; first I will describe the museum, and then describe each work’s significance on why it should be preserved for future generations.<!--more-->\n\nAs we have learned, a works true significance cannot be revealed without knowing what was going on during the time the work was created, the construction of the museum was built with that in consideration. The museum has four chambers that consist of the work of art at the end of a 400 foot walk down a hallway that has holographic displays of everything that was going on during the times of the work of art, So you will essentially get a short walk through time to truly understand the timeframe of the work of art before reaching the actual work. There will be multiple images of life like representations happening, you will be witnessing wars and famine, tortures and pain that went along with the works and you will also be able to smell all that was going on to get a better understanding of how it was before reaching the work of art.\n\nThe first work of art will be Giovanni Pico Mirandolla’s Oration of the Dignity of Man, as you first step on the walk way you will see the Mayan civilization that was around during the late 1400’s, you will also see the beautiful construction of the city Maccu Pichu which was also around during the late 1400s. The late 1400’s Christopher Columbus just set sail to discover new lands in 1492 which inspired people to take on new adventures. The time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\n\nI believe people in space would be captivated by the writing’s of Pico, because all that was going on during those times, the people should be able to smell the skin being burned from a holographic burning of a human who went against the beliefs of the church and this writing shows exactly that it did go against the church, the people in space will appreciate that and know who humans were, and what we were willing to die for such reasons. At the final stage of the path, space forms will witness the work on display in a glass case.\n\nMy next work of art is Johan Sebastian Bach’s Ein Feste Burg Ist Unser Gott, as our future space life form begins the walk down the path to Bach’s masterpiece they will witness all that went on during the times as well in a holographic way to represent the true significance of the work of art. The space life form will witness Issac Newton sitting under a apple tree writing the Mathematical Principles of Natural Philosophy that was published in the late 1600’s, they will also see Robert Hooke discovering cells while working in a lab in during the time frame, and they will be walking down isles witnessing many people being tortured for going against the church at the time which was mast significant. They will also see the first ever bible being translated from Greek to German by Martin Luther who started the Protestant Reformation. The space life forms will understand that Bach’s piece represented the Reformation and will appreciate it for that, also what it was going against people during those times and what was at risk for going against the church during those times. “A Mighty Fortress is Our God” his piece translated is the scriptures from 2 Thessalonians 2:3-8 which talk about a man of Lawlessness, or a man of sin,(when translated) verse 3 of chapter 2 in the New testament of the Holy Bible also the first part of Bach’s “A Mighty Fortress is Our God” say “Don’t let anyone deceive you in any way, for that day will not come until the rebellion occurs and the man of sin (some translations say rebellion) is revealed, the man doomed to destruction.”(2) Bach’s piece is warning us of sin.“ A Mighty Fortress is Our God” by Bach had a much more huge significance in the past than in today’s times because in those times people were willing to die for their own given right to practice what they religiously believed in, an example was Martin Luther’s friend Ulrich Zwingli, “who died Oct. 11, 1531, who was part of the Reformation as well, and believed one simple truth, it was the bible was the truth and anything else was not. I believe the people in space will appreciate the work of Bach and understand what the song represents, it will help them remind them not to take for granted some of the many opportunities that we do have, and to cherish them and to be grateful of your present freedoms, that is what Bach’s Ein Feste Burg Ist Unser Gott represents and for that is should be preserved for future generations. Finally reaching the end of the work the space forms will be witnessing a holographic version of Bach playing Ein Feste Burg Ist Unser Gott in the room.\n\nOur next work of art is the Statue of Liberty. The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future. The people in space will start on their walk path and see some of the many things that went on during the timeframe of the construction of the Statue of Liberty. They will witness the United States Navy constructing and producing warships made of iron and steel and hear all that went with it, they will see Alexander Gram Bell inventing the telephone in the late 1800’s. The space forms will also see the construction of the Eiffel Tower that was also built during the progressive era. Most of all the people would understand the true significance of the Statue of Liberty and appreciate that it was innovative sculpture design. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(3 Marvin) I believe the space forms will appreciate the true design and structure of the Statue of Liberty and for these reasons it should be preserved for future generations. At the end of the walk way our space forms will be looking at a smaller version of the Statue of Liberty, which would be all the same intricate designing but a 20 foot version of the Statue of Liberty, space forms will truly appreciate the technology behind the build of the Statue of Liberty, being able to witness technology in the form of a statue and how it can be represented as a high technology sculpture since space forms live in a world of high technology they will love the Statue of Liberty.\n\nOur Final work of art is Howard Hughes’ Hells Angels, Howard Hughes revolutionized the movie industry, and he elevated and pushed film to new and higher extremes and went beyond the limits of film making. Howard Hughes was a pioneer to the film industry. When Howard Hughes dove into film he directed, produced and partially wrote “Hell’s Angels” which became Hollywood’s first million dollar blockbuster movie ever. On his unprecedented work of “Hells Angels” Howard introduced the world to a newer perspective type of action, a type of action that is seen from the cock pit of an airplane that views the aerial battles from all possible angles during the memorable dog fight scenes in the movie. Howard Hughes recreated what war was like in the air from a pilot’s perspective and pushed the pilots to go beyond all levels of safety to recapture the reality of battle on film. Hells Angels had amazing special effects and ground breaking footage that achieved graphic realism from a whole new different perspective, for all these reasons this film should be preserved for future generations. As the future space forms begin their walk down the path of the early 1900’s they will begin to witness some of the many great things that went on along those times. First, they will see just how much technology captivated America during those times and see the will many changes that were going on at the time and new inventions and new discoveries were being found. In film, movies were just starting to implement the use of sound and color in films which was a major breakthrough for the industry and created a much bigger interest of audience, space forms will be able to see the recreation of those inventions taking place as if they were there during the invention, they will witness the invention of the radio which changed many lives in America, which defiantly help expand not just the news but Hollywood and entertainment which lead to a growing interest in entertainment and the movie industry. The space forms will see some of the ugliness and reality of World War One which ended a couple of years earlier; this had also helped the movie industry at the time. American’s could go and watch a movie and for a brief moment and forget about what was going on in the real world for an hour or two and enjoy themselves while lifting their morale or spirits. The movie industry definitely helped American’s get through some tough times. In 1919 a law was passed for the Prohibition of the consumption and possession of alcohol making it illegal, this as well helped the movie industry during the times, bringing more consumers towards the movies, space forms will witness all the things that went on with prohibition as if they were there smuggling the booze themselves. Jazz was the music of popular choice at the time and some of the more popular artists were Duke Ellington and Al Jolson. A popular composer at the time was George Gershwin who will be playing in holographic form.\n\nThe significance of the film is what catapults the film to iconic status. From a technical standpoint the dog fight scenes contained amazing aerial footage. Hells Angles created unpretentious grandeur for its aerial performance. Pilots took the planes past what was known as safe, they zoomed from beyond dangerous levels and perform stunts that cost one pilot and one mechanic their lives while shooting the film. When a pilot refused to due a risky stunt that was two dangerous Howard would get in the plane and perform the stunt himself just to get the realization of the pilots view on film. There is an aerial fight seen that involves a German zeppelin that is shot in a dual Technicolor with a purple backdrop, this complimented certain scenes that involved explosions and captured fire in its real form and changed special effects and made it more visual and real. Every detail in the film with aviation was stellar, from the take off’s to the flying v formation. The realism of the planes tale spinning out of control was epic, and was recreated to perfection and is seen throughout the dog fights. “The monumental dog fight scenes were incorporated in dozens of other films and are still stolen today.”(4 Historynet)\n\nDuring the release of Hells Angels was a time when sound was first becoming part of a movie. Inventor Lee de Forest successfully demonstrated his sound on film process called the Phonofilm. A popular film at the time was Demile’s “Ten Commandments, which was a great American silent film classic released by Paramount Pictures which also used the Technicolor film process. In 1925 the Great Charlie Chaplin wrote, produced, directed and starred in the classic silent comedy “The Gold Rush.” Hells Angels broke away from the modern classic films of the time, people were just not used to in you’re face action and mind blowing stunts that dazzled audiences. Hells Angels revolutionized film to a new category of action with flight through dog fight scenes. Hells Angles was innovative of its time and took film to a whole new level. I think the space forms will truly appreciate the film Hells Angels because it broke out from the norm of these silent movies and captivated America by becoming its first ever blockbuster film. The movie stretched our imagination of what can be done not just in flight and aviation but in technology and film as well, space forms should defiantly appreciate that being in a year 2100 where I am sure everything is ran on technology in the time of 2100. Coming to the very end of the path space forms will be able to walk into an old 1920’s movie theater and witness all the realism of the 1920s completely. They will watch the movie on its original sound and see everything just how it was during those times to best represent the true significance of the work of art.\n\nWorks Cited\n\n1. Fiero, The Humanistic Tradition. 2012. Online book.\n2. The Holy Bible, New International Version. Zondervan, Grand Rapids, M.I. 200\n3. Marvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\n4. www.historynet.com','The Year 2100','','inherit','open','open','','3124-autosave','','','2012-12-12 14:58:35','2012-12-12 20:58:35','',3124,'http://jeanatacc.com/2011/?p=3134',0,'revision','',0);
