INSERT INTO `wp_posts` VALUES (3292,86,'2013-09-23 12:00:31','2013-09-23 18:00:31','&nbsp;\r\n<h1 align=\"center\"><strong>Venus of Urbino</strong></h1>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus.jpg\"><img class=\"alignnone size-medium wp-image-3267\" alt=\"Venus of Urbino\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-300x214.jpg\" width=\"300\" height=\"214\" /></a></p>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://www.students.sbc.edu/drahman08/venusofurbino.html\">http://www.students.sbc.edu/drahman08/venusofurbino.html</a></span></p>\r\n&nbsp;\r\n<h2 align=\"center\">Painted by Titian in 1538</h2>\r\n<p style=\"text-align: justify\">         During the Renaissance era there were two main things that were focused on, which were bringing back the style of the Greeks and Romans and celebrating the myriad of qualities regarding humans. This painting emphasizes the part of humanity that is the tabooed desire of the woman’s figure and the controversial look in her eye that is bold and relaxed at the same time. The focus of the piece is a woman naked on top of her sheets, her body has no imperfections. There is a small dog sleeping at the foot of the bed. There are two servants in the background, neither are looking at her. She has on some simple jewelry. The artists of the time “carried portraiture to new heights of refined perception and rich color and light.” (“Portraiture) This painting shows much realism in Venus’s figure and on her facial expression. There was a renewed interest in humanity and the development of people. The work Venus of Urbino by Titian should be preserved because it can teach it’s viewer that the idea of beauty is constantly evolving.</p>\r\n<p style=\"text-align: justify\"><!--more--></p>\r\n<p style=\"text-align: justify\">         Although many people have tried to place deeper meaning on this painting, there was a high demand for paintings of women in the nude. It was a supply meeting a demand. At the time many people found it ungentlemanly to have it and would hide it from public knowledge that they owned this type of art work. In the Renaissance period they were very intrigued by the “passions” of people. He was able to set a standard for the figure of women that many tried to imitate. (Freund) This work was unusual because Venus was more relaxed looking than most of the other women he painted. In it’s time it was what the people wanted but rarely voiced their desire for.  It was unusual because it was more rare, than other less seductive portraits. Josef Grabski believes like many paintings of the time named after a certain person or attribute Venus of Urbino was named from a love sonnet by Vittoria Colona.</p>\r\n<p style=\"text-align: justify\">         There was high demand for nude paintings for bedroom decoration. Although it was not a piece that was show cased at parties, it was more kept low key because it was looked down on to own that kind of art. Other interpretations said it was simply a figure of lust believing there could be no other reason for a pretty full figured woman to be laying on her bed as such. Still others thought it is a picture of the love and oneness found in marriage. Some modern students think it was almost the beginning of the “pornographic” era. According to Lisa Jardine, the Dean of the faculty of arts at Queen Mary and Wesfield College, art of this kind was kept hidden and burned if discovered. Now with the positioning of the woman we see the figure is not lascivious it is simple beauty in it’s most pure humanly form. There can be many figurative understandings from taken from the painting. Jozef Grabski for instance sees the red comforter representative of love on top of the white sheets symbolizing purity. The red roses in her hand which could symbolize passion, but one has fallen and could perhaps be seen as the death of her lover.</p>\r\n<p style=\"text-align: justify\">         At first glance it was nothing too spectacular. But the further I looked into it the more appealing it became. The way Venus looks directly to the viewer, her head cocked in an almost shy way, her soft facial expression, it all brings you into the portrait. The room feels peaceful with the dog sleeping and the setting sun in the background. I was curious about the two women in the background, and why our subject was so nonchalant about them being in her room. I think it is meaningful because it gives us a glimpse into what was eye catching to those in the Renaissance era. It is important to remember that sometimes things that we may not consider art at the moment can become a special piece when tested with time. I believe this is a fine example of something risque and not necessarily socially acceptable at the time turning into a lesson as well as something beautiful. (Grabski)</p>\r\n<p style=\"text-align: justify\">         Titian as a newly blooming artist became acquainted with Giorgione, whom he evidently worked on other art pieces with. So often Titian’s pieces are compared to that of early pieces of Giorgione. The example that comes up time and time again is the very close, nearly identical painting of Giorgione’s Sleeping Venus as it compares to the Venus of Urbino. Titian completed the piece for Giorgione after his death (Grabski). Titian copied almost the same posture of Venus into his own piece. There are several of the same nuances between the two works, but many differences that make Titian’s piece a bit more modern for the time. Sleeping Venus (SV) is outside whereas Venus of Urbino (VU) is indoors in what appears to be a bedroom. This brings the sensuality a little closer to home for the viewer, an attractive full figured woman in the room is easier to imagine to the viewer, than simply seeing one out in the fresh air. SV has her eyes closed and her arm up and around the back of her head while VU looks directly into the viewers eyes and is hold a small cluster of flowers. In both pieces the woman is at the foreground of the picture as the main focus taking up nearly the entire canvas.</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2.jpg\"><img class=\"size-medium wp-image-3271 aligncenter\" alt=\"Sleeping Venus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/venus-2-300x168.jpg\" width=\"300\" height=\"168\" /></a>\r\n<p align=\"center\"><span style=\"text-decoration: underline\"><a href=\"http://b.vimeocdn.com/ts/371/631/371631009_640.jpg\">http://b.vimeocdn.com/ts/371/631/371631009_640.jpg</a></span></p>\r\n<p style=\"text-align: justify\">         Other generations should be aware that this painting has many types of interpretations and how important it is to search for the answer and the metaphors it is presenting before jumping to the conclusion that it is simply a naked woman laying on a bed. It is amazing how art is able to change with the times. When the image was painted it was a beautiful usage of newly introduced techniques and the portrayal of the peak of interest. While it may have been considered pornography at the time in some circles, many were able to see the beauty that was held in the image. As time has gone on, we are now able to see on a much larger scale the way it defines the past to us. We can see the painting for what it really is. Although it may still evoke certain feelings when you look at it, your perception changes because nudity is more widely accepted in the western world.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\nFreund, Charles Paul. “Buying Into Culture.” <i>Reason. </i>Jun 1998. Web.\r\n\r\nIs a journal that discusses how convienience and economy has a larger effect on art than personal expression does. I used it to show what people nowadays see in the painting.\r\n\r\n&nbsp;\r\n\r\nGrabski, Jozef<i>. </i>“Victoria Amoris.” <i>Artibus et Historiae. </i>Vol.20, No.40, 1999. Web.\r\n\r\nThis is a journal within the collection which goes into great detail talking about the meticulous detail and meaning behind everything in the painting. I used it to discuss some of the meaning of the painting.\r\n\r\n<i> </i>\r\n\r\n“Portraiture.” <i>Funk &amp; Wagnalls New World Encyclopedia. 2009.</i><i></i>\r\n\r\nThis was a section in this encyclopedia it discussed the different ways the style of portraits were executed during certain times in history. I used it to discuss how the interest in human shape was peaked during the renaissance period.<i></i>\r\n\r\n&nbsp;\r\n\r\n“Venus of Urbino.” <i>Artstor</i>.  Digital Library. Sep 2013.\r\n\r\nThis is a detailed library where I extracted the basic information about the piece.','Titian\'s Venus of Urbino','','inherit','open','open','','3261-autosave-v1','','','2013-09-23 12:00:31','2013-09-23 18:00:31','',3261,'http://jeanatacc.com/2011/?p=3292',0,'revision','',0),(3293,82,'2013-10-14 11:14:11','2013-10-14 17:14:11','<p style=\"text-align: justify\">It is a frightfully common event that a piece of human history is lost to the rush that mankind undertakes toward the future and the promises that it holds. A prime example of this even throughout the twentieth century has been the lack of interest in the Native American civilizations which had already been all but stomped out by the speedy advance of Western civilization, living on mostly in the remaining descendants of their family lines and the studies of the harried archaeologists trying to archive and understand the ways of the people of the New World and share those ways with the rest of us, lest they disappear altogether. In its march forward toward broader horizons, mankind sometimes fails to further explore ideas that did not make the cut, often not because of a lack of those ideas’ potential, but due to the aggressive ambition of others and a number of other environmental and social mitigating factors, as is commonly thought to have been the case with the Native Americans. To prevent the loss of these important ways of thinking, it is of paramount importance that mankind make an effort to take on the responsibility of maintaining and exploring those schools of thought and cultural ideas that have fallen to the wayside – this can be done, in the case of Native Americans, by maintaining their oral traditions and learning the context of their civilization. The creation story of the Potawatomi peoples should be preserved because it is one such oral tradition.<!--more--></p>\n<p style=\"text-align: justify\">Little is known regarding the actual date of the original version of this tale. The original date of publication of the bulletin from which the version that this paper will be referring to was January 22<sup>nd</sup>, 1927 (Skinner, The Mascoutens, Part 3); however, the story was obviously conceived in some form at a much earlier time. As with many Native American stories, the Potawatomi creation myth is one that was passed down orally through generations, making it difficult to trace the origins of the story – however, the people themselves are well-enough documented that some things can be said of the context in which the story was originally spoken.</p>\n<p style=\"text-align: justify;padding-left: 30px\">As for the story itself, it first tells of a world with nothing but water – on that water sat a man in a canoe, crying. A muskrat floated up and asked him what was wrong, and he said that he could not find any land. The muskrat told him that there was land below the water, and he asked it to bring the land to him. When it did, he asked if it would bring its kin and help him build the land above the water. It did so, and he began to knead and shape the world into an island as it pleased him.</p>\n<p style=\"text-align: justify;padding-left: 30px\">Over time, he eventually built himself a home and planted brush, and made places for the animals, and made another island to the south. One day he discovered people on his island, and they were the Potawatomis. He introduced himself to them as Wi’saka, and they realized that he was the Great Spirit. He gave them utensils and taught them to construct houses and live off of the land, and further populated the world with animals. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\n<p style=\"text-align: justify\">What is known of the Potawatomi peoples is that in the early 1600’s A.D., they were living as or related to the Dumaw Creek people of west-central Michigan, A semi-settled prairie civilization that lived in square barken wigwams, called <i>onikakumuk</i> or <i>ptastiaka</i>, in the summer, growing corn and pumpkins as well as fishing and hunting. They would set up smaller temporary camps of circular bark-and-mat wigwams, called <i>pukukan</i>, in the winter and search for food in the surrounding areas (Skinner, The Mascoutens, Part 2, 268 – 269). They are also known to have engaged in trade with other tribes from across the continent of North America. They spoke the Algonquian language shared by the Chippewa and Ottawa peoples who are said to share ancestry with them. They kept an alliance with these people that was symbolized by a council fire, and were thus called the Keepers of the Fire, or the Fire Nation. That is a brief picture of the Potawatomis before firearms introduced by Dutch traders to the east via the Iroquois unbalanced tribal conflicts and caused the Potawatomis to be uprooted from their original places of living. (Edmunds, 3 – 5)</p>\n<p style=\"text-align: justify\">The tale itself is typical of ancient religious stories in that the religious doctrine states that the universe began blank and was formed by a powerful entity/entities that lived there and, in this case, ancient animals that served said entity. The story does also reference a higher plane, from which the Potawatomis on the island are said to have descended to join Wi’saka. (Skinner, The Mascoutens, Part 3, 333) The folklore contains one such Elysian-type plane, as well as an underworld, and these worlds have rulers and inhabitants, not unlike many early and modern polytheistic religions.</p>\n<p style=\"text-align: justify\">In particular, typical of Native American traditions, the earth (<i>Pamuk-Kumiges</i>: Laid-out-for-us), the sun or Great Spirit (<i>Wa’puka</i>: Power-of-the-Power), fire (<i>Skutao’</i>: Fire; or <i>Meshonsenon</i>: Grandfather), water (<i>N’bish</i>: Water; or <i>Ketci-kumi</i>: The Ocean), are all worshiped as deities. There are Thunderbirds in the sky (<i>Wamigohuk</i> or <i>Nem’kihuk</i>) who destroy evil Water-Panthers in the sea (<i>Nampe’shiu</i>, or <i>Nampe’shik</i>), and finally, mentioned in the story above, there is Wi’saka, the Culture Hero – the deified man who taught humans to live on the earth and have culture. (Skinner, The Mascoutens, Part 1, 46 – 48) Additionally, there is an afterlife and a punishment for wickedness, in that wicked people cannot escape the grave for several years, and murderers may not ever leave their grave. (Skinner, The Mascoutens, Part 1, 52) All of these things are typical of most religious stories or, if not, at least of most Native American stories.</p>\n<p style=\"text-align: justify\">When put into comparison with the Greek creation myth, which is potentially far more ancient but theologically comparable all the same, a few similarities and contrasts appear. Firstly, the Greek story according to Hesiod contains the same basic building blocks – a pre-existing plane with an earth and a few ancient and established forces with a motive to build the world; Chaos, Gaia, and Eros, respectively; as well as a high plane, which was Chaos itself, and a low plane of Tartaros.</p>\n<p style=\"text-align: justify\">The fundamental differences between the stories consist of the fact that in the Greek story, the desire to procreate was the impetus which created the world, whereas in the Potawatomi story it was a desire to have a homeland. In addition to this, in the Greek story it was an unthinking interaction of forces in the universe which brought about the life of the gods which inhabited it, whereas in the Potawatomi tale it was the desires of a single powerful being and his cohorts. (Hard, 21 - 24)</p>\n<p style=\"text-align: justify\">The story itself is unique in that it specifically contains a genesis for the land and its animals and plants, but there is no reference to a creator of the oceans or the creatures within it, or the sky or the people – all of these things pre-existed indefinitely. Additionally, Wi’saka is presented as a man who is capable of becoming sad; indeed, the story begins with him crying in his canoe. In essence, the lands were created because the primeval god wanted a place to live with his companions. It presents the muskrats as essentially being people who communicated with this primeval god and did him favors, as if they were his friends. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\n<p style=\"text-align: justify\">This creation story was once a central part of the religion of a thriving society, but today there are few, if any, who continue to follow the religious traditions of the Potawatomi peoples. This is partially due to the efforts of French Jesuits who made a concerted attempt to convert the peoples of Green Bay, where the Potawatomis had become prominent in the late 1600’s, and met with some degree of success. (Edmunds, 7 – 9) Much later, there was the influence of Shawnee prophet Tenskwatawa, who converted many young Potawatomis, including Main Poc, who was a legendary Potawatomi general. (Edmunds, 165 – 166) Undoubtedly, though, the overarching encroachment of whites upon lands owned by natives, as well as the selling of lands owned by natives, be it fair or fraudulent, in the 1800’s (Edmunds, 241 – 275) was a main contributor to the later dwindling of the influence of the tribal culture on its people.</p>\n<p style=\"text-align: justify\">The story and related works of folklore and religion are significant in that they are representative of a way of thinking that is all but lost in modern society. The legend is one that bears reminder of those old times and values from which Native Americans and, in varying degrees of separation, all of humankind used to hold dear. It is a beautiful and simple tale that carries with it the wisdom and worldview of a people who lived within their means long before it was pressingly evident that mankind needs to do so. Additionally, its historical context provides a cautionary tale of failures to communicate, and the effects of the efforts of the aggressively ambitious on those who live within the smaller spaces of the world.</p>\n<p style=\"text-align: center\" align=\"center\"><i><span style=\"text-decoration: underline\">Works  Cited</span></i></p>\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 1, Social Life and Ceremonies</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\n<p style=\"text-align: justify\">-          An in-depth description of the social makeup of Potawatomi society; useful for studies of the living conditions, religious underpinnings and other social information about the Potawatomis</p>\n<p style=\"text-align: justify\">.</p>\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 2, Notes on the Material Culture</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\n<p style=\"text-align: justify\">-          An in-depth description of the living conditions and physical industry of the Potawatomi peoples; was helpful in understanding and describing the Potawatomi villages.</p>\n<p style=\"text-align: justify\">.</p>\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 3, Mythology and Folklore</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\n<p style=\"text-align: justify\">-          A series of recounts of Potawatomi folklore and legend, which contains the actual Potawatomi creation myth</p>\n<p style=\"text-align: justify\">.</p>\n<p style=\"text-align: justify\">Edmunds, R. David. <i>The Potawatomis, Keepers of the Fire</i>. Norman: University of Oklahoma Press, 1978. Print.</p>\n<p style=\"text-align: justify\">-          A lengthy, in-depth description of the history of the Potawatomi peoples, beginning in the 1700’s and ending in the late 1800’s with the removal of the Potawatomis to their reserves; was useful for all specific historical information regarding the movements of the tribesmen</p>\n<p style=\"text-align: justify\">.</p>\n<p style=\"text-align: justify\">Hard, Robin. <i>The Routledge Handbook of Greek Mythology</i>. London: Routledge, 2004. eBook.</p>\n<p style=\"text-align: justify\">-         A book of information about Greek mythology; was used for references to the Greek creation myth</p>','The Potawatomi Creation Myth','','inherit','open','open','','3265-autosave-v1','','','2013-10-14 11:14:11','2013-10-14 17:14:11','',3265,'http://jeanatacc.com/2011/?p=3293',0,'revision','',0),(3294,82,'2013-09-23 12:01:39','2013-09-23 18:01:39','<p style=\"text-align: justify\">It is a frightfully common event that a piece of human history is lost to the rush that mankind undertakes toward the future and the promises that it holds. A prime example of this even throughout the twentieth century has been the lack of interest in the Native American civilizations which had already been all but stomped out by the speedy advance of Western civilization, living on mostly in the remaining descendants of their family lines and the studies of the harried archaeologists trying to archive and understand the ways of the people of the New World and share those ways with the rest of us, lest they disappear altogether. In its march forward toward broader horizons, mankind sometimes fails to further explore ideas that did not make the cut, often not because of a lack of those ideas’ potential, but due to the aggressive ambition of others and a number of other environmental and social mitigating factors, as is commonly thought to have been the case with the Native Americans. To prevent the loss of these important ways of thinking, it is of paramount importance that mankind make an effort to take on the responsibility of maintaining and exploring those schools of thought and cultural ideas that have fallen to the wayside – this can be done, in the case of Native Americans, by maintaining their oral traditions and learning the context of their civilization. The creation story of the Potawatomi peoples should be preserved because it is one such oral tradition.<!--more--></p>\r\n<p style=\"text-align: justify\">Little is known regarding the actual date of the original version of this tale. The original date of publication of the bulletin from which the version that this paper will be referring to was January 22<sup>nd</sup>, 1927 (Skinner, The Mascoutens, Part 3); however, the story was obviously conceived in some form at a much earlier time. As with many Native American stories, the Potawatomi creation myth is one that was passed down orally through generations, making it difficult to trace the origins of the story – however, the people themselves are well-enough documented that some things can be said of the context in which the story was originally spoken.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">As for the story itself, it first tells of a world with nothing but water – on that water sat a man in a canoe, crying. A muskrat floated up and asked him what was wrong, and he said that he could not find any land. The muskrat told him that there was land below the water, and he asked it to bring the land to him. When it did, he asked if it would bring its kin and help him build the land above the water. It did so, and he began to knead and shape the world into an island as it pleased him.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">Over time, he eventually built himself a home and planted brush, and made places for the animals, and made another island to the south. One day he discovered people on his island, and they were the Potawatomis. He introduced himself to them as Wi’saka, and they realized that he was the Great Spirit. He gave them utensils and taught them to construct houses and live off of the land, and further populated the world with animals. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">What is known of the Potawatomi peoples is that in the early 1600’s A.D., they were living as or related to the Dumaw Creek people of west-central Michigan, A semi-settled prairie civilization that lived in square barken wigwams, called <i>onikakumuk</i> or <i>ptastiaka</i>, in the summer, growing corn and pumpkins as well as fishing and hunting. They would set up smaller temporary camps of circular bark-and-mat wigwams, called <i>pukukan</i>, in the winter and search for food in the surrounding areas (Skinner, The Mascoutens, Part 2, 268 – 269). They are also known to have engaged in trade with other tribes from across the continent of North America. They spoke the Algonquian language shared by the Chippewa and Ottawa peoples who are said to share ancestry with them. They kept an alliance with these people that was symbolized by a council fire, and were thus called the Keepers of the Fire, or the Fire Nation. That is a brief picture of the Potawatomis before firearms introduced by Dutch traders to the east via the Iroquois unbalanced tribal conflicts and caused the Potawatomis to be uprooted from their original places of living. (Edmunds, 3 – 5)</p>\r\n<p style=\"text-align: justify\">The tale itself is typical of ancient religious stories in that the religious doctrine states that the universe began blank and was formed by a powerful entity/entities that lived there and, in this case, ancient animals that served said entity. The story does also reference a higher plane, from which the Potawatomis on the island are said to have descended to join Wi’saka. (Skinner, The Mascoutens, Part 3, 333) The folklore contains one such Elysian-type plane, as well as an underworld, and these worlds have rulers and inhabitants, not unlike many early and modern polytheistic religions.</p>\r\n<p style=\"text-align: justify\">In particular, typical of Native American traditions, the earth (<i>Pamuk-Kumiges</i>: Laid-out-for-us), the sun or Great Spirit (<i>Wa’puka</i>: Power-of-the-Power), fire (<i>Skutao’</i>: Fire; or <i>Meshonsenon</i>: Grandfather), water (<i>N’bish</i>: Water; or <i>Ketci-kumi</i>: The Ocean), are all worshiped as deities. There are Thunderbirds in the sky (<i>Wamigohuk</i> or <i>Nem’kihuk</i>) who destroy evil Water-Panthers in the sea (<i>Nampe’shiu</i>, or <i>Nampe’shik</i>), and finally, mentioned in the story above, there is Wi’saka, the Culture Hero – the deified man who taught humans to live on the earth and have culture. (Skinner, The Mascoutens, Part 1, 46 – 48) Additionally, there is an afterlife and a punishment for wickedness, in that wicked people cannot escape the grave for several years, and murderers may not ever leave their grave. (Skinner, The Mascoutens, Part 1, 52) All of these things are typical of most religious stories or, if not, at least of most Native American stories.</p>\r\n<p style=\"text-align: justify\">When put into comparison with the Greek creation myth, which is potentially far more ancient but theologically comparable all the same, a few similarities and contrasts appear. Firstly, the Greek story according to Hesiod contains the same basic building blocks – a pre-existing plane with an earth and a few ancient and established forces with a motive to build the world; Chaos, Gaia, and Eros, respectively; as well as a high plane, which was Chaos itself, and a low plane of Tartaros.</p>\r\n<p style=\"text-align: justify\">The fundamental differences between the stories consist of the fact that in the Greek story, the desire to procreate was the impetus which created the world, whereas in the Potawatomi story it was a desire to have a homeland. In addition to this, in the Greek story it was an unthinking interaction of forces in the universe which brought about the life of the gods which inhabited it, whereas in the Potawatomi tale it was the desires of a single powerful being and his cohorts. (Hard, 21 - 24)</p>\r\n<p style=\"text-align: justify\">The story itself is unique in that it specifically contains a genesis for the land and its animals and plants, but there is no reference to a creator of the oceans or the creatures within it, or the sky or the people – all of these things pre-existed indefinitely. Additionally, Wi’saka is presented as a man who is capable of becoming sad; indeed, the story begins with him crying in his canoe. In essence, the lands were created because the primeval god wanted a place to live with his companions. It presents the muskrats as essentially being people who communicated with this primeval god and did him favors, as if they were his friends. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">This creation story was once a central part of the religion of a thriving society, but today there are few, if any, who continue to follow the religious traditions of the Potawatomi peoples. This is partially due to the efforts of French Jesuits who made a concerted attempt to convert the peoples of Green Bay, where the Potawatomis had become prominent in the late 1600’s, and met with some degree of success. (Edmunds, 7 – 9) Much later, there was the influence of Shawnee prophet Tenskwatawa, who converted many young Potawatomis, including Main Poc, who was a legendary Potawatomi general. (Edmunds, 165 – 166) Undoubtedly, though, the overarching encroachment of whites upon lands owned by natives, as well as the selling of lands owned by natives, be it fair or fraudulent, in the 1800’s (Edmunds, 241 – 275) was a main contributor to the later dwindling of the influence of the tribal culture on its people.</p>\r\n<p style=\"text-align: justify\">The story and related works of folklore and religion are significant in that they are representative of a way of thinking that is all but lost in modern society. The legend is one that bears reminder of those old times and values from which Native Americans and, in varying degrees of separation, all of humankind used to hold dear. It is a beautiful and simple tale that carries with it the wisdom and worldview of a people who lived within their means long before it was pressingly evident that mankind needs to do so. Additionally, its historical context provides a cautionary tale of failures to communicate, and the effects of the efforts of the aggressively ambitious on those who live within the smaller spaces of the world.</p>\r\n<p style=\"text-align: center\" align=\"center\"><i><span style=\"text-decoration: underline\">Works  Cited</span></i></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 1, Social Life and Ceremonies</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the social makeup of Potawatomi society; useful for studies of the living conditions, religious underpinnings and other social information about the Potawatomis</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 2, Notes on the Material Culture</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the living conditions and physical industry of the Potawatomi peoples; was helpful in understanding and describing the Potawatomi villages.</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 3, Mythology and Folklore</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          A series of recounts of Potawatomi folklore and legend, which contains the actual Potawatomi creation myth</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Edmunds, R. David. <i>The Potawatomis, Keepers of the Fire</i>. Norman: University of Oklahoma Press, 1978. Print.</p>\r\n<p style=\"text-align: justify\">-          A lengthy, in-depth description of the history of the Potawatomi peoples, beginning in the 1700’s and ending in the late 1800’s with the removal of the Potawatomis to their reserves; was useful for all specific historical information regarding the movements of the tribesmen</p>\r\n<p style=\"text-align: justify\"></p>\r\n<p style=\"text-align: justify\">Hard, Robin. <i>The Routledge Handbook of Greek Mythology</i>. London: Routledge, 2004. eBook.</p>\r\n<p style=\"text-align: justify\">-         A book of information about Greek mythology; was used for references to the Greek creation myth</p>','Tyler Hudson - TCP1 - The Potawatomi Creation Myth','','inherit','open','open','','3265-revision-v1','','','2013-09-23 12:01:39','2013-09-23 18:01:39','',3265,'http://jeanatacc.com/2011/?p=3294',0,'revision','',0),(3307,82,'2013-09-23 12:17:13','2013-09-23 18:17:13','<p style=\"text-align: justify\">It is a frightfully common event that a piece of human history is lost to the rush that mankind undertakes toward the future and the promises that it holds. A prime example of this even throughout the twentieth century has been the lack of interest in the Native American civilizations which had already been all but stomped out by the speedy advance of Western civilization, living on mostly in the remaining descendants of their family lines and the studies of the harried archaeologists trying to archive and understand the ways of the people of the New World and share those ways with the rest of us, lest they disappear altogether. In its march forward toward broader horizons, mankind sometimes fails to further explore ideas that did not make the cut, often not because of a lack of those ideas’ potential, but due to the aggressive ambition of others and a number of other environmental and social mitigating factors, as is commonly thought to have been the case with the Native Americans. To prevent the loss of these important ways of thinking, it is of paramount importance that mankind make an effort to take on the responsibility of maintaining and exploring those schools of thought and cultural ideas that have fallen to the wayside – this can be done, in the case of Native Americans, by maintaining their oral traditions and learning the context of their civilization. The creation story of the Potawatomi peoples should be preserved because it is one such oral tradition.<!--more--></p>\r\n<p style=\"text-align: justify\">Little is known regarding the actual date of the original version of this tale. The original date of publication of the bulletin from which the version that this paper will be referring to was January 22<sup>nd</sup>, 1927 (Skinner, The Mascoutens, Part 3); however, the story was obviously conceived in some form at a much earlier time. As with many Native American stories, the Potawatomi creation myth is one that was passed down orally through generations, making it difficult to trace the origins of the story – however, the people themselves are well-enough documented that some things can be said of the context in which the story was originally spoken.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">As for the story itself, it first tells of a world with nothing but water – on that water sat a man in a canoe, crying. A muskrat floated up and asked him what was wrong, and he said that he could not find any land. The muskrat told him that there was land below the water, and he asked it to bring the land to him. When it did, he asked if it would bring its kin and help him build the land above the water. It did so, and he began to knead and shape the world into an island as it pleased him.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">Over time, he eventually built himself a home and planted brush, and made places for the animals, and made another island to the south. One day he discovered people on his island, and they were the Potawatomis. He introduced himself to them as Wi’saka, and they realized that he was the Great Spirit. He gave them utensils and taught them to construct houses and live off of the land, and further populated the world with animals. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">What is known of the Potawatomi peoples is that in the early 1600’s A.D., they were living as or related to the Dumaw Creek people of west-central Michigan, A semi-settled prairie civilization that lived in square barken wigwams, called <i>onikakumuk</i> or <i>ptastiaka</i>, in the summer, growing corn and pumpkins as well as fishing and hunting. They would set up smaller temporary camps of circular bark-and-mat wigwams, called <i>pukukan</i>, in the winter and search for food in the surrounding areas (Skinner, The Mascoutens, Part 2, 268 – 269). They are also known to have engaged in trade with other tribes from across the continent of North America. They spoke the Algonquian language shared by the Chippewa and Ottawa peoples who are said to share ancestry with them. They kept an alliance with these people that was symbolized by a council fire, and were thus called the Keepers of the Fire, or the Fire Nation. That is a brief picture of the Potawatomis before firearms introduced by Dutch traders to the east via the Iroquois unbalanced tribal conflicts and caused the Potawatomis to be uprooted from their original places of living. (Edmunds, 3 – 5)</p>\r\n<p style=\"text-align: justify\">The tale itself is typical of ancient religious stories in that the religious doctrine states that the universe began blank and was formed by a powerful entity/entities that lived there and, in this case, ancient animals that served said entity. The story does also reference a higher plane, from which the Potawatomis on the island are said to have descended to join Wi’saka. (Skinner, The Mascoutens, Part 3, 333) The folklore contains one such Elysian-type plane, as well as an underworld, and these worlds have rulers and inhabitants, not unlike many early and modern polytheistic religions.</p>\r\n<p style=\"text-align: justify\">In particular, typical of Native American traditions, the earth (<i>Pamuk-Kumiges</i>: Laid-out-for-us), the sun or Great Spirit (<i>Wa’puka</i>: Power-of-the-Power), fire (<i>Skutao’</i>: Fire; or <i>Meshonsenon</i>: Grandfather), water (<i>N’bish</i>: Water; or <i>Ketci-kumi</i>: The Ocean), are all worshiped as deities. There are Thunderbirds in the sky (<i>Wamigohuk</i> or <i>Nem’kihuk</i>) who destroy evil Water-Panthers in the sea (<i>Nampe’shiu</i>, or <i>Nampe’shik</i>), and finally, mentioned in the story above, there is Wi’saka, the Culture Hero – the deified man who taught humans to live on the earth and have culture. (Skinner, The Mascoutens, Part 1, 46 – 48) Additionally, there is an afterlife and a punishment for wickedness, in that wicked people cannot escape the grave for several years, and murderers may not ever leave their grave. (Skinner, The Mascoutens, Part 1, 52) All of these things are typical of most religious stories or, if not, at least of most Native American stories.</p>\r\n<p style=\"text-align: justify\">When put into comparison with the Greek creation myth, which is potentially far more ancient but theologically comparable all the same, a few similarities and contrasts appear. Firstly, the Greek story according to Hesiod contains the same basic building blocks – a pre-existing plane with an earth and a few ancient and established forces with a motive to build the world; Chaos, Gaia, and Eros, respectively; as well as a high plane, which was Chaos itself, and a low plane of Tartaros.</p>\r\n<p style=\"text-align: justify\">The fundamental differences between the stories consist of the fact that in the Greek story, the desire to procreate was the impetus which created the world, whereas in the Potawatomi story it was a desire to have a homeland. In addition to this, in the Greek story it was an unthinking interaction of forces in the universe which brought about the life of the gods which inhabited it, whereas in the Potawatomi tale it was the desires of a single powerful being and his cohorts. (Hard, 21 - 24)</p>\r\n<p style=\"text-align: justify\">The story itself is unique in that it specifically contains a genesis for the land and its animals and plants, but there is no reference to a creator of the oceans or the creatures within it, or the sky or the people – all of these things pre-existed indefinitely. Additionally, Wi’saka is presented as a man who is capable of becoming sad; indeed, the story begins with him crying in his canoe. In essence, the lands were created because the primeval god wanted a place to live with his companions. It presents the muskrats as essentially being people who communicated with this primeval god and did him favors, as if they were his friends. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">This creation story was once a central part of the religion of a thriving society, but today there are few, if any, who continue to follow the religious traditions of the Potawatomi peoples. This is partially due to the efforts of French Jesuits who made a concerted attempt to convert the peoples of Green Bay, where the Potawatomis had become prominent in the late 1600’s, and met with some degree of success. (Edmunds, 7 – 9) Much later, there was the influence of Shawnee prophet Tenskwatawa, who converted many young Potawatomis, including Main Poc, who was a legendary Potawatomi general. (Edmunds, 165 – 166) Undoubtedly, though, the overarching encroachment of whites upon lands owned by natives, as well as the selling of lands owned by natives, be it fair or fraudulent, in the 1800’s (Edmunds, 241 – 275) was a main contributor to the later dwindling of the influence of the tribal culture on its people.</p>\r\n<p style=\"text-align: justify\">The story and related works of folklore and religion are significant in that they are representative of a way of thinking that is all but lost in modern society. The legend is one that bears reminder of those old times and values from which Native Americans and, in varying degrees of separation, all of humankind used to hold dear. It is a beautiful and simple tale that carries with it the wisdom and worldview of a people who lived within their means long before it was pressingly evident that mankind needs to do so. Additionally, its historical context provides a cautionary tale of failures to communicate, and the effects of the efforts of the aggressively ambitious on those who live within the smaller spaces of the world.</p>\r\n<p style=\"text-align: center\" align=\"center\"><i><span style=\"text-decoration: underline\">Works  Cited</span></i></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 1, Social Life and Ceremonies</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the social makeup of Potawatomi society; useful for studies of the living conditions, religious underpinnings and other social information about the Potawatomis</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 2, Notes on the Material Culture</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the living conditions and physical industry of the Potawatomi peoples; was helpful in understanding and describing the Potawatomi villages.</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 3, Mythology and Folklore</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          A series of recounts of Potawatomi folklore and legend, which contains the actual Potawatomi creation myth</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Edmunds, R. David. <i>The Potawatomis, Keepers of the Fire</i>. Norman: University of Oklahoma Press, 1978. Print.</p>\r\n<p style=\"text-align: justify\">-          A lengthy, in-depth description of the history of the Potawatomi peoples, beginning in the 1700’s and ending in the late 1800’s with the removal of the Potawatomis to their reserves; was useful for all specific historical information regarding the movements of the tribesmen</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Hard, Robin. <i>The Routledge Handbook of Greek Mythology</i>. London: Routledge, 2004. eBook.</p>\r\n<p style=\"text-align: justify\">-         A book of information about Greek mythology; was used for references to the Greek creation myth</p>','The Potawatomi Creation Myth','','inherit','open','open','','3265-revision-v1','','','2013-09-23 12:17:13','2013-09-23 18:17:13','',3265,'http://jeanatacc.com/2011/?p=3307',0,'revision','',0),(3295,82,'2013-09-23 12:02:42','2013-09-23 18:02:42','<p style=\"text-align: justify\">It is a frightfully common event that a piece of human history is lost to the rush that mankind undertakes toward the future and the promises that it holds. A prime example of this even throughout the twentieth century has been the lack of interest in the Native American civilizations which had already been all but stomped out by the speedy advance of Western civilization, living on mostly in the remaining descendants of their family lines and the studies of the harried archaeologists trying to archive and understand the ways of the people of the New World and share those ways with the rest of us, lest they disappear altogether. In its march forward toward broader horizons, mankind sometimes fails to further explore ideas that did not make the cut, often not because of a lack of those ideas’ potential, but due to the aggressive ambition of others and a number of other environmental and social mitigating factors, as is commonly thought to have been the case with the Native Americans. To prevent the loss of these important ways of thinking, it is of paramount importance that mankind make an effort to take on the responsibility of maintaining and exploring those schools of thought and cultural ideas that have fallen to the wayside – this can be done, in the case of Native Americans, by maintaining their oral traditions and learning the context of their civilization. The creation story of the Potawatomi peoples should be preserved because it is one such oral tradition.<!--more--></p>\r\n<p style=\"text-align: justify\">Little is known regarding the actual date of the original version of this tale. The original date of publication of the bulletin from which the version that this paper will be referring to was January 22<sup>nd</sup>, 1927 (Skinner, The Mascoutens, Part 3); however, the story was obviously conceived in some form at a much earlier time. As with many Native American stories, the Potawatomi creation myth is one that was passed down orally through generations, making it difficult to trace the origins of the story – however, the people themselves are well-enough documented that some things can be said of the context in which the story was originally spoken.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">As for the story itself, it first tells of a world with nothing but water – on that water sat a man in a canoe, crying. A muskrat floated up and asked him what was wrong, and he said that he could not find any land. The muskrat told him that there was land below the water, and he asked it to bring the land to him. When it did, he asked if it would bring its kin and help him build the land above the water. It did so, and he began to knead and shape the world into an island as it pleased him.</p>\r\n<p style=\"text-align: justify;padding-left: 30px\">Over time, he eventually built himself a home and planted brush, and made places for the animals, and made another island to the south. One day he discovered people on his island, and they were the Potawatomis. He introduced himself to them as Wi’saka, and they realized that he was the Great Spirit. He gave them utensils and taught them to construct houses and live off of the land, and further populated the world with animals. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">What is known of the Potawatomi peoples is that in the early 1600’s A.D., they were living as or related to the Dumaw Creek people of west-central Michigan, A semi-settled prairie civilization that lived in square barken wigwams, called <i>onikakumuk</i> or <i>ptastiaka</i>, in the summer, growing corn and pumpkins as well as fishing and hunting. They would set up smaller temporary camps of circular bark-and-mat wigwams, called <i>pukukan</i>, in the winter and search for food in the surrounding areas (Skinner, The Mascoutens, Part 2, 268 – 269). They are also known to have engaged in trade with other tribes from across the continent of North America. They spoke the Algonquian language shared by the Chippewa and Ottawa peoples who are said to share ancestry with them. They kept an alliance with these people that was symbolized by a council fire, and were thus called the Keepers of the Fire, or the Fire Nation. That is a brief picture of the Potawatomis before firearms introduced by Dutch traders to the east via the Iroquois unbalanced tribal conflicts and caused the Potawatomis to be uprooted from their original places of living. (Edmunds, 3 – 5)</p>\r\n<p style=\"text-align: justify\">The tale itself is typical of ancient religious stories in that the religious doctrine states that the universe began blank and was formed by a powerful entity/entities that lived there and, in this case, ancient animals that served said entity. The story does also reference a higher plane, from which the Potawatomis on the island are said to have descended to join Wi’saka. (Skinner, The Mascoutens, Part 3, 333) The folklore contains one such Elysian-type plane, as well as an underworld, and these worlds have rulers and inhabitants, not unlike many early and modern polytheistic religions.</p>\r\n<p style=\"text-align: justify\">In particular, typical of Native American traditions, the earth (<i>Pamuk-Kumiges</i>: Laid-out-for-us), the sun or Great Spirit (<i>Wa’puka</i>: Power-of-the-Power), fire (<i>Skutao’</i>: Fire; or <i>Meshonsenon</i>: Grandfather), water (<i>N’bish</i>: Water; or <i>Ketci-kumi</i>: The Ocean), are all worshiped as deities. There are Thunderbirds in the sky (<i>Wamigohuk</i> or <i>Nem’kihuk</i>) who destroy evil Water-Panthers in the sea (<i>Nampe’shiu</i>, or <i>Nampe’shik</i>), and finally, mentioned in the story above, there is Wi’saka, the Culture Hero – the deified man who taught humans to live on the earth and have culture. (Skinner, The Mascoutens, Part 1, 46 – 48) Additionally, there is an afterlife and a punishment for wickedness, in that wicked people cannot escape the grave for several years, and murderers may not ever leave their grave. (Skinner, The Mascoutens, Part 1, 52) All of these things are typical of most religious stories or, if not, at least of most Native American stories.</p>\r\n<p style=\"text-align: justify\">When put into comparison with the Greek creation myth, which is potentially far more ancient but theologically comparable all the same, a few similarities and contrasts appear. Firstly, the Greek story according to Hesiod contains the same basic building blocks – a pre-existing plane with an earth and a few ancient and established forces with a motive to build the world; Chaos, Gaia, and Eros, respectively; as well as a high plane, which was Chaos itself, and a low plane of Tartaros.</p>\r\n<p style=\"text-align: justify\">The fundamental differences between the stories consist of the fact that in the Greek story, the desire to procreate was the impetus which created the world, whereas in the Potawatomi story it was a desire to have a homeland. In addition to this, in the Greek story it was an unthinking interaction of forces in the universe which brought about the life of the gods which inhabited it, whereas in the Potawatomi tale it was the desires of a single powerful being and his cohorts. (Hard, 21 - 24)</p>\r\n<p style=\"text-align: justify\">The story itself is unique in that it specifically contains a genesis for the land and its animals and plants, but there is no reference to a creator of the oceans or the creatures within it, or the sky or the people – all of these things pre-existed indefinitely. Additionally, Wi’saka is presented as a man who is capable of becoming sad; indeed, the story begins with him crying in his canoe. In essence, the lands were created because the primeval god wanted a place to live with his companions. It presents the muskrats as essentially being people who communicated with this primeval god and did him favors, as if they were his friends. (Skinner, The Mascoutens, Part 3, 332 – 333)</p>\r\n<p style=\"text-align: justify\">This creation story was once a central part of the religion of a thriving society, but today there are few, if any, who continue to follow the religious traditions of the Potawatomi peoples. This is partially due to the efforts of French Jesuits who made a concerted attempt to convert the peoples of Green Bay, where the Potawatomis had become prominent in the late 1600’s, and met with some degree of success. (Edmunds, 7 – 9) Much later, there was the influence of Shawnee prophet Tenskwatawa, who converted many young Potawatomis, including Main Poc, who was a legendary Potawatomi general. (Edmunds, 165 – 166) Undoubtedly, though, the overarching encroachment of whites upon lands owned by natives, as well as the selling of lands owned by natives, be it fair or fraudulent, in the 1800’s (Edmunds, 241 – 275) was a main contributor to the later dwindling of the influence of the tribal culture on its people.</p>\r\n<p style=\"text-align: justify\">The story and related works of folklore and religion are significant in that they are representative of a way of thinking that is all but lost in modern society. The legend is one that bears reminder of those old times and values from which Native Americans and, in varying degrees of separation, all of humankind used to hold dear. It is a beautiful and simple tale that carries with it the wisdom and worldview of a people who lived within their means long before it was pressingly evident that mankind needs to do so. Additionally, its historical context provides a cautionary tale of failures to communicate, and the effects of the efforts of the aggressively ambitious on those who live within the smaller spaces of the world.</p>\r\n<p style=\"text-align: center\" align=\"center\"><i><span style=\"text-decoration: underline\">Works  Cited</span></i></p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 1, Social Life and Ceremonies</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the social makeup of Potawatomi society; useful for studies of the living conditions, religious underpinnings and other social information about the Potawatomis</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 2, Notes on the Material Culture</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          An in-depth description of the living conditions and physical industry of the Potawatomi peoples; was helpful in understanding and describing the Potawatomi villages.</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Skinner, Alanson. <i>The Mascoutens or Prairie Potawatomi Indians, Part 3, Mythology and Folklore</i>. Milwaukee: Literary Licensing, 2011. Print.</p>\r\n<p style=\"text-align: justify\">-          A series of recounts of Potawatomi folklore and legend, which contains the actual Potawatomi creation myth</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Edmunds, R. David. <i>The Potawatomis, Keepers of the Fire</i>. Norman: University of Oklahoma Press, 1978. Print.</p>\r\n<p style=\"text-align: justify\">-          A lengthy, in-depth description of the history of the Potawatomi peoples, beginning in the 1700’s and ending in the late 1800’s with the removal of the Potawatomis to their reserves; was useful for all specific historical information regarding the movements of the tribesmen</p>\r\n<p style=\"text-align: justify\">.</p>\r\n<p style=\"text-align: justify\">Hard, Robin. <i>The Routledge Handbook of Greek Mythology</i>. London: Routledge, 2004. eBook.</p>\r\n<p style=\"text-align: justify\">-         A book of information about Greek mythology; was used for references to the Greek creation myth</p>','Tyler Hudson - TCP1 - The Potawatomi Creation Myth','','inherit','open','open','','3265-revision-v1','','','2013-09-23 12:02:42','2013-09-23 18:02:42','',3265,'http://jeanatacc.com/2011/?p=3295',0,'revision','',0),(3297,76,'2013-09-23 12:06:05','2013-09-23 18:06:05','Jan van Eyck (~1390-1441) painted the <i>Arnolfini Wedding </i>portrait around 1434 and portrays expert realism with subtle allegory in a secular setting (Carrier 236, 237). Without being formally trained in linear perspective which was popularized in Florence, van Eyck achieved incredible realism with his own attempts in perspective and an oil-based, layered painting technique. The <i>Arnolfini Wedding</i> depicts a man and woman holding hands as the subjects of the piece in a secular setting, a room furnished with furniture and commodities that serve symbolic purposes in establishing the social influence of particularly Giovanni Arnolfini. The woman in the piece was thought to be his wife but her identity has been debated as time goes on. Jan van Eyck’s degree of realism was aided by his unique perspective system which “has attracted no less than six different hypotheses.” (Elkins 53). These different ideas include debates on van Eyck’s method of painting and the tools used, such as a convex mirror to allow Eyck to reproduce lines and vanishing “areas” for a consistent perspective despite lack of a linear approach (Carleton). The <i>Arnolfini Wedding </i>by Jan van Eyck should be preserved for future generations because of the combination of realism and symbolic allegory, the unique context, and mastery of a new medium of painting.<!--more-->During the early Renaissance, artists were emerging with amazing talents from southern Europe. Deemed the Italian Renaissance, the movement began a new era in all aspects of living for all classes of society; as wealth grew for the elite, the middle class found new potential by moving to more urban areas, and the peasantry, feeling left in the medieval age, was ripe for revolt. This emerging merchant class gained power and influence as they began commissioning artists to paint and sculpt for them portraits and biblical figures, a phenomena that occurred in northern Europe in the late 15<sup>th</sup> century as well. It was the merchant Giovanni Arnolfini who commissioned him in 1434 to create the wedding portrait which remains the subject of many art scholars today (Fiero).\n\nFurther east, the Ottoman Empire captured the city of Constantinople in the early 15<sup>th</sup> century, shirking Byzantine influence and inciting travelers to search overseas for trade routes to the east. The findings of Portuguese and Italian traders across Africa, to India, and to as far as Japan helped to establish trade monopolies that allowed for new expansive policies of the governments they worked for. Powers organized as nation-states and rivalries emerged causing a new tension in society; competition became a part of everyday life for all of society. (Foner)\n\nThe <i>Arnolfini Wedding </i>was one of few northern works that showed such an eye to detail with innovative optical techniques. Since he was no trained in linear perspective, van Eyck had to achieve his realism in other ways such as a possible use of lenses and oil-based paints. His work was on par with those of the Italian Renaissance, the dynamic lighting and proportioned human figures are similar to Renaissance formal properties whereas the background of the work is indicative of the time as well (Carleton).\n\nThe work differs from others of its time by the way van Eyck achieved his realism with subtle symbolism and his method of creation. The secular nature of the work is apparent; two people are shown in a room with various commodities surrounding them indicative of their social status. However, allegories are hidden throughout the room in various symbols. The single candle lit on the chandelier is strange in a realistic scenario, but could symbolize the couple’s ongoing bond. The convex mirror has surrounding it the stations of Jesus Christ in microscopic detail, assuming a sort of holiness in the scene. Secular symbols have also been deduced from figures in the work as well. The dog could be a symbol of fidelity, or more naturally, a rare breed establishing status of the subjects of the portrait. The oranges have been interpreted as both an optimism for the harvest of the oncoming season, indicative of the bond being made in the portrait, or also another rare commodity displaying again the couple’s material wealth (Carrier 238).\n\nDuring it’s time, the <i>Arnolfini Wedding</i> is assumed to have been received very well considering a few factors. Simply who the work was commissioned for tells that a high-paying customer was willing to receive it, upon knowing of van Eyck’s earlier and popular works of the time. Another important consideration is the work’s ownership after Giovanni Arnolfini to multiple important figures in Spain, France, Italy, and now England where it resides in the National Gallery at London (Campbell).\n\nToday, the work is studied and analyzed widely among art scholars and currently resides in the National Gallery in London. Many articles have been written about the work, proving its worth in the art community as a valuable piece worthy of preservation for the past six hundred years and hopefully the next six hundred (Carrier, Carleton, Elkins, and Campbell). Many controversies have been examined in this work, such as the identity of the woman in the painting, being debated up until the late 1980’s. (Carrier 237, 238). Art critics have also been debating the nature of van Eyck’s total realism versus an allegorical work like others of its time well into the 20<sup>th</sup> century, meaning that the work has relevance in today’s art critic’s mind (Carrier 238-247).\n\nReception today rivals with reception in the past by way of historical context. Today, individuals can be more aware of other artistic developments of the same time frame in other parts of the world and weigh the characteristics of a piece with others of the same time across the globe. When the work was first released, people were shocked at the level of detail and progressively analyzed the piece until all symbols and images were dissected into their meanings as time went on; to understand a work thoroughly first is an unrivaled thrill for most art critics for sure, but to inspect a work of art more objectively is always the ultimate goal.\n\nI believe that this work is important in displaying the relationship between economics and power during the Renaissance era and the arts. This portrait and its future owners for the next couple hundred years explain well the nature of the arts as a treat for the wealthy and powerful. The subject matter displays well the manner of a wealthy family of the time with regards to commodities such as clothing, food, other cloths, and even animals. Portraying a deceptively secular image riddled with spiritual and religious imagery is a wonderful irony in van Eyck’s work that I would love to have thought of given the historical circumstances. I wish that I could master perspective in such a way that fooled the eye into believing three-dimensional images can occur by a two-dimensional medium, and to do so without any knowledge of the popularized method, to forge one’s own way, is an incredible feat.\n\nThis work is similar to and contrasts from many paintings of its time, particularly the Ghent altarpiece by Jan van Eyck himself and his brother Hubert van Eyck (Woodfield). The paintings are similar in artistic perspective with unique three dimensional presentation; they also are both created using an oil based paint to enhance the presence of light dynamics on the three-dimensional subjects. The paintings differ, however, in their subject matter dramatically. Jan van Eyck had his fair share of both secular and religious images painted in his lifetime.\n\nThis divergence of secular and religious subject matter is indicative of the progression of art from its use primarily for religious purposes then later for enjoyment by anyone with the wealth to pay for it. This isn’t to say that religion left art forever after the Renaissance, but the subject matter of art certainly expanded in this time to include more secular pieces such as the <i>Arnolfini Wedding</i>, <i>Mona Lisa</i>, and other portraits of non-religious figures. The person that commissioned the piece was a contrast while the subject matter remained a comparison to work of earlier times. The Ghent altarpiece was a church work but commissioned by a wealthy merchant, just as the generally secular <i>Arnolfini Wedding</i> was bought by Giovanni Arnolfini himself, and passed on to those in power after his death to the highest bidder (Woodfield).\n\nThis work displays the importance of realism and allegory in art in its subject matter. The <i>Arnolfini Wedding </i>also marks a time when art was rewarded with fortunes and social status, marking a difference in the way most artists typically live today. Only a select few are rewarded with fortunes, whereas other very talented individuals go unnoticed and unrewarded. This work marks a realistic miracle for art in all regards and should be preserved as such and reflected on for all generations to come.\n<p align=\"center\">Works Cited</p>\nCampbell, Lorne. The Fifteenth-Century Netherlandish Paintings. National Gallery, 1998. Print.\n\n- A helpful guide to the history of paintings after their creation.\n\nCarleton, David L. \"A Mathematical Analysis of the Perspective of the Arnolfini Portrait and Other Similar Interior Scenes by Jan Van Eyck.\" Art Bulletin 64.1 (1982): 118. Academic Search Complete. Web. 20 Sept. 2013.\n\n- Very insightful as to how van Eyck achieved his psuedo-linear perspective in other works than the Arnolfinis\n\nCarrier, David. \"Naturalism and Allegory in Flemish Painting.\" Journal of Aesthetics &amp; Art Criticism 45.3 (1987): Academic Search Complete. Web. 20 Sept. 2013.\n\n- A primary source for the intentions of the artist behind the work, also provided insight from other art critics, mainly Panovsky and criticisms of his ideas\n\nElkins, James. \"On the Arnolfini Portrait and the Lucca Madonna: Did Jan Van Eyck Have a Perspectival System?\" Art Bulletin 73.1 (1991): 53. Academic Search Complete. Web. 20 Sept. 2013.\n\n- Another insight to van Eyck\'s perspective and potential theories about how he achieved his particular realism\n\nFiero, Gloria K., The Humanistic Tradition, Book 4, Faith, Reason, and Power in the Early Modern World. 6th. 1. New York City: McGraw-Hill Humanities/Social Sciences/Languages, 2011. Print.\n\n- Humanities textbook that offered many historical comparisons to other works of the time and provided context with art of the era\n\nFoner, Eric. Give Me Liberty!, Volume 1, An American History. 3<sup>rd</sup> Edition. New York City: W. W. Norton, 2010. Print.\n\n-U.S. History 1301 textbook that gave insight to early 15th and 16th century power and economic de','Preserving the Arnolfinis','','inherit','open','open','','3263-autosave-v1','','','2013-09-23 12:06:05','2013-09-23 18:06:05','',3263,'http://jeanatacc.com/2011/?p=3297',0,'revision','',0),(3299,76,'2013-09-23 12:06:16','2013-09-23 18:06:16','Jan van Eyck (~1390-1441) painted the <i>Arnolfini Wedding </i>portrait around 1434 and portrays expert realism with subtle allegory in a secular setting (Carrier 236, 237). Without being formally trained in linear perspective which was popularized in Florence, van Eyck achieved incredible realism with his own attempts in perspective and an oil-based, layered painting technique. The <i>Arnolfini Wedding</i> depicts a man and woman holding hands as the subjects of the piece in a secular setting, a room furnished with furniture and commodities that serve symbolic purposes in establishing the social influence of particularly Giovanni Arnolfini. The woman in the piece was thought to be his wife but her identity has been debated as time goes on. Jan van Eyck’s degree of realism was aided by his unique perspective system which “has attracted no less than six different hypotheses.” (Elkins 53). These different ideas include debates on van Eyck’s method of painting and the tools used, such as a convex mirror to allow Eyck to reproduce lines and vanishing “areas” for a consistent perspective despite lack of a linear approach (Carleton). The <i>Arnolfini Wedding </i>by Jan van Eyck should be preserved for future generations because of the combination of realism and symbolic allegory, the unique context, and mastery of a new medium of painting.<!--more-->During the early Renaissance, artists were emerging with amazing talents from southern Europe. Deemed the Italian Renaissance, the movement began a new era in all aspects of living for all classes of society; as wealth grew for the elite, the middle class found new potential by moving to more urban areas, and the peasantry, feeling left in the medieval age, was ripe for revolt. This emerging merchant class gained power and influence as they began commissioning artists to paint and sculpt for them portraits and biblical figures, a phenomena that occurred in northern Europe in the late 15<sup>th</sup> century as well. It was the merchant Giovanni Arnolfini who commissioned him in 1434 to create the wedding portrait which remains the subject of many art scholars today (Fiero).\r\n\r\nFurther east, the Ottoman Empire captured the city of Constantinople in the early 15<sup>th</sup> century, shirking Byzantine influence and inciting travelers to search overseas for trade routes to the east. The findings of Portuguese and Italian traders across Africa, to India, and to as far as Japan helped to establish trade monopolies that allowed for new expansive policies of the governments they worked for. Powers organized as nation-states and rivalries emerged causing a new tension in society; competition became a part of everyday life for all of society. (Foner)\r\n\r\nThe <i>Arnolfini Wedding </i>was one of few northern works that showed such an eye to detail with innovative optical techniques. Since he was no trained in linear perspective, van Eyck had to achieve his realism in other ways such as a possible use of lenses and oil-based paints. His work was on par with those of the Italian Renaissance, the dynamic lighting and proportioned human figures are similar to Renaissance formal properties whereas the background of the work is indicative of the time as well (Carleton).\r\n\r\nThe work differs from others of its time by the way van Eyck achieved his realism with subtle symbolism and his method of creation. The secular nature of the work is apparent; two people are shown in a room with various commodities surrounding them indicative of their social status. However, allegories are hidden throughout the room in various symbols. The single candle lit on the chandelier is strange in a realistic scenario, but could symbolize the couple’s ongoing bond. The convex mirror has surrounding it the stations of Jesus Christ in microscopic detail, assuming a sort of holiness in the scene. Secular symbols have also been deduced from figures in the work as well. The dog could be a symbol of fidelity, or more naturally, a rare breed establishing status of the subjects of the portrait. The oranges have been interpreted as both an optimism for the harvest of the oncoming season, indicative of the bond being made in the portrait, or also another rare commodity displaying again the couple’s material wealth (Carrier 238).\r\n\r\nDuring it’s time, the <i>Arnolfini Wedding</i> is assumed to have been received very well considering a few factors. Simply who the work was commissioned for tells that a high-paying customer was willing to receive it, upon knowing of van Eyck’s earlier and popular works of the time. Another important consideration is the work’s ownership after Giovanni Arnolfini to multiple important figures in Spain, France, Italy, and now England where it resides in the National Gallery at London (Campbell).\r\n\r\nToday, the work is studied and analyzed widely among art scholars and currently resides in the National Gallery in London. Many articles have been written about the work, proving its worth in the art community as a valuable piece worthy of preservation for the past six hundred years and hopefully the next six hundred (Carrier, Carleton, Elkins, and Campbell). Many controversies have been examined in this work, such as the identity of the woman in the painting, being debated up until the late 1980’s. (Carrier 237, 238). Art critics have also been debating the nature of van Eyck’s total realism versus an allegorical work like others of its time well into the 20<sup>th</sup> century, meaning that the work has relevance in today’s art critic’s mind (Carrier 238-247).\r\n\r\nReception today rivals with reception in the past by way of historical context. Today, individuals can be more aware of other artistic developments of the same time frame in other parts of the world and weigh the characteristics of a piece with others of the same time across the globe. When the work was first released, people were shocked at the level of detail and progressively analyzed the piece until all symbols and images were dissected into their meanings as time went on; to understand a work thoroughly first is an unrivaled thrill for most art critics for sure, but to inspect a work of art more objectively is always the ultimate goal.\r\n\r\nI believe that this work is important in displaying the relationship between economics and power during the Renaissance era and the arts. This portrait and its future owners for the next couple hundred years explain well the nature of the arts as a treat for the wealthy and powerful. The subject matter displays well the manner of a wealthy family of the time with regards to commodities such as clothing, food, other cloths, and even animals. Portraying a deceptively secular image riddled with spiritual and religious imagery is a wonderful irony in van Eyck’s work that I would love to have thought of given the historical circumstances. I wish that I could master perspective in such a way that fooled the eye into believing three-dimensional images can occur by a two-dimensional medium, and to do so without any knowledge of the popularized method, to forge one’s own way, is an incredible feat.\r\n\r\nThis work is similar to and contrasts from many paintings of its time, particularly the Ghent altarpiece by Jan van Eyck himself and his brother Hubert van Eyck (Woodfield). The paintings are similar in artistic perspective with unique three dimensional presentation; they also are both created using an oil based paint to enhance the presence of light dynamics on the three-dimensional subjects. The paintings differ, however, in their subject matter dramatically. Jan van Eyck had his fair share of both secular and religious images painted in his lifetime.\r\n\r\nThis divergence of secular and religious subject matter is indicative of the progression of art from its use primarily for religious purposes then later for enjoyment by anyone with the wealth to pay for it. This isn’t to say that religion left art forever after the Renaissance, but the subject matter of art certainly expanded in this time to include more secular pieces such as the <i>Arnolfini Wedding</i>, <i>Mona Lisa</i>, and other portraits of non-religious figures. The person that commissioned the piece was a contrast while the subject matter remained a comparison to work of earlier times. The Ghent altarpiece was a church work but commissioned by a wealthy merchant, just as the generally secular <i>Arnolfini Wedding</i> was bought by Giovanni Arnolfini himself, and passed on to those in power after his death to the highest bidder (Woodfield).\r\n\r\nThis work displays the importance of realism and allegory in art in its subject matter. The <i>Arnolfini Wedding </i>also marks a time when art was rewarded with fortunes and social status, marking a difference in the way most artists typically live today. Only a select few are rewarded with fortunes, whereas other very talented individuals go unnoticed and unrewarded. This work marks a realistic miracle for art in all regards and should be preserved as such and reflected on for all generations to come.\r\n<p align=\"center\">Works Cited</p>\r\nCampbell, Lorne. The Fifteenth-Century Netherlandish Paintings. National Gallery, 1998. Print.\r\n\r\n- A helpful guide to the history of paintings after their creation.\r\n\r\nCarleton, David L. \"A Mathematical Analysis of the Perspective of the Arnolfini Portrait and Other Similar Interior Scenes by Jan Van Eyck.\" Art Bulletin 64.1 (1982): 118. Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\n- Very insightful as to how van Eyck achieved his psuedo-linear perspective in other works than the Arnolfinis\r\n\r\nCarrier, David. \"Naturalism and Allegory in Flemish Painting.\" Journal of Aesthetics &amp; Art Criticism 45.3 (1987): Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\n- A primary source for the intentions of the artist behind the work, also provided insight from other art critics, mainly Panovsky and criticisms of his ideas\r\n\r\nElkins, James. \"On the Arnolfini Portrait and the Lucca Madonna: Did Jan Van Eyck Have a Perspectival System?\" Art Bulletin 73.1 (1991): 53. Academic Search Complete. Web. 20 Sept. 2013.\r\n\r\n- Another insight to van Eyck\'s perspective and potential theories about how he achieved his particular realism\r\n\r\nFiero, Gloria K., The Humanistic Tradition, Book 4, Faith, Reason, and Power in the Early Modern World. 6th. 1. New York City: McGraw-Hill Humanities/Social Sciences/Languages, 2011. Print.\r\n\r\n- Humanities textbook that offered many historical comparisons to other works of the time and provided context with art of the era\r\n\r\nFoner, Eric. Give Me Liberty!, Volume 1, An American History. 3<sup>rd</sup> Edition. New York City: W. W. Norton, 2010. Print.\r\n\r\n-U.S. History 1301 textbook that gave insight to early 15th and 16th century power and economic developments for historical context','Preserving the Arnolfinis','','inherit','open','open','','3263-revision-v1','','','2013-09-23 12:06:16','2013-09-23 18:06:16','',3263,'http://jeanatacc.com/2011/?p=3299',0,'revision','',0),(3300,80,'2013-09-23 12:09:56','2013-09-23 18:09:56','','149syllabus4utopiaimage','','inherit','open','open','','149syllabus4utopiaimage','','','2013-09-23 12:09:56','2013-09-23 18:09:56','',3276,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/149syllabus4utopiaimage.jpg',0,'attachment','image/jpeg',0),(3303,84,'2013-09-23 12:12:42','2013-09-23 18:12:42','The age of European Exploration of the Americas, which made its big debut from the late fifteenth century to the mid-sixteenth century, encouraged many European explorers to write diaries and journals of their encounters of the New World. Almost everybody knows about Christopher Columbus, the Italian explorer that was sent by Spanish rulers King Ferdinand and Queen Isabella, and how they sent him to the New World in search of gold. However, there is a less-known Italian explorer named Girolamo Benzoni, who made the decision to go to the New World himself in 1541 to participate in a slave trade of Indians.  Benzoni’s mission was to bring these Indians back to Spain to sell as slaves. Unlike Columbus, who was on assignment, Benzoni was motivated to go to the New World himself. His inspiration came about while reading about other famous explorers’ voyages about discovering and exploring foreign lands. Coming from a poor family, Benzoni was the first of his clan to go on an adventure with other Spaniards. As he was making this journey, Benzoni wrote his journeys down to create <i>History of the New World, </i>a book that was not published until 1565. The work <i>History of the New World </i>by Giralmo Benzoni should be preserved because this explorer came from a poor family, and became a wealthy man by trading with the Spaniards.<!--more-->\r\n\r\nThe book <i>History of the New World </i>was fortunate for readers because it was published during the invention of the printing press. This is an innovation to this era because this invention resulted in a larger audience of readers, specifically in the wealthy class. Also, illustrations started to become increasingly large as the printing press produced these images with an essence of extravagance. This was beneficial to European readers because the large images gave them a vivid picture of life in the Americas. Benzoni’s illustrations are called woodcuts, which are carved images using wood blocks. However, these simple drawings were over exaggerated by the literary interests of the De Brys. Without Benzoni’s approval, these people used exotic graphics using concepts such as nudity and violence to take away the peacefulness of Benzoni’s simple artwork. They also made an effort to exaggerate scenes by adding buildings and other distracting miscellaneous detail. The De Brys, as one can see, liked to emphasize the literary illustrations by adding graphic information to each painting to increase the work’s attraction to its readers.\r\n\r\nWhen this book was published in Italy in 1565, it was published in French, German, Latin, and it had excerpts in English. The Spanish, however, did not take light of the offensive content taken toward their native heritage. Thus, the Spanish people did not have this book published until the twentieth century. In fact, Benzoni’s hatred of the Spanish was recorded later by the Jesuit official and Spanish historian. However, ultra-philanthropists found Benzoni’s book to be of great assistance with their studies. This book, unfortunately, has very little credibility because it is considered to be controversial. This is because the book contains violence and hostility. <i>History of the New World </i>loses its source of credibility because it does not focus on less-threatening situations. A man of little education, Benzoni only had limited views that included the negativity of these situations. Therefore, this book’s content is not positively looked upon due to its many understatements about historically correct information about the New World.\r\n\r\nAnn Rosalind Jones, in her article <i>Ethnographer\'s Sketch, Sensational Engraving, Full- Length Portrait: Print Genres For Spanish America In Girolamo Benzoni, The De Brys, And Cesare Vecellio</i> , points out that Italian naturalist Ulisse Aldrovani believed that “…wonder was a cognitive passion as much about knowing as feeling.” (2) The concept of wonder can be applied today as students, for the most part, know very little about Benzoni and his voyage to the Americas. <i>History of the New World </i>can be a fascinating narrative to learn about because it gives insight into another explorer’s adventure to the Americas, which can help us learn more about the era of European Exploration. This was not the scenario for the era in which this book was written. The Spanish culture, in particular, found this narrative to be offensive to their customs and beliefs. Thus, the first Spanish edition did not get published until the twentieth century. Benzoni’s major attacks and hatred of the Spanish culture had a major impact on the publication process, and the offenses were to the point that this book would have to be censored many times. When all the slavery between countries was over with, this book was ready to be published in the Spanish language.\r\n\r\nWhile researching and learning about Benzoni, I thought he was a very unique explorer to this time period. Although he had little knowledge about the New World, I admire that his observations were impressive considering his social status. Coming from a poor family, I found it interesting that Benzoni made a fourteen-year voyage to the New World to explore what the Spaniards were doing to the Indians. I consider this to be a remarkable journey because I would have never imagined a poor boy going to the New World with complete strangers during this era. I feel like Benzoni stood out from his people by embarking on this journey because it would have likely been impossible for his relatives due to the fact that there was little money to do anything for themselves.\r\n\r\nThere are many similarities between Benzoni and thirteenth century Italian explorer Marco Polo. Compared to Benzoni, Polo also made his journey to a foreign land. Polo went east and Benzoni made his journey west, but both explorers encountered people of separate cultures. Benzoni was from a poor family, but he still managed to become a successful merchant explorer like Polo. He earned his money by participating in a Spanish slave trade in the New World. Both explorers managed to be successful by investing in activity that dealt with trading in a foreign land.\r\n\r\nUnlike Benzoni’s lower class family background, Polo had already come from a family of wealthy merchants. Polo’s father and uncle, Niccolo and Maffeo Polo, had been making their three-and-a-half year journey to China since 1262. When Marco began to learn about the merchant’s trade, he decided to join his relatives on their journey to China. This voyage to China was direct unlike Benzoni’s fourteen-year journey to the New World with stops to multiple countries. Another difference is Polo’s and Benzoni’s level of compassion to foreigners. While Polo was making amends with the Chinese, Benzoni participated in a slave trade in which he captured four-thousand Indians to sell to the Spanish. He was fortunate enough to show remorse for his slave-trading days in the West. In the end, both explorers succeeded in gaining wealth as merchants on their voyages to international foreign lands.\r\n\r\nI highly suggest that Girolamo Benzoni’s <i>History of the New World </i>should be restored because I think the idea of an individual from a poor family becoming a successful merchant explorer is interesting. The experience Benzoni witnessed and gained, I believe, should be of interest to today’s students and scholars because they could gain insight and knowledge from this explorer’s remarkable journey to the New World. It is surprising to me that this explorer is not popular in any history textbooks because I believe all explorers’ journeys should be included in the exploration of our native land. In future generations, I think it would be wonderful to see this book as well as its author popularized as a source of research in numerous libraries, and to be more participatory in the building blocks of the stage of the exploration era.\r\n\r\n<strong>Citation Sources:</strong>','\"History of The New World\" by Girolamo Benzoni','','inherit','open','open','','3264-revision-v1','','','2013-09-23 12:12:42','2013-09-23 18:12:42','',3264,'http://jeanatacc.com/2011/?p=3303',0,'revision','',0),(3301,80,'2013-09-23 12:11:09','2013-09-23 18:11:09','','imagesCA8XC8I1','','inherit','open','open','','imagesca8xc8i1','','','2013-09-23 12:11:09','2013-09-23 18:11:09','',3276,'http://jeanatacc.com/2011/wp-content/uploads/2013/09/imagesCA8XC8I1.jpg',0,'attachment','image/jpeg',0),(3305,80,'2013-09-23 12:14:49','2013-09-23 18:14:49','Before we move onto More’s Utopia we need to try to understand the man that imaged this make believe land. Thomas More was a Christian humanist with a conscience who criticized the evils of greedy private enterprise. His unwilling cooperation and faith as a Roman Catholic had him executed in 1535 for treason. Thomas More\'s Utopia; put Thomas More on the map as a humanities and made his make believe land well recognized over Plato Republic therefore it should be preserved.\r\n\r\nIt was 1516 when Thomas More completed his statecraft and society which he named Utopia. More’s fictional land is a socialistic state in which personal property is shared; war and personal prides are disdain. Everyone has a right to an education and freedom of religion.  While More believes that commonwealth, motivation, compassion, and scorn for material wealth ensures social harmony. However; More’s Utopians are not Christian, yet inspired by Christian principals of ethics and assistance. They have little use for metals, jewels, and the taste that drives men to war.\r\n<p style=\"text-align: left\">Every city was divided into four sections with a market place built in the middle for all families to bring in different goods to sell.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/imagesCA8XC8I1.jpg\"><img class=\"alignnone size-full wp-image-3301\" alt=\"imagesCA8XC8I1\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/imagesCA8XC8I1.jpg\" width=\"204\" height=\"230\" /></a> The streets are designed for vehicles and to protect from the wind. Buildings are facing each other are running up and down the street. Front of the houses are separated by twenty foot roadway with a large garden behind them as long as a street.  No shortages in this community while a few things have value when compared to the English, for all their values are in short supply. Gold and silver are used in chamber pots and slave restraints, since everyone has a job in producing the basic needs to survive; therefore the workdays are only six hours long.</p>\r\nThe family life was organized around the needs of the situation. A child who prefers to a woodworker or a ironworker would be sent to a woodworker or iron worker family. However; the families men are the most powerful members. It is said when a women gets married she will move in with mans household. Yet the male of each generation has to stay at home and follow the orders of the oldest male. Utopian women live inferior to the males of utopia, they must admit their sins to their husbands even before attending a church.\r\n\r\nThe community serves as means of public consistency and control. People are not allowed to leave the town and workplace without approval or they will be reprimanded. In order to eat you must work even if you go to another town or island. \"Wherever you are, you always have to work. There\'s never any excuse for idleness. There are also no wine-taverns, no ale-houses, no brothels, no opportunities for seduction, no secret meeting-places. Everyone has his eye on you, so you\'re practically forced to get on with your job, and make some proper use of your spare time\"  The constants surveillance, utopian ethics and religion emphasize that a good life spent, when not working , utopians read, play games, have conversations, and attend public lectures.\r\n\r\n&nbsp;','  Thomas More\'s Utopia','','inherit','open','open','','3276-revision-v1','','','2013-09-23 12:14:49','2013-09-23 18:14:49','',3276,'http://jeanatacc.com/2011/?p=3305',0,'revision','',0),(3302,80,'2013-09-23 12:11:26','2013-09-23 18:11:26','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/149syllabus4utopiaimage.jpg\"><img class=\"alignnone size-full wp-image-3300\" alt=\"149syllabus4utopiaimage\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/149syllabus4utopiaimage.jpg\" width=\"288\" height=\"217\" /></a>Before we move onto More’s Utopia we need to try to understand the man that imaged this make believe land. Thomas More was a Christian humanist with a conscience who criticized the evils of greedy private enterprise. His unwilling cooperation and faith as a Roman Catholic had him executed in 1535 for treason. Thomas More\'s Utopia; put Thomas More on the map as a humanities and made his make believe land well recognized over Plato Republic therefore it should be preserved.\r\n\r\nIt was 1516 when Thomas More completed his statecraft and society which he named Utopia. More’s fictional land is a socialistic state in which personal property is shared; war and personal prides are disdain. Everyone has a right to an education and freedom of religion.  While More believes that commonwealth, motivation, compassion, and scorn for material wealth ensures social harmony. However; More’s Utopians are not Christian, yet inspired by Christian principals of ethics and assistance. They have little use for metals, jewels, and the taste that drives men to war.\r\n\r\nEvery city was divided into four sections with a market place built in the middle for all families to bring in different goods to sell.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/imagesCA8XC8I1.jpg\"><img class=\"alignnone size-full wp-image-3301\" alt=\"imagesCA8XC8I1\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/imagesCA8XC8I1.jpg\" width=\"204\" height=\"230\" /></a> The streets are designed for vehicles and to protect from the wind. Buildings are facing each other are running up and down the street. Front of the houses are separated by twenty foot roadway with a large garden behind them as long as a street.  No shortages in this community while a few things have value when compared to the English, for all their values are in short supply. Gold and silver are used in chamber pots and slave restraints, since everyone has a job in producing the basic needs to survive; therefore the workdays are only six hours long.\r\n\r\nThe family life was organized around the needs of the situation. A child who prefers to a woodworker or a ironworker would be sent to a woodworker or iron worker family. However; the families men are the most powerful members. It is said when a women gets married she will move in with mans household. Yet the male of each generation has to stay at home and follow the orders of the oldest male. Utopian women live inferior to the males of utopia, they must admit their sins to their husbands even before attending a church.\r\n\r\nThe community serves as means of public consistency and control. People are not allowed to leave the town and workplace without approval or they will be reprimanded. In order to eat you must work even if you go to another town or island. \"Wherever you are, you always have to work. There\'s never any excuse for idleness. There are also no wine-taverns, no ale-houses, no brothels, no opportunities for seduction, no secret meeting-places. Everyone has his eye on you, so you\'re practically forced to get on with your job, and make some proper use of your spare time\"  The constants surveillance, utopian ethics and religion emphasize that a good life spent, when not working , utopians read, play games, have conversations, and attend public lectures.\r\n\r\n&nbsp;','  Thomas More\'s Utopia','','inherit','open','open','','3276-revision-v1','','','2013-09-23 12:11:26','2013-09-23 18:11:26','',3276,'http://jeanatacc.com/2011/?p=3302',0,'revision','',0),(3304,84,'2013-09-23 12:14:35','2013-09-23 18:14:35','The age of European Exploration of the Americas, which made its big debut from the late fifteenth century to the mid-sixteenth century, encouraged many European explorers to write diaries and journals of their encounters of the New World. Almost everybody knows about Christopher Columbus, the Italian explorer that was sent by Spanish rulers King Ferdinand and Queen Isabella, and how they sent him to the New World in search of gold. However, there is a less-known Italian explorer named Girolamo Benzoni, who made the decision to go to the New World himself in 1541 to participate in a slave trade of Indians.  Benzoni’s mission was to bring these Indians back to Spain to sell as slaves. Unlike Columbus, who was on assignment, Benzoni was motivated to go to the New World himself. His inspiration came about while reading about other famous explorers’ voyages about discovering and exploring foreign lands. Coming from a poor family, Benzoni was the first of his clan to go on an adventure with other Spaniards. As he was making this journey, Benzoni wrote his journeys down to create <i>History of the New World, </i>a book that was not published until 1565. The work <i>History of the New World </i>by Giralmo Benzoni should be preserved because this explorer came from a poor family, and became a wealthy man by trading with the Spaniards.<!--more-->\r\n\r\nThe book <i>History of the New World </i>was fortunate for readers because it was published during the invention of the printing press. This is an innovation to this era because this invention resulted in a larger audience of readers, specifically in the wealthy class. Also, illustrations started to become increasingly large as the printing press produced these images with an essence of extravagance. This was beneficial to European readers because the large images gave them a vivid picture of life in the Americas. Benzoni’s illustrations are called woodcuts, which are carved images using wood blocks. However, these simple drawings were over exaggerated by the literary interests of the De Brys. Without Benzoni’s approval, these people used exotic graphics using concepts such as nudity and violence to take away the peacefulness of Benzoni’s simple artwork. They also made an effort to exaggerate scenes by adding buildings and other distracting miscellaneous detail. The De Brys, as one can see, liked to emphasize the literary illustrations by adding graphic information to each painting to increase the work’s attraction to its readers.\r\n\r\nWhen this book was published in Italy in 1565, it was published in French, German, Latin, and it had excerpts in English. The Spanish, however, did not take light of the offensive content taken toward their native heritage. Thus, the Spanish people did not have this book published until the twentieth century. In fact, Benzoni’s hatred of the Spanish was recorded later by the Jesuit official and Spanish historian. However, ultra-philanthropists found Benzoni’s book to be of great assistance with their studies. This book, unfortunately, has very little credibility because it is considered to be controversial. This is because the book contains violence and hostility. <i>History of the New World </i>loses its source of credibility because it does not focus on less-threatening situations. A man of little education, Benzoni only had limited views that included the negativity of these situations. Therefore, this book’s content is not positively looked upon due to its many understatements about historically correct information about the New World.\r\n\r\nAnn Rosalind Jones, in her article <i>Ethnographer\'s Sketch, Sensational Engraving, Full- Length Portrait: Print Genres For Spanish America In Girolamo Benzoni, The De Brys, And Cesare Vecellio</i> , points out that Italian naturalist Ulisse Aldrovani believed that “…wonder was a cognitive passion as much about knowing as feeling.” (2) The concept of wonder can be applied today as students, for the most part, know very little about Benzoni and his voyage to the Americas. <i>History of the New World </i>can be a fascinating narrative to learn about because it gives insight into another explorer’s adventure to the Americas, which can help us learn more about the era of European Exploration. This was not the scenario for the era in which this book was written. The Spanish culture, in particular, found this narrative to be offensive to their customs and beliefs. Thus, the first Spanish edition did not get published until the twentieth century. Benzoni’s major attacks and hatred of the Spanish culture had a major impact on the publication process, and the offenses were to the point that this book would have to be censored many times. When all the slavery between countries was over with, this book was ready to be published in the Spanish language.\r\n\r\nWhile researching and learning about Benzoni, I thought he was a very unique explorer to this time period. Although he had little knowledge about the New World, I admire that his observations were impressive considering his social status. Coming from a poor family, I found it interesting that Benzoni made a fourteen-year voyage to the New World to explore what the Spaniards were doing to the Indians. I consider this to be a remarkable journey because I would have never imagined a poor boy going to the New World with complete strangers during this era. I feel like Benzoni stood out from his people by embarking on this journey because it would have likely been impossible for his relatives due to the fact that there was little money to do anything for themselves.\r\n\r\nThere are many similarities between Benzoni and thirteenth century Italian explorer Marco Polo. Compared to Benzoni, Polo also made his journey to a foreign land. Polo went east and Benzoni made his journey west, but both explorers encountered people of separate cultures. Benzoni was from a poor family, but he still managed to become a successful merchant explorer like Polo. He earned his money by participating in a Spanish slave trade in the New World. Both explorers managed to be successful by investing in activity that dealt with trading in a foreign land.\r\n\r\nUnlike Benzoni’s lower class family background, Polo had already come from a family of wealthy merchants. Polo’s father and uncle, Niccolo and Maffeo Polo, had been making their three-and-a-half year journey to China since 1262. When Marco began to learn about the merchant’s trade, he decided to join his relatives on their journey to China. This voyage to China was direct unlike Benzoni’s fourteen-year journey to the New World with stops to multiple countries. Another difference is Polo’s and Benzoni’s level of compassion to foreigners. While Polo was making amends with the Chinese, Benzoni participated in a slave trade in which he captured four-thousand Indians to sell to the Spanish. He was fortunate enough to show remorse for his slave-trading days in the West. In the end, both explorers succeeded in gaining wealth as merchants on their voyages to international foreign lands.\r\n\r\nI highly suggest that Girolamo Benzoni’s <i>History of the New World </i>should be restored because I think the idea of an individual from a poor family becoming a successful merchant explorer is interesting. The experience Benzoni witnessed and gained, I believe, should be of interest to today’s students and scholars because they could gain insight and knowledge from this explorer’s remarkable journey to the New World. It is surprising to me that this explorer is not popular in any history textbooks because I believe all explorers’ journeys should be included in the exploration of our native land. In future generations, I think it would be wonderful to see this book as well as its author popularized as a source of research in numerous libraries, and to be more participatory in the building blocks of the stage of the exploration era.\r\n\r\n<strong>Citation Sources:</strong>\r\n\r\n1.    \"Girolamo Benzoni.\" CATHOLIC ENCYCLOPEDIA:. 29 Aug. 2013 &lt;http://www.newadvent.org/cathen/02484c.htm&gt;.\r\n2.    Moffitt, John F., and Santiago Sebastiâan. O Brave New People : The European Invention Of The American Indian. Albuquerque, N.M.: University of New Mexico Press, 1998. eBook Collection (EBSCOhost). Web. 30 Aug. 2013.\r\n3.    Jones, Ann Rosalind. \"Ethnographer\'s Sketch, Sensational Engraving, Full- Length Portrait: Print Genres For Spanish America In Girolamo Benzoni, The De Brys, And Cesare Vecellio.\" Journal Of Medieval &amp; Early Modern Studies 41.1 (2011): 137-171. Academic Search Complete. Web. 30 Aug. 2013.\r\n4.    \"Asian Experiences: Marco Polo and the Silk Road.\" World Eras. Ed. Jeremiah Hackett. Vol. 4: Medieval Europe, 814-1350. Detroit: Gale Group, 2002. 29-31. World History In Context. Web. 23 Sept. 2013.','\"History of The New World\" by Girolamo Benzoni','','inherit','open','open','','3264-revision-v1','','','2013-09-23 12:14:35','2013-09-23 18:14:35','',3264,'http://jeanatacc.com/2011/?p=3304',0,'revision','',0),(3322,1,'2013-09-23 17:18:11','2013-09-23 23:18:11','[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[/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  dfdf\r\n<div>Lichtenberg, Joseph M.D.<i> Cervantes and Don Quixote.</i> Psychoanalytic Inquiry, 2010</div>\r\ndfdf\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.','Don Quixote Time Capsule 1','','inherit','open','open','','3250-revision-v1','','','2013-09-23 17:18:11','2013-09-23 23:18:11','',3250,'http://jeanatacc.com/2011/?p=3322',0,'revision','',0),(3306,74,'2013-09-23 12:15:46','2013-09-23 18:15:46','[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[/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.</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  dfdf\r\n<div>Lichtenberg, Joseph M.D.<i> Cervantes and Don Quixote.</i> Psychoanalytic Inquiry, 2010</div>\r\ndfdf','Don Quixote Time Capsule 1','','inherit','open','open','','3250-revision-v1','','','2013-09-23 12:15:46','2013-09-23 18:15:46','',3250,'http://jeanatacc.com/2011/?p=3306',0,'revision','',0),(3308,80,'2013-09-23 12:17:41','2013-09-23 18:17:41','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/149syllabus4utopiaimage.jpg\"><img class=\"alignnone size-full wp-image-3300\" alt=\"149syllabus4utopiaimage\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/149syllabus4utopiaimage.jpg\" width=\"288\" height=\"217\" /></a>Before we move onto More’s Utopia we need to try to understand the man that imaged this make believe land. Thomas More was a Christian humanist with a conscience who criticized the evils of greedy private enterprise. His unwilling cooperation and faith as a Roman Catholic had him executed in 1535 for treason. Thomas More\'s Utopia; put Thomas More on the map as a humanities and made his make believe land well recognized over Plato Republic therefore it should be preserved.\r\n\r\nIt was 1516 when Thomas More completed his statecraft and society which he named Utopia. More’s fictional land is a socialistic state in which personal property is shared; war and personal prides are disdain. Everyone has a right to an education and freedom of religion.  While More believes that commonwealth, motivation, compassion, and scorn for material wealth ensures social harmony. However; More’s Utopians are not Christian, yet inspired by Christian principals of ethics and assistance. They have little use for metals, jewels, and the taste that drives men to war.Every city was divided into four sections with a market place built in the middle for all families to bring in different goods to sell. The streets are designed for vehicles and to protect from the wind. Buildings are facing each other are running up and down the street. Front of the houses are separated by twenty foot roadway with a large garden behind them as long as a street.  No shortages in this community while a few things have value when compared to the English, for all their values are in short supply. Gold and silver are used in chamber pots and slave restraints, since everyone has a job in producing the basic needs to survive; therefore the workdays are only six hours long.\r\n\r\nThe family life was organized around the needs of the situation. A child who prefers to a woodworker or a ironworker would be sent to a woodworker or iron worker family. However; the families men are the most powerful members. It is said when a women gets married she will move in with mans household. Yet the male of each generation has to stay at home and follow the orders of the oldest male. Utopian women live inferior to the males of utopia, they must admit their sins to their husbands even before attending a church.\r\n\r\nThe community serves as means of public consistency and control. People are not allowed to leave the town and workplace without approval or they will be reprimanded. In order to eat you must work even if you go to another town or island. \"Wherever you are, you always have to work. There\'s never any excuse for idleness. There are also no wine-taverns, no ale-houses, no brothels, no opportunities for seduction, no secret meeting-places. Everyone has his eye on you, so you\'re practically forced to get on with your job, and make some proper use of your spare time\"  The constants surveillance, utopian ethics and religion emphasize that a good life spent, when not working , utopians read, play games, have conversations, and attend public lectures.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/imagesCA8XC8I1.jpg\"><img class=\"alignnone size-full wp-image-3301\" alt=\"imagesCA8XC8I1\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/imagesCA8XC8I1.jpg\" width=\"204\" height=\"230\" /></a>','  Thomas More\'s Utopia','','inherit','open','open','','3276-revision-v1','','','2013-09-23 12:17:41','2013-09-23 18:17:41','',3276,'http://jeanatacc.com/2011/?p=3308',0,'revision','',0),(3309,81,'2013-09-23 19:46:14','2013-09-24 01:46:14','<p dir=\"ltr\" id=\"docs-internal-guid-48d84c9d-4be3-73d5-8795-cbd823d6058f\" style=\"text-align: center\">Donatello’s David</p>\n<p dir=\"ltr\">Donatello’s bronze statue of David is estimated to have been created somewhere between the years 1430 &amp; 1440.  The exact date is still a common topic for debate as no one has been able to find solid evidence (Schneider).  It was among the first nudes in the art world used in a context other than religious (italianrenaissance.org).  While it is more common to find David depicted as a strong, large, muscular, giant of a man, Donatello’s depiction of a sleek, younger man was a distinct difference.  His stance of victory holds an almost homosexual feminism to it, something that was fairly common in works of the period.  It is uncertain who actually commissioned the work, but some have proposed the assumption that it may have been Cosimo il Vecchio de’ Medici (<a href=\"http://www.palazzo-medici.it\">http://www.palazzo-medici.it</a>).  Donatello changed the world of art in ways he never could have imagined.  His technique, his skill, his creative bravery, and the greatness that is David are worthy of being preserved for centuries to come.</p>\n<p dir=\"ltr\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\"><img class=\"alignnone size-medium wp-image-3266\" alt=\"Jessie Donatello\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello-185x300.jpg\" width=\"185\" height=\"300\" />http://www.italianrenaissance.org/donatellos-david/</a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg\">          <img class=\"alignnone size-medium wp-image-3272\" alt=\"jessie donatello 3\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3-231x300.jpg\" width=\"231\" height=\"300\" /></a><!--more--></p>\n<p dir=\"ltr\">Despite having a considerable religious influence, the arts of the Renaissance era began to take on more lifelike appearances.  The Renaissance artists were steering away from the abstract qualities of the Classical period and began making their works more realistic.  Donatello’s David with its attention to the human form is a prime example of the changes that began to occur.  The artists of the Renaissance era such as Donatello, da Vinci, Raphael, and Michelangelo brought change and influence that was felt and seen for centuries to come, even today.  (Fiero, B3.43)  Around this time literature, science, art were beginning to tie themselves to the church as people such as Pope Nicholas V.   Even members of the church were showing an enthusiasm for learning and the arts.  Many church officials commissioned Renaissance artists to renovate libraries, and to build churches, and to paint chapels (i.e. The Sisteen Chapel).</p>\n<p dir=\"ltr\">In the time leading up to the Renaissance era, art tended to have a significant amount of religious influence.  As the artists of the Renaissance era began to try to revive the Classical heritage, they began applying a more realistic approach to their work.  Portrait work soared in popularity as it focused on the individual.  Nude works were not widely known outside of the religious context as many artists tended to be rather self-concious.  Even then, in most cases, any nude subjects tended to be portrayed as Gods.  Throughout the Renaissance era, artists were falling away from the abstract works of the Medieval time period and began to create more tangible and realistic pieces.  As artists lost inhibitions and became more creative, they began to explore the human form more and created works such as Donatello’s David.  “in his bronze David (circa 1450), Donatello created the first sexually charged male nude since the collapse of the classical Greco-Roman Testhetic a thousand years earlier.”  (Frontain)</p>\n<p dir=\"ltr\">Donatello’s David was a nude statue.  While not the only one of the time period, it was among the first.  The appearance of nudes in the art world was mostly found in the religious context.  Donatello was neither the first nor the last sculptor to produce their interpretation of David.  However, while the majority of the David statues depicted him as a larger-than-life man of great strength, Donatello showed him as a young and sinewy boy with an almost homosexual feminism to him.  Also, many artists/sculptors utilized marble, but Donatello chose to utilize bronze for this particular piece. Interestingly enough, this particular piece was his second attempt.  His first version of David was done in marble somewhere around 1408/1409.</p>\n<p dir=\"ltr\">This statue was received very well.  It became very popular and was considered to be the symbol of Florence.  The Medici family kept it on display in their court yard causing quite the scandal.  Regardless, once explained away by Donatello, the statue was received with great enthusiasm.  Due to the chosen placement of the sculpture (in the courtyard) some did not take to it very well.  However, many artists and scholars of the time made claims that it very well could have been one of Donatello’s finest works created within his lifetime.</p>\n<p dir=\"ltr\">The reception of Donatello’s bronze David today seems to be comparable to when it made its debut.  The beauty, creativity, and originality of Donatello’s work has never been argued.  The beauty of the nude form quite obviously influenced by Donatello’s own homosexuality seems to be the focus of many of today’s critics and historians.  Today there seems to much debate regarding the original appearance of the statue.  For example, many think the original statue – before the influences of time – had golden luscious curls that any women would envy.  (www.ancientworlds.net)  There is much debate amongst scholars as to the exact time, original appearance, whether or not Donatello used a live nude model, and a whole host of other details that seem to have been lost over the course of the passing centuries.  One important thing that has been agreed upon is that Donatello’s David is/was one of the most influential works of its time and that Donatello was one of the cornerstones of the beginning of the modern art community.</p>\n<p dir=\"ltr\">I have always been exposed to the larger, more masculine versions of the David statues.  I’ve always made the assumption they were all that had existed.  My first impression of Donatello’s work was that it was very feminine, seemed to be homosexually motivated, and couldn’t possibly be the correct statue.  After discovering that, in fact, it was I simply stared at it.  Given the time period, I was rather shocked that a statue of this type gained such popularity.  I thought it was very well done.  Again, given the time period, I was very impressed that a statue of this caliber could be created out of any medium especially one such as bronze.  In regards to its symbolism, it has been hard for me to truly understand it as my prior knowledge of this particular era is not very extensive.  For me personally, it was more the bravery and creativity that came from Donatello’s bronze David.  Knowing now of the political controversy started by its creation, I am able to appreciate it far more.  After looking at it for the first time, I was a bit taken aback.</p>\n<p dir=\"ltr\">Michelangelo and Donatello were both commissioned to create sculptures of David.  David was a great symbol for the people of Florence.  He stood-to them-for their freedom and liberty.  Both of which were under constant threat.  One important difference, in terms of history, was that Michelango’s piece was commissioned by The Board of Works for the Cathedral of Florence while Donatello’s piece was commissioned be the Medici family.  A family that was considered to have been one of the biggest threats toward the very freedoms and liberties David was supposed to have represented.  While David’s work is very well known, Michelango’s David is the one most thought of when “the sculpture of David” is mentioned.</p>\n<p dir=\"ltr\">Artistically speaking, they both used different mediums to create their individual works.  Donatello actually created two pieces depicting David.  One was done in marble while the other, the one he is most recognized for, was created from bronze.  Michelango kept with the classic/typical depiction of David showing him, while young, to be a man of strength and masculine victory.  Donatello, on the other hand, showed David as a sinewy young man.  While his stance with his foot on top of the severed head of Goliath was one of victory, he still showed more of a feminine quality almost homosexual.  This was a quality seen in many works of that time.</p>\n<p dir=\"ltr\">Donatello’s bronze David is not one of the most well-known of the many depictions of David.  Future generations need to know.  If asked, a number of high school students would most likely be unable to tell you any other David than that done by Michelangelo.  It is important that this generation and those to come be taught.</p>\n<p dir=\"ltr\">Donatello created a great work of symbolism.  On a daily basis, the very family that commissioned him to create this great piece threatened the freedoms and liberties of the citizens of Florence-the freedoms and liberties that David represented.  Some artists of his time went so far as to label this work as Donatello’s finest of his lifetime.  Donatello was one of the great artistic masters.  His work has influenced other artists and their own works over the course of centuries.  To look at it simply, it was formed from bronze-a task not easily accomplished almost 600 years ago.</p>\n<p dir=\"ltr\">Donatello’s David was a great example of Humanist art.  This is shown not only in the choice of medium but also in the pose and nudity of the subject.  What better way to learn of the great artists of this time than through the study of the work itself.  Reproductions can never adequately represent the artist or his work.  It is important for individuals to be able to see and study this work firsthand.  To see the stunning accuracy of David’s anatomical features.  To understand and feel the symbolism of his foot on the head of the slain giant.  And after having gained this understanding, to hopefully appreciate the irony of that symbolism when considering those who commissioned this work.</p>\n<p dir=\"ltr\">At some point in history, it was decided this was a work of such great importance that it needed to be guarded and protected and preserved for generations to come.  Donatello’s bronze masterpiece needs to be saved.  That importance once found has not changed in the last 600 years nor will it change in the next 600.</p>\n<p dir=\"ltr\">David did and still does represent the coveted freedoms and liberties of a seemingly repressed  people.  However, of equal importance, is that in a time when homosexuality wasn’t as publicized as it is in today’s society and sodomy was deemed illegal, the homosexual air of this nude young man seemed to go unnoticed.  In fact, it was the wish of those who commissioned the work that David be portrayed in such a way.   It was common knowledge that Donatello was a gay man.  This was a huge step into the future not only for art but also for human sexuality.</p>\n<p dir=\"ltr\">Artists such as Donatello were innovators in their time and started a movement that has carried forth into our world today.  While many may fail to see the significance of a work like David, I feel that it is important to show how artists and other individuals like Donatello shaped what we know today.  An important part of making sure that can happen is to do whatever is possible to insure the works of the greats are preserved.</p>\n&nbsp;\n<p dir=\"ltr\">Janson, H W. The Sculpture of David. Princeton, NJ: Princeton University Press, 1979. Acadenic</p>\n<p dir=\"ltr\">    Search Complete. Web. 26 Aug. 2013.</p>\n<p dir=\"ltr\">Frontain, Raymond-Jean. Gay &amp; Lesbian Review Worldwide 13.4: 12-15. Academic Search</p>\n<p dir=\"ltr\">Complete.  Web. 26 Aug. 2013.</p>\n<p dir=\"ltr\">**Frontain allowed for more of a focus on the homosexual nature of the statue.  It also addressed the fact that it was one of the first sexually charged male nudes.</p>\n&nbsp;\n<p dir=\"ltr\">\"\"David\" by Donatello.\" Mediateca di Palazzo Medici Riccardi Window on the Renaissance.</p>\n<p dir=\"ltr\">Mediateca di Palazzo, n.d. Web. 26 Aug. 2013. &lt;<a href=\"http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello\">http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello</a>&gt;.</p>\n<p dir=\"ltr\">**This source proved helpful as it came from an Italian source.  It gave a great perspective as to the controversy surround the placement of the statue and the family that commissioned the work.</p>\n&nbsp;\n<p dir=\"ltr\">Schneider, Laurie. \"Donatello\'s Bronze David.\" The Art Bulletin June 1973: 213-16. Web. 26</p>\n<p dir=\"ltr\">    Aug. 2013.  &lt; <a href=\"http://www.jstor.org/stable/3049095\">http://www.jstor.org/stable/3049095</a>&gt;.</p>\n<p dir=\"ltr\">    **Schneider gave a more technical approach to analysis.  However, it was an easy read and satisfied one of the academic credit.</p>\n&nbsp;\n<p dir=\"ltr\">Macrohistory and World Timeline. N.p., n.d. Web. 2 Sept. 2013.</p>\n<p dir=\"ltr\">    &lt;<a href=\"http://www.macrohistory.com/time/ce15.htm\">http://www.macrohistory.com/time/ce15.htm</a>&gt;.</p>\n<p dir=\"ltr\">    **This timeline allowed me to better understand the historical context of the time.  It laid out world history, not only that in Florence, of the time and created a better understanding of the “controversy”, etc.</p>\n&nbsp;\n<p dir=\"ltr\">Fiero, Gloria K. The Humanistic Tradition. 6th Editionth ed. Vol. 2. N.p.: McGraw-Hill, 2011.</p>\n<p dir=\"ltr\">N. pag. 2 vols. Web. 26 Aug. 2013. &lt;http://connect.mcgraw- hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.</p>\n<p dir=\"ltr\">**The textbook has proven to be quite helpful.  It holds information not only on the work itself but also other works and artists of the time.  It also gave insight into the historical timeline.</p>\n&nbsp;\n<p dir=\"ltr\">***<a href=\"http://www.italianrenaissance.org/donatellos-david/\">http://www.italianrenaissance.org/donatellos-david/</a></p>\n<p dir=\"ltr\">**This site analyzes pose, biblical influence, David’s background, etc all from an artistic standpoint as well as the influence of the Italian renaissance.</p>','Donatello\'s David in Bronze','','inherit','open','open','','3253-autosave-v1','','','2013-09-23 19:46:14','2013-09-24 01:46:14','',3253,'http://jeanatacc.com/2011/?p=3309',0,'revision','',0),(3310,81,'2013-09-23 12:19:05','2013-09-23 18:19:05','<p dir=\"ltr\" id=\"docs-internal-guid-48d84c9d-4be3-73d5-8795-cbd823d6058f\" style=\"text-align: center\">Donatello’s David</p>\r\n<p dir=\"ltr\">Donatello’s bronze statue of David is estimated to have been created somewhere between the years 1430 &amp; 1440.  The exact date is still a common topic for debate as no one has been able to find solid evidence (Schneider).  It was among the first nudes in the art world used in a context other than religious (italianrenaissance.org).  While it is more common to find David depicted as a strong, large, muscular, giant of a man, Donatello’s depiction of a sleek, younger man was a distinct difference.  His stance of victory holds an almost homosexual feminism to it, something that was fairly common in works of the period.  It is uncertain who actually commissioned the work, but some have proposed the assumption that it may have been Cosimo il Vecchio de’ Medici (<a href=\"http://www.palazzo-medici.it\">http://www.palazzo-medici.it</a>).  Donatello changed the world of art in ways he never could have imagined.  His technique, his skill, his creative bravery, and the greatness that is David are worthy of being preserved for centuries to come.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\"><img class=\"alignnone size-medium wp-image-3266\" alt=\"Jessie Donatello\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello-185x300.jpg\" width=\"185\" height=\"300\" /></a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg\"><img class=\"alignnone size-medium wp-image-3272\" alt=\"jessie donatello 3\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3-231x300.jpg\" width=\"231\" height=\"300\" /></a><!--more--></p>\r\n<p dir=\"ltr\">Despite having a considerable religious influence, the arts of the Renaissance era began to take on more lifelike appearances.  The Renaissance artists were steering away from the abstract qualities of the Classical period and began making their works more realistic.  Donatello’s David with its attention to the human form is a prime example of the changes that began to occur.  The artists of the Renaissance era such as Donatello, da Vinci, Raphael, and Michelangelo brought change and influence that was felt and seen for centuries to come, even today.  (Fiero, B3.43)  Around this time literature, science, art were beginning to tie themselves to the church as people such as Pope Nicholas V.   Even members of the church were showing an enthusiasm for learning and the arts.  Many church officials commissioned Renaissance artists to renovate libraries, and to build churches, and to paint chapels (i.e. The Sisteen Chapel).</p>\r\n<p dir=\"ltr\">In the time leading up to the Renaissance era, art tended to have a significant amount of religious influence.  As the artists of the Renaissance era began to try to revive the Classical heritage, they began applying a more realistic approach to their work.  Portrait work soared in popularity as it focused on the individual.  Nude works were not widely known outside of the religious context as many artists tended to be rather self-concious.  Even then, in most cases, any nude subjects tended to be portrayed as Gods.  Throughout the Renaissance era, artists were falling away from the abstract works of the Medieval time period and began to create more tangible and realistic pieces.  As artists lost inhibitions and became more creative, they began to explore the human form more and created works such as Donatello’s David.  “in his bronze David (circa 1450), Donatello created the first sexually charged male nude since the collapse of the classical Greco-Roman Testhetic a thousand years earlier.”  (Frontain)</p>\r\n<p dir=\"ltr\">Donatello’s David was a nude statue.  While not the only one of the time period, it was among the first.  The appearance of nudes in the art world was mostly found in the religious context.  Donatello was neither the first nor the last sculptor to produce their interpretation of David.  However, while the majority of the David statues depicted him as a larger-than-life man of great strength, Donatello showed him as a young and sinewy boy with an almost homosexual feminism to him.  Also, many artists/sculptors utilized marble, but Donatello chose to utilize bronze for this particular piece. Interestingly enough, this particular piece was his second attempt.  His first version of David was done in marble somewhere around 1408/1409.</p>\r\n<p dir=\"ltr\">This statue was received very well.  It became very popular and was considered to be the symbol of Florence.  The Medici family kept it on display in their court yard causing quite the scandal.  Regardless, once explained away by Donatello, the statue was received with great enthusiasm.  Due to the chosen placement of the sculpture (in the courtyard) some did not take to it very well.  However, many artists and scholars of the time made claims that it very well could have been one of Donatello’s finest works created within his lifetime.</p>\r\n<p dir=\"ltr\">The reception of Donatello’s bronze David today seems to be comparable to when it made its debut.  The beauty, creativity, and originality of Donatello’s work has never been argued.  The beauty of the nude form quite obviously influenced by Donatello’s own homosexuality seems to be the focus of many of today’s critics and historians.  Today there seems to much debate regarding the original appearance of the statue.  For example, many think the original statue – before the influences of time – had golden luscious curls that any women would envy.  (www.ancientworlds.net)  There is much debate amongst scholars as to the exact time, original appearance, whether or not Donatello used a live nude model, and a whole host of other details that seem to have been lost over the course of the passing centuries.  One important thing that has been agreed upon is that Donatello’s David is/was one of the most influential works of its time and that Donatello was one of the cornerstones of the beginning of the modern art community.</p>\r\n<p dir=\"ltr\">I have always been exposed to the larger, more masculine versions of the David statues.  I’ve always made the assumption they were all that had existed.  My first impression of Donatello’s work was that it was very feminine, seemed to be homosexually motivated, and couldn’t possibly be the correct statue.  After discovering that, in fact, it was I simply stared at it.  Given the time period, I was rather shocked that a statue of this type gained such popularity.  I thought it was very well done.  Again, given the time period, I was very impressed that a statue of this caliber could be created out of any medium especially one such as bronze.  In regards to its symbolism, it has been hard for me to truly understand it as my prior knowledge of this particular era is not very extensive.  For me personally, it was more the bravery and creativity that came from Donatello’s bronze David.  Knowing now of the political controversy started by its creation, I am able to appreciate it far more.  After looking at it for the first time, I was a bit taken aback.</p>\r\n<p dir=\"ltr\">Michelangelo and Donatello were both commissioned to create sculptures of David.  David was a great symbol for the people of Florence.  He stood-to them-for their freedom and liberty.  Both of which were under constant threat.  One important difference, in terms of history, was that Michelango’s piece was commissioned by The Board of Works for the Cathedral of Florence while Donatello’s piece was commissioned be the Medici family.  A family that was considered to have been one of the biggest threats toward the very freedoms and liberties David was supposed to have represented.  While David’s work is very well known, Michelango’s David is the one most thought of when “the sculpture of David” is mentioned.</p>\r\n<p dir=\"ltr\">Artistically speaking, they both used different mediums to create their individual works.  Donatello actually created two pieces depicting David.  One was done in marble while the other, the one he is most recognized for, was created from bronze.  Michelango kept with the classic/typical depiction of David showing him, while young, to be a man of strength and masculine victory.  Donatello, on the other hand, showed David as a sinewy young man.  While his stance with his foot on top of the severed head of Goliath was one of victory, he still showed more of a feminine quality almost homosexual.  This was a quality seen in many works of that time.</p>\r\n<p dir=\"ltr\">Donatello’s bronze David is not one of the most well-known of the many depictions of David.  Future generations need to know.  If asked, a number of high school students would most likely be unable to tell you any other David than that done by Michelangelo.  It is important that this generation and those to come be taught.</p>\r\n<p dir=\"ltr\">Donatello created a great work of symbolism.  On a daily basis, the very family that commissioned him to create this great piece threatened the freedoms and liberties of the citizens of Florence-the freedoms and liberties that David represented.  Some artists of his time went so far as to label this work as Donatello’s finest of his lifetime.  Donatello was one of the great artistic masters.  His work has influenced other artists and their own works over the course of centuries.  To look at it simply, it was formed from bronze-a task not easily accomplished almost 600 years ago.</p>\r\n<p dir=\"ltr\">Donatello’s David was a great example of Humanist art.  This is shown not only in the choice of medium but also in the pose and nudity of the subject.  What better way to learn of the great artists of this time than through the study of the work itself.  Reproductions can never adequately represent the artist or his work.  It is important for individuals to be able to see and study this work firsthand.  To see the stunning accuracy of David’s anatomical features.  To understand and feel the symbolism of his foot on the head of the slain giant.  And after having gained this understanding, to hopefully appreciate the irony of that symbolism when considering those who commissioned this work.</p>\r\n<p dir=\"ltr\">At some point in history, it was decided this was a work of such great importance that it needed to be guarded and protected and preserved for generations to come.  Donatello’s bronze masterpiece needs to be saved.  That importance once found has not changed in the last 600 years nor will it change in the next 600.</p>\r\n<p dir=\"ltr\">David did and still does represent the coveted freedoms and liberties of a seemingly repressed  people.  However, of equal importance, is that in a time when homosexuality wasn’t as publicized as it is in today’s society and sodomy was deemed illegal, the homosexual air of this nude young man seemed to go unnoticed.  In fact, it was the wish of those who commissioned the work that David be portrayed in such a way.   It was common knowledge that Donatello was a gay man.  This was a huge step into the future not only for art but also for human sexuality.</p>\r\n<p dir=\"ltr\">Artists such as Donatello were innovators in their time and started a movement that has carried forth into our world today.  While many may fail to see the significance of a work like David, I feel that it is important to show how artists and other individuals like Donatello shaped what we know today.  An important part of making sure that can happen is to do whatever is possible to insure the works of the greats are preserved.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Janson, H W. The Sculpture of David. Princeton, NJ: Princeton University Press, 1979. Acadenic</p>\r\n<p dir=\"ltr\">    Search Complete. Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">Frontain, Raymond-Jean. Gay &amp; Lesbian Review Worldwide 13.4: 12-15. Academic Search</p>\r\n<p dir=\"ltr\">Complete.  Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">**Frontain allowed for more of a focus on the homosexual nature of the statue.  It also addressed the fact that it was one of the first sexually charged male nudes.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">\"\"David\" by Donatello.\" Mediateca di Palazzo Medici Riccardi Window on the Renaissance.</p>\r\n<p dir=\"ltr\">Mediateca di Palazzo, n.d. Web. 26 Aug. 2013. &lt;<a href=\"http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello\">http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello</a>&gt;.</p>\r\n<p dir=\"ltr\">**This source proved helpful as it came from an Italian source.  It gave a great perspective as to the controversy surround the placement of the statue and the family that commissioned the work.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Schneider, Laurie. \"Donatello\'s Bronze David.\" The Art Bulletin June 1973: 213-16. Web. 26</p>\r\n<p dir=\"ltr\">    Aug. 2013.  &lt; <a href=\"http://www.jstor.org/stable/3049095\">http://www.jstor.org/stable/3049095</a>&gt;.</p>\r\n<p dir=\"ltr\">    **Schneider gave a more technical approach to analysis.  However, it was an easy read and satisfied one of the academic credit.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Macrohistory and World Timeline. N.p., n.d. Web. 2 Sept. 2013.</p>\r\n<p dir=\"ltr\">    &lt;<a href=\"http://www.macrohistory.com/time/ce15.htm\">http://www.macrohistory.com/time/ce15.htm</a>&gt;.</p>\r\n<p dir=\"ltr\">    **This timeline allowed me to better understand the historical context of the time.  It laid out world history, not only that in Florence, of the time and created a better understanding of the “controversy”, etc.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Fiero, Gloria K. The Humanistic Tradition. 6th Editionth ed. Vol. 2. N.p.: McGraw-Hill, 2011.</p>\r\n<p dir=\"ltr\">N. pag. 2 vols. Web. 26 Aug. 2013. &lt;http://connect.mcgraw- hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.</p>\r\n<p dir=\"ltr\">**The textbook has proven to be quite helpful.  It holds information not only on the work itself but also other works and artists of the time.  It also gave insight into the historical timeline.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">***<a href=\"http://www.italianrenaissance.org/donatellos-david/\">http://www.italianrenaissance.org/donatellos-david/</a></p>\r\n<p dir=\"ltr\">**This site analyzes pose, biblical influence, David’s background, etc all from an artistic standpoint as well as the influence of the Italian renaissance.</p>','Donatello\'s David in Bronze','','inherit','open','open','','3253-revision-v1','','','2013-09-23 12:19:05','2013-09-23 18:19:05','',3253,'http://jeanatacc.com/2011/?p=3310',0,'revision','',0),(3321,1,'2013-09-23 17:16:52','2013-09-23 23:16:52','[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[/caption]\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>\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>\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>\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>\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>\n<p dir=\"ltr\">Bibliography:</p>\n<p dir=\"ltr\">Duran, Manuel. <i>Don Quixote and Hamlet: Strangers or Brothers? </i>Confluencia, 2004</p>\n<p dir=\"ltr\">  This source provided information for comparing <em>Don Quixote</em> to Hamlet.</p>\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>\n  dfdf\n<div>Lichtenberg, Joseph M.D.<i> Cervantes and Don Quixote.</i> Psychoanalytic Inquiry, 2010</div>\ndfdf\n\nKrueger, Alison. \"Historical Context for Don Quixote by Miguel De Cervantes.\" <i>Columbia College</i>. Columbia College, n.d. Web. 23 Sept. 2013.','Don Quixote Time Capsule 1','','inherit','open','open','','3250-autosave-v1','','','2013-09-23 17:16:52','2013-09-23 23:16:52','',3250,'http://jeanatacc.com/2011/?p=3321',0,'revision','',0),(3311,74,'2013-09-23 12:19:54','2013-09-23 18:19:54','[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[/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.</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  dfdf\r\n<div>Lichtenberg, Joseph M.D.<i> Cervantes and Don Quixote.</i> Psychoanalytic Inquiry, 2010</div>\r\ndfdf\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.','Don Quixote Time Capsule 1','','inherit','open','open','','3250-revision-v1','','','2013-09-23 12:19:54','2013-09-23 18:19:54','',3250,'http://jeanatacc.com/2011/?p=3311',0,'revision','',0),(3313,58,'2013-09-23 12:22:43','2013-09-23 18:22:43','<!--[if !mso]&gt;-->\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"text-align: center\" align=\"center\"><b><span style=\"font-size: 36.0pt;line-height: 115%;font-family: \'AR JULIAN\'\">Aztec Calendar Stone </span></b></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center\"><span style=\"font-size: 8.0pt;line-height: 115%\"><span>                                  <a href=\"http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\"><img class=\"aligncenter size-full wp-image-3296\" alt=\"Aztec\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg\" width=\"252\" height=\"200\" /></a></span>http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\r\n</span></p>\r\n\r\n<table class=\"MsoNormalTable\" style=\"border-collapse: collapse\" width=\"744\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 100.0%;padding: 0in 0in 0in 0in\" width=\"100%\">\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"><span> </span><span>            </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%\">The Aztec Calendar Stone. It was created by a civilization of Mesoamerica called the Aztecs. <span> </span>People believe it was carved in the 15<sup>th</sup> century around 1479.<span style=\"color: black\">  “It was a massive carving, 3 feet thick, almost 12 feet across, and weighing almost 25 tons.  It was carved from basalt – solidified lava.”<span> (Aztec-History.com)</span> “The first calendar of the Aztec people was called the <span>xiuhpohualli</span>, the counting of years.  This was a 365 day year, of course very helpful for planning your farming and predicting the weather.” <span><span> </span>(Aztec-History.com)</span> “Then to bring the year up to 365 days there were 5 \"unlucky\" days added.  Each year would also be divided into 4 seasons.”<span> (Aztec-History.com) The Aztec Calendar Stone by the ancient Aztec people should be preserved because it was the beginning of a religious era and was a amazing piece of art. </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>      <!--more--></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>  </span><span>       </span>This stone impeccable for its time, it was made to guide and let the people know when the seasons were coming to allow them to prepare their crops, and when to hold their festivals to the gods. I believe this work was typical of the era because back then a lot of cultures relied on the solar stars to let them know when the seasons would change. Not all calendars where carved in stone, but this was something that was abundant in the region where the Aztecs lived. “ The first attempts by outsiders to understand the system were made only about a century and a half later, by which time little knowledge of the script remained.” (Houston, pg.21)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>         </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span> </span><span>          </span><span> </span>The Aztec calendar stone was very innovative and unusual for its time. It was a 500 plus year in depth calender. To which the Aztecs believed in 100%, and would tell the future for the years to come. They also depicted that the world would also end just as it began. “</span><span style=\"font-size: 12.0pt;line-height: 150%\">Indeed the depth of Maya knowledge of celestial bodies, mathematics and the calendar has tended to exacerbate the view that they were a peaceful people. Observations of the planets and stars were associated with the migration of the seasons.” (Hinnells, pg.546)</span><span style=\"font-size: 12.0pt;line-height: 150%;color: black\">It was received as a miracle in its time. The common people did not have knowledge of the solar system, nor the coming of the seasons. The people knew of the past years and that the days and nights got shorter and longer, hotter and colder. So that is when they started collecting the data and carving it out for the future generations of their time would know when the best time to plant and harvest would be. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>              </span>People today think of the Aztec calendar stone as a great piece of history. To the Mayans it was a guide to survive and be prepared for the seasons to come. Today it is a amazing look back on how times where a lot different then. The tools they used and how they lived. “</span><span style=\"font-size: 12.0pt;line-height: 150%\">For today’s Maya, the Moon’s astronomical phases have the greatest affect on lunar mythology.” (Read, pg.209) “The Maya say that the Moon disappears at the time of the new moon for a number of reasons: The Moon is now dead, and evil reigns because her protective light is lacking” (Read, pg.209)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>                      </span>My personal reaction to the Aztec calendar stone is that it is a modern marvel. It is an phenomenal piece of art. Just the time and effort that went into making it is astonishing. Even today it would be hard for even the most skilled hand crafts man to hand make the same pieces of art. It would be considered almost today a lost art. Today\'s civilization would hardly even give it a second thought of trying to try and do something that is so time consuming, and meticulous in detail. I would personally love to see more of this dieing art come back. To personally look at hand crafted art, such as these stone carving are amazing and makes you wonder how they did it. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>        </span>The Aztec art is not too far off from the northern Americas art for the time. <span> </span>Both of the Americas at the time they used  several things, such as art to tell story\'s of war and past events. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\">The North Americas Native Indian used similar weapons and stone walls to tell their stories, a similarity in the North American tribes was “</span><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\">the modern distinction between craft and fine art is non-existent among those who practice weaving, bead work, ceramics, and jewelry       making.”</span>(Fiero, Ch.18)<span style=\"font-size: 12.0pt;line-height: 150%\"> Also, </span><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\">the indigenous peoples of North America were culturally similar to the relative </span><span lang=\"EN\" style=\"font-size: 8.5pt;line-height: 150%;font-family: TimesNewRomanPSMT\"><span> </span></span><span style=\"font-size: 12.0pt;line-height: 150%\">Mayan Aztecs</span><span style=\"font-size: 8.5pt;line-height: 150%;font-family: TimesNewRomanPSMT\">.</span><span style=\"font-size: 12.0pt;line-height: 150%\">“The Maya engaged in a variety of activities and, in particular, show women grinding corn on metates, weaving, and using pots. These activities are also depicted on figurine whistles that were common.”(McKillop, pg.127)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\"><span>             </span>The Aztec Calendar stone is very significant to the future generations. If future generations don’t know of how their ancestors lived and learn from the trial and errors that they have made in the past, the future generations are doomed to repeat the same mistakes. In the Mayans life time they made several amazing accomplishments that in even today’s world we cannot repeat, even with all the technology and advanced tools. The future generations should learn of the how the people in the past survived and lived, with no electricity.<span>  </span>Lessons and skills from the past should not be forgotten. If everyone just tried to live a day in the life of the Mayans of the past they would greatly appreciate all the advantages and very simple life style we live in today. As a new American civilization no longer have to hunt and gather our food anymore, nor do we have to make human sacrifices to the gods. It is a very different time now, but the past should not be forgotten.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n</td>\r\n</tr>\r\n<tr style=\"height: 4.0pt\">\r\n<td style=\"width: 100.0%;padding: 0in 0in 0in 0in;height: 4.0pt\" width=\"100%\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Calibri\',\'sans-serif\'\">\r\n</span>\r\n<p class=\"MLAHeadingCenter\" style=\"margin-left: 2.0in;text-align: left;text-indent: .5in\" align=\"left\">Work Cited</p>\r\n<p class=\"MLAReference\" style=\"text-align: left\"><!--[if gte mso 9]&gt;--></p>\r\n<p class=\"MLAReference\" style=\"text-align: left\"><!--[if gte mso 9]&gt;--></p>\r\nNormal\r\n0\r\n\r\nfalse\r\nfalse\r\nfalse\r\n\r\nEN-US\r\nX-NONE\r\nX-NONE\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 10]&gt;-->\r\n\r\n/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin:0in;\r\nmso-para-margin-bottom:.0001pt;\r\nmso-pagination:widow-orphan;\r\nfont-size:10.0pt;\r\nfont-family:\"Times New Roman\",\"serif\";}\r\n\r\n<span style=\"font-size: 11.0pt;line-height: 115%;font-family: \'Calibri\',\'sans-serif\'\">Fiero, Gloria K. <i>The Humanistic Tradition</i>. Sixth Edition ed. : McGraw-Hill, . .</span>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"> </span></span></p>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"><span> </span></span></span><span class=\"medium-font\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Calibri\',\'sans-serif\'\">McKillop, Heather Irene. In: <i>Understanding Ancient Civilizations</i>. Santa Barbara, Calif : ABC-CLIO. 2004. eBook.</span></span></p>\r\n<p class=\"MsoNormal\"><span> </span><a href=\"http://www.aztec-history.com/aztec-calendar-stone.html\"><span style=\"color: black\"><span style=\"color: black\">http://www.aztec-history.com/aztec-calendar-stone.html</span></span></a></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in;text-indent: 0in\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in;text-indent: 0in\"><span class=\"medium-font\">Read, Kay Almere; González, Jason J. In: <i>Handbooks of World </i></span><strong><i><span style=\"font-weight: normal\">Mythology</span></i></strong><span class=\"medium-font\"><b>.</b> Santa Barbara, Calif : ABC-CLIO. 2000. eBook.</span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"> </span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Hinnells, John R., <i>The Handbook of Ancient Religions</i>. Cambridge, UK : Cambridge University Press. 2007. eBook.</span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Houston, Stephen D.; Chinchilla Mazariegos, Oswaldo Fernando; Stuart, David. </span></span><i><span style=\"font-family: \'Calibri\',\'sans-serif\'\">The Decipherment of Ancient Maya Writing</span></i><span style=\"font-family: \'Calibri\',\'sans-serif\'\">, <span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Norman, OK : University of Oklahoma Press. 2001. eBook</span></span></span></p>','Aztec Calendar Stone','','inherit','open','open','','3270-revision-v1','','','2013-09-23 12:22:43','2013-09-23 18:22:43','',3270,'http://jeanatacc.com/2011/?p=3313',0,'revision','',0),(3312,58,'2013-09-23 12:22:22','2013-09-23 18:22:22','<!--[if !mso]&gt;-->\r\n\r\nv\\:* {behavior:url(#default#VML);}\r\no\\:* {behavior:url(#default#VML);}\r\nw\\:* {behavior:url(#default#VML);}\r\n.shape {behavior:url(#default#VML);}\r\n\r\n\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n \r\n  \r\n \r\n<!--[if gte mso 9]&gt;-->\r\n \r\n  Normal\r\n  0\r\n  \r\n  \r\n  \r\n  \r\n  false\r\n  false\r\n  false\r\n  \r\n  EN-US\r\n  X-NONE\r\n  X-NONE\r\n  \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n  \r\n  \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n  \r\n<!--[if gte mso 9]&gt;-->\r\n \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n \r\n<!--[if gte mso 10]&gt;-->\r\n\r\n /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin:0in;\r\n	mso-para-margin-bottom:.0001pt;\r\n	mso-pagination:widow-orphan;\r\n	font-size:10.0pt;\r\n	font-family:\"Times New Roman\",\"serif\";}\r\n\r\n\r\n<p class=\"MLATitleInfo\"><a name=\"bmTitlePageName\"></a>Wendy McNamee</p>\r\n<p class=\"MLATitleInfo\"><a name=\"bmTitleAdd3\"></a>Jean Lauer</p>\r\n<p class=\"MLATitleInfo\"><a name=\"bmTitleAdd1\"></a>Huma 1302-007</p>\r\n<p class=\"MLATitleInfo\"><a name=\"bmTitleAdd4\"></a>24 September 2013</p>\r\n<p class=\"MLAHeadingCenter\"><a name=\"bmTitlePageTitle\"></a>Aztec Calendar Stone</p>\r\n<p class=\"MLA\" style=\"text-align: center\" align=\"center\"></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center\" align=\"center\"><b><span style=\"font-size: 36.0pt;line-height: 115%;font-family: \'AR JULIAN\'\">Aztec Calendar Stone </span></b></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center\"><span style=\"font-size: 8.0pt;line-height: 115%\"><span>                                  <a href=\"http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\"><img class=\"aligncenter size-full wp-image-3296\" alt=\"Aztec\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg\" width=\"252\" height=\"200\" /></a></span>http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\r\n</span></p>\r\n\r\n<table class=\"MsoNormalTable\" style=\"border-collapse: collapse\" width=\"744\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 100.0%;padding: 0in 0in 0in 0in\" width=\"100%\">\r\n<p class=\"MsoNormal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"><span> </span><span>            </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span style=\"font-size: 12.0pt\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%\">The Aztec Calendar Stone. It was created by a civilization of Mesoamerica called the Aztecs. <span> </span>People believe it was carved in the 15<sup>th</sup> century around 1479.<span style=\"color: black\">  “It was a massive carving, 3 feet thick, almost 12 feet across, and weighing almost 25 tons.  It was carved from basalt – solidified lava.”<span> (Aztec-History.com)</span> “The first calendar of the Aztec people was called the <span>xiuhpohualli</span>, the counting of years.  This was a 365 day year, of course very helpful for planning your farming and predicting the weather.” <span><span> </span>(Aztec-History.com)</span> “Then to bring the year up to 365 days there were 5 \"unlucky\" days added.  Each year would also be divided into 4 seasons.”<span> (Aztec-History.com) The Aztec Calendar Stone by the ancient Aztec people should be preserved because it was the beginning of a religious era and was a amazing piece of art. </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>      <!--more--></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>  </span><span>       </span>This stone impeccable for its time, it was made to guide and let the people know when the seasons were coming to allow them to prepare their crops, and when to hold their festivals to the gods. I believe this work was typical of the era because back then a lot of cultures relied on the solar stars to let them know when the seasons would change. Not all calendars where carved in stone, but this was something that was abundant in the region where the Aztecs lived. “ The first attempts by outsiders to understand the system were made only about a century and a half later, by which time little knowledge of the script remained.” (Houston, pg.21)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>         </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span> </span><span>          </span><span> </span>The Aztec calendar stone was very innovative and unusual for its time. It was a 500 plus year in depth calender. To which the Aztecs believed in 100%, and would tell the future for the years to come. They also depicted that the world would also end just as it began. “</span><span style=\"font-size: 12.0pt;line-height: 150%\">Indeed the depth of Maya knowledge of celestial bodies, mathematics and the calendar has tended to exacerbate the view that they were a peaceful people. Observations of the planets and stars were associated with the migration of the seasons.” (Hinnells, pg.546)</span><span style=\"font-size: 12.0pt;line-height: 150%;color: black\">It was received as a miracle in its time. The common people did not have knowledge of the solar system, nor the coming of the seasons. The people knew of the past years and that the days and nights got shorter and longer, hotter and colder. So that is when they started collecting the data and carving it out for the future generations of their time would know when the best time to plant and harvest would be. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>              </span>People today think of the Aztec calendar stone as a great piece of history. To the Mayans it was a guide to survive and be prepared for the seasons to come. Today it is a amazing look back on how times where a lot different then. The tools they used and how they lived. “</span><span style=\"font-size: 12.0pt;line-height: 150%\">For today’s Maya, the Moon’s astronomical phases have the greatest affect on lunar mythology.” (Read, pg.209) “The Maya say that the Moon disappears at the time of the new moon for a number of reasons: The Moon is now dead, and evil reigns because her protective light is lacking” (Read, pg.209)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>                      </span>My personal reaction to the Aztec calendar stone is that it is a modern marvel. It is an phenomenal piece of art. Just the time and effort that went into making it is astonishing. Even today it would be hard for even the most skilled hand crafts man to hand make the same pieces of art. It would be considered almost today a lost art. Today\'s civilization would hardly even give it a second thought of trying to try and do something that is so time consuming, and meticulous in detail. I would personally love to see more of this dieing art come back. To personally look at hand crafted art, such as these stone carving are amazing and makes you wonder how they did it. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\"><span>        </span>The Aztec art is not too far off from the northern Americas art for the time. <span> </span>Both of the Americas at the time they used  several things, such as art to tell story\'s of war and past events. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 150%\"><span style=\"font-size: 12.0pt;line-height: 150%;color: black\">The North Americas Native Indian used similar weapons and stone walls to tell their stories, a similarity in the North American tribes was “</span><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\">the modern distinction between craft and fine art is non-existent among those who practice weaving, bead work, ceramics, and jewelry       making.”</span>(Fiero, Ch.18)<span style=\"font-size: 12.0pt;line-height: 150%\"> Also, </span><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\">the indigenous peoples of North America were culturally similar to the relative </span><span lang=\"EN\" style=\"font-size: 8.5pt;line-height: 150%;font-family: TimesNewRomanPSMT\"><span> </span></span><span style=\"font-size: 12.0pt;line-height: 150%\">Mayan Aztecs</span><span style=\"font-size: 8.5pt;line-height: 150%;font-family: TimesNewRomanPSMT\">.</span><span style=\"font-size: 12.0pt;line-height: 150%\">“The Maya engaged in a variety of activities and, in particular, show women grinding corn on metates, weaving, and using pots. These activities are also depicted on figurine whistles that were common.”(McKillop, pg.127)</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 150%\"><span lang=\"EN\" style=\"font-size: 12.0pt;line-height: 150%\"><span>             </span>The Aztec Calendar stone is very significant to the future generations. If future generations don’t know of how their ancestors lived and learn from the trial and errors that they have made in the past, the future generations are doomed to repeat the same mistakes. In the Mayans life time they made several amazing accomplishments that in even today’s world we cannot repeat, even with all the technology and advanced tools. The future generations should learn of the how the people in the past survived and lived, with no electricity.<span>  </span>Lessons and skills from the past should not be forgotten. If everyone just tried to live a day in the life of the Mayans of the past they would greatly appreciate all the advantages and very simple life style we live in today. As a new American civilization no longer have to hunt and gather our food anymore, nor do we have to make human sacrifices to the gods. It is a very different time now, but the past should not be forgotten.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"></p>\r\n<p class=\"MsoNormal\"></p>\r\n</td>\r\n</tr>\r\n<tr style=\"height: 4.0pt\">\r\n<td style=\"width: 100.0%;padding: 0in 0in 0in 0in;height: 4.0pt\" width=\"100%\">\r\n<p class=\"MsoNormal\"></p>\r\n</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Calibri\',\'sans-serif\'\"><br /> </span>\r\n<p class=\"MLAHeadingCenter\" style=\"margin-left: 2.0in;text-align: left;text-indent: .5in\" align=\"left\">Work Cited</p>\r\n<p class=\"MLAReference\" style=\"text-align: left\"><!--[if gte mso 9]&gt;-->\r\n \r\n  \r\n \r\n\r\n\r\n<p class=\"MLAReference\" style=\"text-align: left\"><!--[if gte mso 9]&gt;-->\r\n \r\n  Normal\r\n  0\r\n  \r\n  \r\n  \r\n  \r\n  false\r\n  false\r\n  false\r\n  \r\n  EN-US\r\n  X-NONE\r\n  X-NONE\r\n  \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n  \r\n  \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n  \r\n<!--[if gte mso 9]&gt;-->\r\n \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n \r\n<!--[if gte mso 10]&gt;-->\r\n\r\n /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin:0in;\r\n	mso-para-margin-bottom:.0001pt;\r\n	mso-pagination:widow-orphan;\r\n	font-size:10.0pt;\r\n	font-family:\"Times New Roman\",\"serif\";}\r\n\r\n<span style=\"font-size: 11.0pt;line-height: 115%;font-family: \'Calibri\',\'sans-serif\'\">Fiero, Gloria K. <i>The Humanistic Tradition</i>. Sixth Edition ed. : McGraw-Hill, . .</span>\r\n\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"> </span></span></p>\r\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"><span> </span></span></span><span class=\"medium-font\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Calibri\',\'sans-serif\'\">McKillop, Heather Irene. In: <i>Understanding Ancient Civilizations</i>. Santa Barbara, Calif : ABC-CLIO. 2004. eBook.</span></span></p>\r\n<p class=\"MsoNormal\"></p>\r\n<p class=\"MsoNormal\"><span> </span><a href=\"http://www.aztec-history.com/aztec-calendar-stone.html\"><span style=\"color: black\"><span style=\"color: black\">http://www.aztec-history.com/aztec-calendar-stone.html</span></span></a></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in;text-indent: 0in\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLAReference\" style=\"margin-left: 0in;text-indent: 0in\"><span class=\"medium-font\">Read, Kay Almere; González, Jason J. In: <i>Handbooks of World </i></span><strong><i><span style=\"font-weight: normal\">Mythology</span></i></strong><span class=\"medium-font\"><b>.</b> Santa Barbara, Calif : ABC-CLIO. 2000. eBook.</span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\"> </span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Hinnells, John R., <i>The Handbook of Ancient Religions</i>. Cambridge, UK : Cambridge University Press. 2007. eBook.</span></span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"> </span></p>\r\n<p class=\"MLA\" style=\"text-indent: 0in\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Houston, Stephen D.; Chinchilla Mazariegos, Oswaldo Fernando; Stuart, David. </span></span><i><span style=\"font-family: \'Calibri\',\'sans-serif\'\">The Decipherment of Ancient Maya Writing</span></i><span style=\"font-family: \'Calibri\',\'sans-serif\'\">, <span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\'\">Norman, OK : University of Oklahoma Press. 2001. eBook</span></span></span></p>','Aztec Calendar Stone','','inherit','open','open','','3270-revision-v1','','','2013-09-23 12:22:22','2013-09-23 18:22:22','',3270,'http://jeanatacc.com/2011/?p=3312',0,'revision','',0),(3323,1,'2013-09-23 17:19:31','2013-09-23 23:19:31','<!--[if !mso]&gt;-->\n\n&nbsp;\n<p class=\"MsoNormal\" style=\"text-align: center;\" align=\"center\"><b><span style=\"font-size: 36.0pt; line-height: 115%; font-family: \'AR JULIAN\';\">Aztec Calendar Stone </span></b></p>\n<p class=\"MsoNormal\" style=\"text-align: center;\"><span style=\"font-size: 8.0pt; line-height: 115%;\"><span>                                  <a href=\"http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\"><img class=\"aligncenter size-full wp-image-3296\" alt=\"Aztec\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Aztec.jpg\" width=\"252\" height=\"200\" /></a></span>http://image.shutterstock.com/display_pic_with_logo/10750/10750,1141290972,7/stock-photo-aztec-calendar-stone-1038465.jpg\n</span></p>\n\n<table class=\"MsoNormalTable\" style=\"border-collapse: collapse;\" width=\"744\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in;\" width=\"100%\">\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%;\">The Aztec Calendar Stone. It was created by a civilization of Mesoamerica called the Aztecs. <span> </span>People believe it was carved in the 15<sup>th</sup> century around 1479.<span style=\"color: black;\">  “It was a massive carving, 3 feet thick, almost 12 feet across, and weighing almost 25 tons.  It was carved from basalt – solidified lava.”<span> (Aztec-History.com)</span> “The first calendar of the Aztec people was called the <span>xiuhpohualli</span>, the counting of years.  This was a 365 day year, of course very helpful for planning your farming and predicting the weather.” <span><span> </span>(Aztec-History.com)</span> “Then to bring the year up to 365 days there were 5 \"unlucky\" days added.  Each year would also be divided into 4 seasons.”<span> (Aztec-History.com) The Aztec Calendar Stone by the ancient Aztec people should be preserved because it was the beginning of a religious era and was a amazing piece of art.</span></span></span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>      <!--more--></span></span></p>\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>  </span><span>       </span>This stone impeccable for its time, it was made to guide and let the people know when the seasons were coming to allow them to prepare their crops, and when to hold their festivals to the gods. I believe this work was typical of the era because back then a lot of cultures relied on the solar stars to let them know when the seasons would change. Not all calendars where carved in stone, but this was something that was abundant in the region where the Aztecs lived. “ The first attempts by outsiders to understand the system were made only about a century and a half later, by which time little knowledge of the script remained.” (Houston, pg.21)</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span> </span><span>          </span><span> </span>The Aztec calendar stone was very innovative and unusual for its time. It was a 500 plus year in depth calender. To which the Aztecs believed in 100%, and would tell the future for the years to come. They also depicted that the world would also end just as it began. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">Indeed the depth of Maya knowledge of celestial bodies, mathematics and the calendar has tended to exacerbate the view that they were a peaceful people. Observations of the planets and stars were associated with the migration of the seasons.” (Hinnells, pg.546)</span><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">It was received as a miracle in its time. The common people did not have knowledge of the solar system, nor the coming of the seasons. The people knew of the past years and that the days and nights got shorter and longer, hotter and colder. So that is when they started collecting the data and carving it out for the future generations of their time would know when the best time to plant and harvest would be. </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>              </span>People today think of the Aztec calendar stone as a great piece of history. To the Mayans it was a guide to survive and be prepared for the seasons to come. Today it is a amazing look back on how times where a lot different then. The tools they used and how they lived. “</span><span style=\"font-size: 12.0pt; line-height: 150%;\">For today’s Maya, the Moon’s astronomical phases have the greatest affect on lunar mythology.” (Read, pg.209) “The Maya say that the Moon disappears at the time of the new moon for a number of reasons: The Moon is now dead, and evil reigns because her protective light is lacking” (Read, pg.209)</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>                      </span>My personal reaction to the Aztec calendar stone is that it is a modern marvel. It is an phenomenal piece of art. Just the time and effort that went into making it is astonishing. Even today it would be hard for even the most skilled hand crafts man to hand make the same pieces of art. It would be considered almost today a lost art. Today\'s civilization would hardly even give it a second thought of trying to try and do something that is so time consuming, and meticulous in detail. I would personally love to see more of this dieing art come back. To personally look at hand crafted art, such as these stone carving are amazing and makes you wonder how they did it. <span> </span></span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\"><span>        </span>The Aztec art is not too far off from the northern Americas art for the time. <span> </span>Both of the Americas at the time they used  several things, such as art to tell story\'s of war and past events. </span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt; line-height: 150%;\"><span style=\"font-size: 12.0pt; line-height: 150%; color: black;\">       The North Americas Native Indian used similar weapons and stone walls to tell their stories, a similarity in the North American tribes was “</span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the modern distinction between craft and fine art is non-existent among those who practice weaving, bead work, ceramics, and jewelry       making.”</span>(Fiero, Ch.18)<span style=\"font-size: 12.0pt; line-height: 150%;\"> Also, </span><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\">the indigenous peoples of North America were culturally similar to the relative </span><span lang=\"EN\" style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\"><span> </span></span><span style=\"font-size: 12.0pt; line-height: 150%;\">Mayan Aztecs</span><span style=\"font-size: 8.5pt; line-height: 150%; font-family: TimesNewRomanPSMT;\">.</span><span style=\"font-size: 12.0pt; line-height: 150%;\">“The Maya engaged in a variety of activities and, in particular, show women grinding corn on metates, weaving, and using pots. These activities are also depicted on figurine whistles that were common.”(McKillop, pg.127)</span></p>\n<p class=\"MsoNormal\" style=\"line-height: 150%;\"><span lang=\"EN\" style=\"font-size: 12.0pt; line-height: 150%;\"><span>             </span>The Aztec Calendar stone is very significant to the future generations. If future generations don’t know of how their ancestors lived and learn from the trial and errors that they have made in the past, the future generations are doomed to repeat the same mistakes. In the Mayans life time they made several amazing accomplishments that in even today’s world we cannot repeat, even with all the technology and advanced tools. The future generations should learn of the how the people in the past survived and lived, with no electricity.<span>  </span>Lessons and skills from the past should not be forgotten. If everyone just tried to live a day in the life of the Mayans of the past they would greatly appreciate all the advantages and very simple life style we live in today. As a new American civilization no longer have to hunt and gather our food anymore, nor do we have to make human sacrifices to the gods. It is a very different time now, but the past should not be forgotten.<span>  </span></span></p>\n<p class=\"MsoNormal\"><span> </span></p>\n</td>\n</tr>\n<tr style=\"height: 4.0pt;\">\n<td style=\"width: 100.0%; padding: 0in 0in 0in 0in; height: 4.0pt;\" width=\"100%\"></td>\n</tr>\n</tbody>\n</table>\n<span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Calibri\',\'sans-serif\';\">\n</span>\n<p class=\"MLAHeadingCenter\" style=\"margin-left: 2.0in; text-align: left; text-indent: .5in;\" align=\"left\">Work Cited</p>\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\n<p class=\"MLAReference\" style=\"text-align: left;\"><!--[if gte mso 9]&gt;--></p>\n&nbsp;\n\n<span style=\"font-size: 11.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">Fiero, Gloria K. <i>The Humanistic Tradition</i>. Sixth Edition ed. : McGraw-Hill, . .</span>\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\n<p class=\"MsoNormal\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"><span> </span></span></span><span class=\"medium-font\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Calibri\',\'sans-serif\';\">McKillop, Heather Irene. In: <i>Understanding Ancient Civilizations</i>. Santa Barbara, Calif : ABC-CLIO. 2004. eBook.</span></span></p>\n<p class=\"MsoNormal\"><span> </span><a href=\"http://www.aztec-history.com/aztec-calendar-stone.html\"><span style=\"color: black;\"><span style=\"color: black;\">http://www.aztec-history.com/aztec-calendar-stone.html</span></span></a></p>\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\n<p class=\"MLAReference\" style=\"margin-left: 0in; text-indent: 0in;\"><span class=\"medium-font\">Read, Kay Almere; González, Jason J. In: <i>Handbooks of World </i></span><strong><i><span style=\"font-weight: normal;\">Mythology</span></i></strong><span class=\"medium-font\"><b>.</b> Santa Barbara, Calif : ABC-CLIO. 2000. eBook.</span></p>\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\"> </span></span></p>\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Hinnells, John R., <i>The Handbook of Ancient Religions</i>. Cambridge, UK : Cambridge University Press. 2007. eBook.</span></span></p>\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"> </span></p>\n<p class=\"MLA\" style=\"text-indent: 0in;\"><span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Houston, Stephen D.; Chinchilla Mazariegos, Oswaldo Fernando; Stuart, David. </span></span><i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">The Decipherment of Ancient Maya Writing</span></i><span style=\"font-family: \'Calibri\',\'sans-serif\';\">, <span class=\"medium-font\"><span style=\"font-family: \'Calibri\',\'sans-serif\';\">Norman, OK : University of Oklahoma Press. 2001. eBook</span></span></span></p>','Aztec Calendar Stone','','inherit','open','open','','3270-autosave-v1','','','2013-09-23 17:19:31','2013-09-23 23:19:31','',3270,'http://jeanatacc.com/2011/?p=3323',0,'revision','',0),(3320,1,'2013-09-23 17:04:37','2013-09-23 23:04:37','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">9/11/13</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP1</p>\r\n<p align=\"center\">      <i><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti.png\"><img class=\"size-medium wp-image-3268 aligncenter\" alt=\"Alberti\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Alberti-300x198.png\" width=\"300\" height=\"198\" /></a></i>Principles of Alberti\'s <i>On Paintin</i><i>g</i></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/\"><i>http://gewelkafka.blogspot.com/2011/09/</i></a></p>\r\n<p align=\"center\"><a href=\"http://gewelkafka.blogspot.com/2011/09/my-second-painting-project-this.html\"><i>my-second-painting-project-this.html</i></a></p>\r\n<p align=\"center\"><i> </i></p>\r\n<p align=\"center\"><b>Alberti\'s <i>On Painting</i></b></p>\r\n<p align=\"center\"><i> </i></p>\r\n<b>Name</b>: <i>Della pittura (On Painting)</i>\r\n\r\n<b>Author</b>: Leon Battista Alberti <i> </i>\r\n\r\n<b>Date</b>: 1435-36\r\n<p style=\"text-align: justify;\"><b>Description</b>:</p>\r\n<p style=\"text-align: justify;\">“Leon Battista Alberti\'s <i>Della pittura</i> is the first modern treatise on the theory of painting... It prepared the way for the art, the artist, and the patron of the renaissance.” (Spencer) It brings the aspects of dimension, proportion and distance to painting, while influencing other Renaissance Artists. The work itself became the basis for many other pieces throughout the 15<sup>th</sup> century, including other treatise works done by Filarete, Piero della Francesca and Leonardo Da Vince. The work <i>On painting </i>by Leon Battista Alberti should be preserved because of its profound impact on creative, mathematical and philosophical thought, going into the renaissance.</p>\r\n<p style=\"text-align: justify;\"><!--more-->\r\n<b>Discussion</b>:</p>\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> virtually signaled the end of the Dark Ages and very subsequently afterward, kick started the Italian Renaissance. “As art theory <i>Della pittura </i>became one of the chief sources for later treatises on the art of painting.” (Spencer). During “a period of transition in Florentine art when the new was slowly making its way against the old. Alberti\'s overstatements and his sharp criticism of former practice reflect the tensions of his time, yet he never loses his assurance of final victory or his optimism for the future” (Spencer).</p>\r\n<b>Question Prompts</b>:\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> is not exactly typical of its era in the least. Culturally, the Renaissance has not happened yet, and the world is still reeling from almost a hundred years of war. The typical art form was depiction of people, events and the like, but not in a way that was mathematically pleasing to the eye. Art had no true depth, no concept of realism. Unfortunately, it would not be until the “late 16<sup>th</sup> through the 18<sup>th</sup> century that academic minds would be searching for a rational art which allowed no place for fantasy.” (Spencer)</p>\r\n<p style=\"text-align: justify;\">            This peace stands out from its peers in that it brought realism to the artistic and scientific table. Alberti used concepts such as depth and mathematical precision on canvas, in order to produce a piece of work that looks true to life. Alberti\'s <i>On Painting</i> was about representing nature, through nature\'s own machinations and mechanisms. “The Essence of Alberti\'s aesthetics, as well as its relations to his thought, can perhaps be best apprehended through an investigation of three topics basic in the treatise; his approach to visible reality, <i>la piu grassa Minerva, </i>his use of the mathematical sciences as a means of controlling this reality, <i>mathematica, </i>and the means and aim of humanist painting, <i>istoria.” (Spencer)</i></p>\r\n<p style=\"text-align: justify;\">            Alberti\'s work <i>On Painting</i> was extremely well received. It did so well in fact that it was translated into several different languages from its original Latin, and appropriately distributed. “Alberti\'s own Italian translation from his Lating original probably entered the shops as something of an \'inspirational handbook\' and became so popular that it was read out of existence.” (Spencer) It is also widely believed that <i>On Painting</i> was one of the driving kick-starters for the Renaissance.</p>\r\n<p style=\"text-align: justify;\">            Today, <i>On Painting</i> is credited for being the inspiration behind a large number of Renaissance artists. The likes of Leonardo Da Vinci and Michelangelo are said to have read <i>On Painting</i> and reveled in its implications for art and science. In addition to this, <i>On Painting </i>had influenced artistic and thoughtful minds well into the future. “The DuFresne translation of 1651 in Paris became the basis for much of Felibien\'s <i>Entretiens </i> in which Alberti is evoked as an \'authority\' for French academic practice. <i>Della pittura </i>was not made generally available in England until Leoni brought out four English translations between 1726 and 1755; their effect on Hogarth, Reynolds and the Royal Academy is quite clear.” (Spencer)</p>\r\n<p style=\"text-align: justify;\">            Personally, I was expecting a bit more length, but what is presented is in fact a clear, concise (if not wordy) layout for practically applying the concepts of realism and mathematics to art, specifically painting. What I find particularly meaningful is Alberti\'s concept of <i>vertu</i>, in that mans pursuit of knowledge and perfection are what makes man capable of anything. Suffice it to say, much of Alberti\'s \'method\' involved and circulated around good old fashioned practice. I found it intriguing that something so ground breaking for its time was something so innately simple at its core, and even more surprising is that lessons can be pulled from it even to this day.</p>\r\n<p style=\"text-align: justify;\"><i>            On Painting</i> is especially difficult to compare to anything else in the time period, simply because nothing like it had been done before. “It can be understood as the first formal treatise on the theory of painting in contrast to Cenino Cennini\'s <i>Craftsman\'s Handbook</i>, which was focused on workshop practice.” (Spencer) While <i>On Painting</i> is itself not a \'work of art\', it does well to lay the groundwork for humanist approaches at realism, and also while Alberti (arguably) failed to produce a painting considered anything above average in the eyes of many scholars and critics,  <i>On painting</i> did not fail in ushering in a new age of thought and intelligent practice.</p>\r\n<p style=\"text-align: justify;\">            The work <i>On painting </i>by Leon Battista Alberti should be preserved because of the following. First, for the concepts that is introduces to art. Specifically, that nature can be represented accurately through learned observation and mathematics and because of this, math is ever present in nature. Second, for its concepts of <i>vertu</i>, in which the artist betters himself as a person, and as a humanist in order to better observe and control his surroundings, interactions and destiny.</p>\r\n<i> </i>\r\n\r\n&nbsp;\r\n\r\nSpencer, John R. “Notes to the Introduction”\r\n\r\n<i>            Alberti – \'On Painting\'. </i>New Haven:\r\n\r\nYale University Press. 1970 [First printed 1956].\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis is a free English translation of Alberti\'s treatise <i>On painting</i> as published by the Yale University Press, accompanied by an introduction by one John R. Spencer. It was immensely useful in interpreting Alberti\'s concepts, as well as for understanding the social, political and artistic climate of the time.\r\n\r\n&nbsp;\r\n\r\nFinkelstein, Honora M. Dr. “Writers of the Renaissance”\r\n\r\n<i>            2 – Leon Battista Alberti – On Painting. </i>New Wisdom\r\n\r\nWeb. 26 Aug 2013\r\n\r\nThis contains information on specific writers of the Renaissance era. While this source does little to describe the actual work <i>On painting, </i>it did help in understanding the mind and the man behind the piece, which I believe to be just as important.\r\n\r\n&nbsp;\r\n\r\n“Perspective” <i>Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nBritannica, 2013. Web. 26 Aug. 2013\r\n\r\nAn explanation of the concepts of perspective in art put forth by <i>On painting, </i>and origin thereof. It does well to explain the concepts talked about throughout the work, but little else.\r\n\r\n&nbsp;','On Painting','','inherit','open','open','','3255-revision-v1','','','2013-09-23 17:04:37','2013-09-23 23:04:37','',3255,'http://jeanatacc.com/2011/?p=3320',0,'revision','',0),(3318,1,'2013-09-23 16:59:27','2013-09-23 22:59:27','<p dir=\"ltr\" id=\"docs-internal-guid-48d84c9d-4be3-73d5-8795-cbd823d6058f\" style=\"text-align: center;\">Donatello’s David</p>\r\n<p dir=\"ltr\">Donatello’s bronze statue of David is estimated to have been created somewhere between the years 1430 &amp; 1440.  The exact date is still a common topic for debate as no one has been able to find solid evidence (Schneider).  It was among the first nudes in the art world used in a context other than religious (italianrenaissance.org).  While it is more common to find David depicted as a strong, large, muscular, giant of a man, Donatello’s depiction of a sleek, younger man was a distinct difference.  His stance of victory holds an almost homosexual feminism to it, something that was fairly common in works of the period.  It is uncertain who actually commissioned the work, but some have proposed the assumption that it may have been Cosimo il Vecchio de’ Medici (<a href=\"http://www.palazzo-medici.it\">http://www.palazzo-medici.it</a>).  Donatello changed the world of art in ways he never could have imagined.  His technique, his skill, his creative bravery, and the greatness that is David are worthy of being preserved for centuries to come.</p>\r\n<p dir=\"ltr\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\"><img class=\"alignnone size-medium wp-image-3266\" alt=\"Jessie Donatello\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello-185x300.jpg\" width=\"185\" height=\"300\" /></a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg\">          <img class=\"alignnone size-medium wp-image-3272\" alt=\"jessie donatello 3\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3-231x300.jpg\" width=\"231\" height=\"300\" /></a><!--more--></p>\r\n<p dir=\"ltr\">Despite having a considerable religious influence, the arts of the Renaissance era began to take on more lifelike appearances.  The Renaissance artists were steering away from the abstract qualities of the Classical period and began making their works more realistic.  Donatello’s David with its attention to the human form is a prime example of the changes that began to occur.  The artists of the Renaissance era such as Donatello, da Vinci, Raphael, and Michelangelo brought change and influence that was felt and seen for centuries to come, even today.  (Fiero, B3.43)  Around this time literature, science, art were beginning to tie themselves to the church as people such as Pope Nicholas V.   Even members of the church were showing an enthusiasm for learning and the arts.  Many church officials commissioned Renaissance artists to renovate libraries, and to build churches, and to paint chapels (i.e. The Sisteen Chapel).</p>\r\n<p dir=\"ltr\">In the time leading up to the Renaissance era, art tended to have a significant amount of religious influence.  As the artists of the Renaissance era began to try to revive the Classical heritage, they began applying a more realistic approach to their work.  Portrait work soared in popularity as it focused on the individual.  Nude works were not widely known outside of the religious context as many artists tended to be rather self-concious.  Even then, in most cases, any nude subjects tended to be portrayed as Gods.  Throughout the Renaissance era, artists were falling away from the abstract works of the Medieval time period and began to create more tangible and realistic pieces.  As artists lost inhibitions and became more creative, they began to explore the human form more and created works such as Donatello’s David.  “in his bronze David (circa 1450), Donatello created the first sexually charged male nude since the collapse of the classical Greco-Roman Testhetic a thousand years earlier.”  (Frontain)</p>\r\n<p dir=\"ltr\">Donatello’s David was a nude statue.  While not the only one of the time period, it was among the first.  The appearance of nudes in the art world was mostly found in the religious context.  Donatello was neither the first nor the last sculptor to produce their interpretation of David.  However, while the majority of the David statues depicted him as a larger-than-life man of great strength, Donatello showed him as a young and sinewy boy with an almost homosexual feminism to him.  Also, many artists/sculptors utilized marble, but Donatello chose to utilize bronze for this particular piece. Interestingly enough, this particular piece was his second attempt.  His first version of David was done in marble somewhere around 1408/1409.</p>\r\n<p dir=\"ltr\">This statue was received very well.  It became very popular and was considered to be the symbol of Florence.  The Medici family kept it on display in their court yard causing quite the scandal.  Regardless, once explained away by Donatello, the statue was received with great enthusiasm.  Due to the chosen placement of the sculpture (in the courtyard) some did not take to it very well.  However, many artists and scholars of the time made claims that it very well could have been one of Donatello’s finest works created within his lifetime.</p>\r\n<p dir=\"ltr\">The reception of Donatello’s bronze David today seems to be comparable to when it made its debut.  The beauty, creativity, and originality of Donatello’s work has never been argued.  The beauty of the nude form quite obviously influenced by Donatello’s own homosexuality seems to be the focus of many of today’s critics and historians.  Today there seems to much debate regarding the original appearance of the statue.  For example, many think the original statue – before the influences of time – had golden luscious curls that any women would envy.  (www.ancientworlds.net)  There is much debate amongst scholars as to the exact time, original appearance, whether or not Donatello used a live nude model, and a whole host of other details that seem to have been lost over the course of the passing centuries.  One important thing that has been agreed upon is that Donatello’s David is/was one of the most influential works of its time and that Donatello was one of the cornerstones of the beginning of the modern art community.</p>\r\n<p dir=\"ltr\">I have always been exposed to the larger, more masculine versions of the David statues.  I’ve always made the assumption they were all that had existed.  My first impression of Donatello’s work was that it was very feminine, seemed to be homosexually motivated, and couldn’t possibly be the correct statue.  After discovering that, in fact, it was I simply stared at it.  Given the time period, I was rather shocked that a statue of this type gained such popularity.  I thought it was very well done.  Again, given the time period, I was very impressed that a statue of this caliber could be created out of any medium especially one such as bronze.  In regards to its symbolism, it has been hard for me to truly understand it as my prior knowledge of this particular era is not very extensive.  For me personally, it was more the bravery and creativity that came from Donatello’s bronze David.  Knowing now of the political controversy started by its creation, I am able to appreciate it far more.  After looking at it for the first time, I was a bit taken aback.</p>\r\n<p dir=\"ltr\">Michelangelo and Donatello were both commissioned to create sculptures of David.  David was a great symbol for the people of Florence.  He stood-to them-for their freedom and liberty.  Both of which were under constant threat.  One important difference, in terms of history, was that Michelango’s piece was commissioned by The Board of Works for the Cathedral of Florence while Donatello’s piece was commissioned be the Medici family.  A family that was considered to have been one of the biggest threats toward the very freedoms and liberties David was supposed to have represented.  While David’s work is very well known, Michelango’s David is the one most thought of when “the sculpture of David” is mentioned.</p>\r\n<p dir=\"ltr\">Artistically speaking, they both used different mediums to create their individual works.  Donatello actually created two pieces depicting David.  One was done in marble while the other, the one he is most recognized for, was created from bronze.  Michelango kept with the classic/typical depiction of David showing him, while young, to be a man of strength and masculine victory.  Donatello, on the other hand, showed David as a sinewy young man.  While his stance with his foot on top of the severed head of Goliath was one of victory, he still showed more of a feminine quality almost homosexual.  This was a quality seen in many works of that time.</p>\r\n<p dir=\"ltr\">Donatello’s bronze David is not one of the most well-known of the many depictions of David.  Future generations need to know.  If asked, a number of high school students would most likely be unable to tell you any other David than that done by Michelangelo.  It is important that this generation and those to come be taught.</p>\r\n<p dir=\"ltr\">Donatello created a great work of symbolism.  On a daily basis, the very family that commissioned him to create this great piece threatened the freedoms and liberties of the citizens of Florence-the freedoms and liberties that David represented.  Some artists of his time went so far as to label this work as Donatello’s finest of his lifetime.  Donatello was one of the great artistic masters.  His work has influenced other artists and their own works over the course of centuries.  To look at it simply, it was formed from bronze-a task not easily accomplished almost 600 years ago.</p>\r\n<p dir=\"ltr\">Donatello’s David was a great example of Humanist art.  This is shown not only in the choice of medium but also in the pose and nudity of the subject.  What better way to learn of the great artists of this time than through the study of the work itself.  Reproductions can never adequately represent the artist or his work.  It is important for individuals to be able to see and study this work firsthand.  To see the stunning accuracy of David’s anatomical features.  To understand and feel the symbolism of his foot on the head of the slain giant.  And after having gained this understanding, to hopefully appreciate the irony of that symbolism when considering those who commissioned this work.</p>\r\n<p dir=\"ltr\">At some point in history, it was decided this was a work of such great importance that it needed to be guarded and protected and preserved for generations to come.  Donatello’s bronze masterpiece needs to be saved.  That importance once found has not changed in the last 600 years nor will it change in the next 600.</p>\r\n<p dir=\"ltr\">David did and still does represent the coveted freedoms and liberties of a seemingly repressed  people.  However, of equal importance, is that in a time when homosexuality wasn’t as publicized as it is in today’s society and sodomy was deemed illegal, the homosexual air of this nude young man seemed to go unnoticed.  In fact, it was the wish of those who commissioned the work that David be portrayed in such a way.   It was common knowledge that Donatello was a gay man.  This was a huge step into the future not only for art but also for human sexuality.</p>\r\n<p dir=\"ltr\">Artists such as Donatello were innovators in their time and started a movement that has carried forth into our world today.  While many may fail to see the significance of a work like David, I feel that it is important to show how artists and other individuals like Donatello shaped what we know today.  An important part of making sure that can happen is to do whatever is possible to insure the works of the greats are preserved.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Janson, H W. The Sculpture of David. Princeton, NJ: Princeton University Press, 1979. Acadenic</p>\r\n<p dir=\"ltr\">    Search Complete. Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">Frontain, Raymond-Jean. Gay &amp; Lesbian Review Worldwide 13.4: 12-15. Academic Search</p>\r\n<p dir=\"ltr\">Complete.  Web. 26 Aug. 2013.</p>\r\n<p dir=\"ltr\">**Frontain allowed for more of a focus on the homosexual nature of the statue.  It also addressed the fact that it was one of the first sexually charged male nudes.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">\"\"David\" by Donatello.\" Mediateca di Palazzo Medici Riccardi Window on the Renaissance.</p>\r\n<p dir=\"ltr\">Mediateca di Palazzo, n.d. Web. 26 Aug. 2013. &lt;<a href=\"http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello\">http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello</a>&gt;.</p>\r\n<p dir=\"ltr\">**This source proved helpful as it came from an Italian source.  It gave a great perspective as to the controversy surround the placement of the statue and the family that commissioned the work.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Schneider, Laurie. \"Donatello\'s Bronze David.\" The Art Bulletin June 1973: 213-16. Web. 26</p>\r\n<p dir=\"ltr\">    Aug. 2013.  &lt; <a href=\"http://www.jstor.org/stable/3049095\">http://www.jstor.org/stable/3049095</a>&gt;.</p>\r\n<p dir=\"ltr\">    **Schneider gave a more technical approach to analysis.  However, it was an easy read and satisfied one of the academic credit.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Macrohistory and World Timeline. N.p., n.d. Web. 2 Sept. 2013.</p>\r\n<p dir=\"ltr\">    &lt;<a href=\"http://www.macrohistory.com/time/ce15.htm\">http://www.macrohistory.com/time/ce15.htm</a>&gt;.</p>\r\n<p dir=\"ltr\">    **This timeline allowed me to better understand the historical context of the time.  It laid out world history, not only that in Florence, of the time and created a better understanding of the “controversy”, etc.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Fiero, Gloria K. The Humanistic Tradition. 6th Editionth ed. Vol. 2. N.p.: McGraw-Hill, 2011.</p>\r\n<p dir=\"ltr\">N. pag. 2 vols. Web. 26 Aug. 2013. &lt;http://connect.mcgraw- hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.</p>\r\n<p dir=\"ltr\">**The textbook has proven to be quite helpful.  It holds information not only on the work itself but also other works and artists of the time.  It also gave insight into the historical timeline.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">***<a href=\"http://www.italianrenaissance.org/donatellos-david/\">http://www.italianrenaissance.org/donatellos-david/</a></p>\r\n<p dir=\"ltr\">**This site analyzes pose, biblical influence, David’s background, etc all from an artistic standpoint as well as the influence of the Italian renaissance.</p>','Donatello\'s David in Bronze','','inherit','open','open','','3253-revision-v1','','','2013-09-23 16:59:27','2013-09-23 22:59:27','',3253,'http://jeanatacc.com/2011/?p=3318',0,'revision','',0),(3317,1,'2013-09-24 12:04:34','2013-09-24 18:04:34','<p dir=\"ltr\" id=\"docs-internal-guid-48d84c9d-4be3-73d5-8795-cbd823d6058f\" style=\"text-align: center;\">Donatello’s David</p>\n<p dir=\"ltr\">Donatello’s bronze statue of David is estimated to have been created somewhere between the years 1430 &amp; 1440.  The exact date is still a common topic for debate as no one has been able to find solid evidence (Schneider).  It was among the first nudes in the art world used in a context other than religious (italianrenaissance.org).  While it is more common to find David depicted as a strong, large, muscular, giant of a man, Donatello’s depiction of a sleek, younger man was a distinct difference.  His stance of victory holds an almost homosexual feminism to it, something that was fairly common in works of the period.  It is uncertain who actually commissioned the work, but some have proposed the assumption that it may have been Cosimo il Vecchio de’ Medici (<a href=\"http://www.palazzo-medici.it\">http://www.palazzo-medici.it</a>).  Donatello changed the world of art in ways he never could have imagined.  His technique, his skill, his creative bravery, and the greatness that is David are worthy of being preserved for centuries to come.</p>\n<p dir=\"ltr\"><!--more--></p>\n<p dir=\"ltr\" style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\"><img class=\"size-medium wp-image-3266 aligncenter\" alt=\"Jessie Donatello\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello-185x300.jpg\" width=\"185\" height=\"300\" /></a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/Jessie-Donatello.jpg\">http://www.italianrenaissance.org/donatellos-david/</a></p>\n<p dir=\"ltr\"></p>\n<p dir=\"ltr\" style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3.jpg\"><img class=\"size-medium wp-image-3272 aligncenter\" alt=\"jessie donatello 3\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/09/jessie-donatello-3-231x300.jpg\" width=\"231\" height=\"300\" />http://www.gunnzone.org/GunnImages/images/11_David_Donatello-L-R.jpg</a></p>\n<p dir=\"ltr\"></p>\n<p dir=\"ltr\">Despite having a considerable religious influence, the arts of the Renaissance era began to take on more lifelike appearances.  The Renaissance artists were steering away from the abstract qualities of the Classical period and began making their works more realistic.  Donatello’s David with its attention to the human form is a prime example of the changes that began to occur.  The artists of the Renaissance era such as Donatello, da Vinci, Raphael, and Michelangelo brought change and influence that was felt and seen for centuries to come, even today.  (Fiero, B3.43)  Around this time literature, science, art were beginning to tie themselves to the church as people such as Pope Nicholas V.   Even members of the church were showing an enthusiasm for learning and the arts.  Many church officials commissioned Renaissance artists to renovate libraries, and to build churches, and to paint chapels (i.e. The Sisteen Chapel).</p>\n<p dir=\"ltr\">In the time leading up to the Renaissance era, art tended to have a significant amount of religious influence.  As the artists of the Renaissance era began to try to revive the Classical heritage, they began applying a more realistic approach to their work.  Portrait work soared in popularity as it focused on the individual.  Nude works were not widely known outside of the religious context as many artists tended to be rather self-concious.  Even then, in most cases, any nude subjects tended to be portrayed as Gods.  Throughout the Renaissance era, artists were falling away from the abstract works of the Medieval time period and began to create more tangible and realistic pieces.  As artists lost inhibitions and became more creative, they began to explore the human form more and created works such as Donatello’s David.  “in his bronze David (circa 1450), Donatello created the first sexually charged male nude since the collapse of the classical Greco-Roman Testhetic a thousand years earlier.”  (Frontain)</p>\n<p dir=\"ltr\">Donatello’s David was a nude statue.  While not the only one of the time period, it was among the first.  The appearance of nudes in the art world was mostly found in the religious context.  Donatello was neither the first nor the last sculptor to produce their interpretation of David.  However, while the majority of the David statues depicted him as a larger-than-life man of great strength, Donatello showed him as a young and sinewy boy with an almost homosexual feminism to him.  Also, many artists/sculptors utilized marble, but Donatello chose to utilize bronze for this particular piece. Interestingly enough, this particular piece was his second attempt.  His first version of David was done in marble somewhere around 1408/1409.</p>\n<p dir=\"ltr\">This statue was received very well.  It became very popular and was considered to be the symbol of Florence.  The Medici family kept it on display in their court yard causing quite the scandal.  Regardless, once explained away by Donatello, the statue was received with great enthusiasm.  Due to the chosen placement of the sculpture (in the courtyard) some did not take to it very well.  However, many artists and scholars of the time made claims that it very well could have been one of Donatello’s finest works created within his lifetime.</p>\n<p dir=\"ltr\">The reception of Donatello’s bronze David today seems to be comparable to when it made its debut.  The beauty, creativity, and originality of Donatello’s work has never been argued.  The beauty of the nude form quite obviously influenced by Donatello’s own homosexuality seems to be the focus of many of today’s critics and historians.  Today there seems to much debate regarding the original appearance of the statue.  For example, many think the original statue – before the influences of time – had golden luscious curls that any women would envy.  (www.ancientworlds.net)  There is much debate amongst scholars as to the exact time, original appearance, whether or not Donatello used a live nude model, and a whole host of other details that seem to have been lost over the course of the passing centuries.  One important thing that has been agreed upon is that Donatello’s David is/was one of the most influential works of its time and that Donatello was one of the cornerstones of the beginning of the modern art community.</p>\n<p dir=\"ltr\">I have always been exposed to the larger, more masculine versions of the David statues.  I’ve always made the assumption they were all that had existed.  My first impression of Donatello’s work was that it was very feminine, seemed to be homosexually motivated, and couldn’t possibly be the correct statue.  After discovering that, in fact, it was I simply stared at it.  Given the time period, I was rather shocked that a statue of this type gained such popularity.  I thought it was very well done.  Again, given the time period, I was very impressed that a statue of this caliber could be created out of any medium especially one such as bronze.  In regards to its symbolism, it has been hard for me to truly understand it as my prior knowledge of this particular era is not very extensive.  For me personally, it was more the bravery and creativity that came from Donatello’s bronze David.  Knowing now of the political controversy started by its creation, I am able to appreciate it far more.  After looking at it for the first time, I was a bit taken aback.</p>\n<p dir=\"ltr\">Michelangelo and Donatello were both commissioned to create sculptures of David.  David was a great symbol for the people of Florence.  He stood-to them-for their freedom and liberty.  Both of which were under constant threat.  One important difference, in terms of history, was that Michelango’s piece was commissioned by The Board of Works for the Cathedral of Florence while Donatello’s piece was commissioned be the Medici family.  A family that was considered to have been one of the biggest threats toward the very freedoms and liberties David was supposed to have represented.  While David’s work is very well known, Michelango’s David is the one most thought of when “the sculpture of David” is mentioned.</p>\n<p dir=\"ltr\">Artistically speaking, they both used different mediums to create their individual works.  Donatello actually created two pieces depicting David.  One was done in marble while the other, the one he is most recognized for, was created from bronze.  Michelango kept with the classic/typical depiction of David showing him, while young, to be a man of strength and masculine victory.  Donatello, on the other hand, showed David as a sinewy young man.  While his stance with his foot on top of the severed head of Goliath was one of victory, he still showed more of a feminine quality almost homosexual.  This was a quality seen in many works of that time.</p>\n<p dir=\"ltr\">Donatello’s bronze David is not one of the most well-known of the many depictions of David.  Future generations need to know.  If asked, a number of high school students would most likely be unable to tell you any other David than that done by Michelangelo.  It is important that this generation and those to come be taught.</p>\n<p dir=\"ltr\">Donatello created a great work of symbolism.  On a daily basis, the very family that commissioned him to create this great piece threatened the freedoms and liberties of the citizens of Florence-the freedoms and liberties that David represented.  Some artists of his time went so far as to label this work as Donatello’s finest of his lifetime.  Donatello was one of the great artistic masters.  His work has influenced other artists and their own works over the course of centuries.  To look at it simply, it was formed from bronze-a task not easily accomplished almost 600 years ago.</p>\n<p dir=\"ltr\">Donatello’s David was a great example of Humanist art.  This is shown not only in the choice of medium but also in the pose and nudity of the subject.  What better way to learn of the great artists of this time than through the study of the work itself.  Reproductions can never adequately represent the artist or his work.  It is important for individuals to be able to see and study this work firsthand.  To see the stunning accuracy of David’s anatomical features.  To understand and feel the symbolism of his foot on the head of the slain giant.  And after having gained this understanding, to hopefully appreciate the irony of that symbolism when considering those who commissioned this work.</p>\n<p dir=\"ltr\">At some point in history, it was decided this was a work of such great importance that it needed to be guarded and protected and preserved for generations to come.  Donatello’s bronze masterpiece needs to be saved.  That importance once found has not changed in the last 600 years nor will it change in the next 600.</p>\n<p dir=\"ltr\">David did and still does represent the coveted freedoms and liberties of a seemingly repressed  people.  However, of equal importance, is that in a time when homosexuality wasn’t as publicized as it is in today’s society and sodomy was deemed illegal, the homosexual air of this nude young man seemed to go unnoticed.  In fact, it was the wish of those who commissioned the work that David be portrayed in such a way.   It was common knowledge that Donatello was a gay man.  This was a huge step into the future not only for art but also for human sexuality.</p>\n<p dir=\"ltr\">Artists such as Donatello were innovators in their time and started a movement that has carried forth into our world today.  While many may fail to see the significance of a work like David, I feel that it is important to show how artists and other individuals like Donatello shaped what we know today.  An important part of making sure that can happen is to do whatever is possible to insure the works of the greats are preserved.</p>\n&nbsp;\n<p dir=\"ltr\">Janson, H W. The Sculpture of David. Princeton, NJ: Princeton University Press, 1979. Acadenic</p>\n<p dir=\"ltr\">    Search Complete. Web. 26 Aug. 2013.</p>\n<p dir=\"ltr\">Frontain, Raymond-Jean. Gay &amp; Lesbian Review Worldwide 13.4: 12-15. Academic Search</p>\n<p dir=\"ltr\">Complete.  Web. 26 Aug. 2013.</p>\n<p dir=\"ltr\">**Frontain allowed for more of a focus on the homosexual nature of the statue.  It also addressed the fact that it was one of the first sexually charged male nudes.</p>\n&nbsp;\n<p dir=\"ltr\">\"\"David\" by Donatello.\" Mediateca di Palazzo Medici Riccardi Window on the Renaissance.</p>\n<p dir=\"ltr\">Mediateca di Palazzo, n.d. Web. 26 Aug. 2013. &lt;<a href=\"http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello\">http://www.palazzo-medici.it/mediateca/en/schede.php?nome=David_di_Donatello</a>&gt;.</p>\n<p dir=\"ltr\">**This source proved helpful as it came from an Italian source.  It gave a great perspective as to the controversy surround the placement of the statue and the family that commissioned the work.</p>\n&nbsp;\n<p dir=\"ltr\">Schneider, Laurie. \"Donatello\'s Bronze David.\" The Art Bulletin June 1973: 213-16. Web. 26</p>\n<p dir=\"ltr\">    Aug. 2013.  &lt; <a href=\"http://www.jstor.org/stable/3049095\">http://www.jstor.org/stable/3049095</a>&gt;.</p>\n<p dir=\"ltr\">    **Schneider gave a more technical approach to analysis.  However, it was an easy read and satisfied one of the academic credit.</p>\n&nbsp;\n<p dir=\"ltr\">Macrohistory and World Timeline. N.p., n.d. Web. 2 Sept. 2013.</p>\n<p dir=\"ltr\">    &lt;<a href=\"http://www.macrohistory.com/time/ce15.htm\">http://www.macrohistory.com/time/ce15.htm</a>&gt;.</p>\n<p dir=\"ltr\">    **This timeline allowed me to better understand the historical context of the time.  It laid out world history, not only that in Florence, of the time and created a better understanding of the “controversy”, etc.</p>\n&nbsp;\n<p dir=\"ltr\">Fiero, Gloria K. The Humanistic Tradition. 6th Editionth ed. Vol. 2. N.p.: McGraw-Hill, 2011.</p>\n<p dir=\"ltr\">N. pag. 2 vols. Web. 26 Aug. 2013. &lt;http://connect.mcgraw- hill.com/connect/hmEBook.do?setTab=sectionTabs&gt;.</p>\n<p dir=\"ltr\">**The textbook has proven to be quite helpful.  It holds information not only on the work itself but also other works and artists of the time.  It also gave insight into the historical timeline.</p>\n&nbsp;\n<p dir=\"ltr\">***<a href=\"http://www.italianrenaissance.org/donatellos-david/\">http://www.italianrenaissance.org/donatellos-david/</a></p>\n<p dir=\"ltr\">**This site analyzes pose, biblical influence, David’s background, etc all from an artistic standpoint as well as the influence of the Italian renaissance.</p>','Donatello\'s David in Bronze','','inherit','open','open','','3253-autosave-v1','','','2013-09-24 12:04:34','2013-09-24 18:04:34','',3253,'http://jeanatacc.com/2011/?p=3317',0,'revision','',0),(3552,79,'2013-11-04 12:57:26','2013-11-04 18:57:26','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">10/14/2013</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP3D</p>\r\n<p align=\"right\"></p>\r\n<p align=\"center\"> <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Faust.jpg\"><img class=\"alignnone size-medium wp-image-3554\" alt=\"Faust\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Faust-226x300.jpg\" width=\"226\" height=\"300\" /></a></p>\r\n<p align=\"center\">Goethe\'s <i>Faust</i></p>\r\n<p align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/commons/e/e6/Faust_und_Mephisto%2C_Stich_von_Tony_Johannot.jpg\"><i>http://upload.wikimedia.org/wikipedia/commons/e/e6/Faust_und_Mephisto%2C_Stich_von_Tony_Johannot.jpg</i></a></p>\r\n<p align=\"center\"><i> </i><i> </i></p>\r\nName: <i>Faust</i>\r\n\r\nAuthor: Johann Wolfgang von Goethe\r\n\r\nDate: Published 1808(Part 1)\r\n\r\nFinished  1832\r\n\r\n“The story of Faust is based on a sixteenth-century German Legend: a traveling physician and a practitioner of black magic, Johann or Georg Faust, was reputed to have sold his soul to the Devil in exchange for infinite knowledge” (Fiero). Goethe\'s <i>Faust </i>is a classic tale of a mans faith being tested in the face of great temptation, not unlike the tale of Job from the Bible. At least that is how is appears on the surface. Others would glean that <i>Faust</i> is about a man who outsmarts the devil in his dealings, and is still granted redemption. Goethe\'s <i>Faust</i> should be preserved not only for its caliber as a play, but for its timeless message of salvation in the face of temptation, and for its recognition of innate human good.\r\n\r\n<!--more-->\r\n\r\nEurope (and much of the Western World) at the time was beginning to appreciate the human condition, romanticizing both traditional and non traditional heroes. In addition to this, Nationalism began to really take hold, paving the way for larger than life heroes.\r\n\r\n“Working to fulfill their own personal vision, Romantic poets, painters, and composers freed themselves from independence on the patronage of the Church and state. At the same time, they defended the ideals of liberty and brotherhood associated with emerging nationalism. They opposed entrenched systems of slavery and institutional limitations to personal freedom. The nineteenth century did not produce more heroes than other centuries, but it celebrated the heroic personality as representative of the Romantic sensibility” (Fiero)\r\n\r\nThis piece is typical of its time in reference to its religious connotations. Around the same time, in other places in the world, people are dealing with the religious implications of magic and witchcraft. Across the Atlantic, and even closer to home in Europe, thousands are being put to death for practicing witchcraft. That aside, Faust is unique in that it presents a Hero going against the norm in order to accomplish something good and wholesome, albeit, rather accidentally.\r\n\r\n<i>Faust </i>retells a fairly standard religious parable in a way that skews the traditional religious connotations. Not only does the main character make a deal with the devil, but he personally gains throughout most of the piece. It is only towards the end where he last minute selfless acts, followed by an untimely demise enable him to enter heaven without first losing his bargained soul to a demon. This lines up quite well with the climate of religious separation that most of Europe is facing at the time.\r\n\r\nGoethe\'s <i>Faust </i>is unusual both in its construction and in its machinations. <i>Faust</i> is really laid out more like an epic poem, and less like a play. Stranger still is the fact that its speed and timing seem better suited to the big screen than it is to the stage. “As a play, it deliberately ignores the Classical unities of time and place – indeed, its shifting \'cinematic\' qualities make it more adaptable to modern film than to traditional stage. Despite a cosmic breadth, which compares with Milton\'s <i>Paradise Lost </i>or <i>Dante\'s Divind Comedy</i>, Goethe\'s <i>Faust </i>focuses more narrowly on the human condition.” (Fiero)\r\n\r\nFaust was very well received in its time, and in fact the genre itself was very much celebrated in Germany. Goethe\'s <i>Faust</i> was merely his rendition of a German folklore, and as such was well received. Today\'s reaction to Goethe\'s <i>Faust</i> is very positive. It has wiggled its way into modern day pop culture, having many media offshoots that can attribute their inspiration to the original by Goethe. It has even become common enough in english to refer to any deal with the devil as a “Faustian” contract or deal.\r\n\r\nPersonally, I absolutely love this piece. It deals with darker concepts than we have seen thus far, but still manages to make a hero out of Faust. It parallels the book of Job from the bible particularly well. Really, what was most impressive for me, was being able to follow this man down his dark, treacherous path, and walk out the other side still convinced that good shall conquer over evil... however accidentally it may seem.\r\n\r\nBeing based off of a well known local fable, there were already many renditions this story in circulation well before Goethe took an attempt, in fact one of which may have influenced Goethe. It goes without saying then, that at this moment in time in Germany, there were many stories dealing with this exact concept of dealing with demons.\r\n\r\nWhen compared to the likes of Mary Shelley\'s <i>Frankenstein</i> we can see that both main characters can be classified as “figures of heroic evil” (Fiero). I draw this    comparison because it can be argued that Faust is no hero, as he merely got away with      his dealings with the devil, the fact of which that he was dealing with the devil in the first place in most circles would classify him as immediately evil. There is where the similarities cease. While <i>Frankenstein </i>seems to parallel the story of Satan\'s downfall, <i>Faust</i> seems to more closely resemble the ensuing war between heaven and hell, over         the souls of all mankind.\r\n\r\n<i>Faust </i>should be preserved for future generations not just for its literary achievements, or even for its religious imagery or connotations, but for celebrating the human condition. What I mean by this is that <i>Faust</i> is unique in that it represents man exactly as man is, misguided and ignorant, but well meaning. Ultimately, good intentions trump bad decisions. Of course, not everyone gets a “get out of jail free card” when dealing with demons, but that is why <i>Faust </i>is considered the quintessential Romantic hero. I believe it is important for us, and for generations to come to        remember that, while only human, given the right opportunities we can accomplish  great things.\r\n\r\n&nbsp;\r\n\r\nCitations\r\n\r\n<i>“Faust” Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nEncyclopedia Britannica Inc. 2013\r\n\r\nWeb. 24 October 2013\r\n\r\n&nbsp;\r\n\r\n“Paul Brians” Department of English, Washington State University\r\n\r\nPullman, 99164-5020 June 14, 1995\r\n\r\nLast revised September 28, 2000\r\n\r\n&nbsp;\r\n\r\n“Goethe\'s Baccalaureus and the concept of romantic irony in Faust” Essay, Journal\r\n\r\nShookman, Ellis European Romantic Review, Routledge Sep 2009\r\n\r\nVol. 20 Issue 4, p491-511','Goethe\'s Faust','','publish','open','open','','goethes-faust','','','2013-11-04 12:57:26','2013-11-04 18:57:26','',0,'http://jeanatacc.com/2011/?p=3552',0,'post','',8),(3553,86,'2013-11-04 12:50:50','2013-11-04 18:50:50','V’nai Vazquez\r\n\r\nThe Barber of Seville\r\n\r\nGioachino Antonio Rossini\r\n\r\nFebruary 20, 1816\r\n\r\nBarber of Seville is an operatic comedy I hope you come to adore it as much as I did while writing this paper. Not only did the writer take a dramatic and at times sad play and turn it into loud over the top comedy, he did it so well it is today even more popular than the original. It is still played across the country on the big and small stage. If anyone is able to write something that is popular for hundreds of years that speaks not only to the talent but to the work as a whole. Barber of Seville by Gioachino Antonio Rossini ought to be preserved because it was the first ever operatic comedy and it paved the way for the future of humor on stage in this form.<!--more-->[youtube]<a href=\"http://www.youtube.com/watch?v=z8K0xQOMHuU\">http://www.youtube.com/watch?v=z8K0xQOMHuU</a>[/youtube]\r\n<div> It  “was based on a famous play by Beaumarchais and.. Paisiello [who] had already made a successful opera from the story” (Glimmerglass). The story is about Count Almaviva who fell in love with Rosina. He wanted her to love him for his personality and not all his wealth, so he disguised himself as a poor student. Rosina is supposed to marry a Doctor Bartolo, who’s house  she is currently living. Almaviva comes up with a few schemes to attempt to enter Bartolo’s house, because he thinks the only way he can get Rosina to fall in love with him too is by talking with her. Eventually one of his ploys work with the help of Figaro, who is Bartolo’s barber, he gets to talk to Almaviva and they decide to elope. A number of other antics occur in a frantic procession, with much confusion for all parties. Eventually Bartolo, even though he is not sure what is going on, decides to fetch the policy to arrest Almaviva, but by they time he arrives with them in tow Almaviva and Rosina are already married. He blesses them and wishes them a good wedding (Glimmerglass).</div>\r\n<div>\r\n<div>\r\n\r\nAt the time Barber of Seville was written was during the Romantic era, the hero and the heroine were the center of many art pieces and musical pieces, those pieces also played off of emotion as the driving forces of their subjects. During this era Romantics embraced the creative side of a person, especially those that were the hero of the story. The hero was typically one that stood up against the norm, who had ideas of ways to better society and challenge what has always been. The Romantic era didn’t actually have more heroes than had been before, but there were much more celebrated than ever. Obviously the hero must have someone to love, someone to fight for. Love was the base countless art forms of the time. Individuality was also celebrated as a factor of love. The artists of the time chose to separate themselves from the church , but also defend liberty, they believed in personal freedom and freedom from the institution.\r\n\r\nOpera brought together many types of art forms (the bright colors of the costume was somewhat like painting using specific colors to display a character type, the instrumental part of music, as well as the acting and dance). In Germany, Wagner, who was a composer, helped to break the wall between music and theater. Instead of separating these two elements he used the music to enhance the story and bring the audience further into the story. Barber of Seville was a Baroque style of theater, around the time it was performed it was aimed at the middle class folk, as were much of the other operas of the time. Romantic opera was quite a spectacle, bright colors, overly dramatic acting and flourished costumes. Singing was becoming an art form, a style of entertainment, not just worship confined to the church. Those that performed in the opera’s had to have a true talent and ability to be able to sing the “long, winding melodic lines” (Fiero).\r\n\r\nThe Barber of Seville was typical of it’s era because it was all about the “hero” finding and fighting for true love. Almaviva finds Rosina and he comes up with idea after idea of how he can reach Rosina to tell him how he feels. Almaviva fights through many road blocks because his only goal is to marry her. The music and lyrics of this opera all aligned so perfectly with what was about to explode in other works of it’s time. The music assisted the story’s progression and the lyrics told the story where the normal dialogue paused. Although it was performed in 1816 and this type of work didn’t start occurring until around 1820, it was really a frontman in leading the way for these types of outlandish performances. The amount of vocal ability one needed in order to perform these songs was just the beginning of an entire era of singers who were able to find their voice on stage. Also, it was typical because it was among the first to attract the middle class in droves to the theater. Although Barbiere di Siviglia (1782) had already been popularized by Paisiello, Rossini’s version had a comedic nature which was highly appealing to the middle class audience.\r\n\r\nThis comical and satirical style of operas is known as<i> opera buffa</i>. Since this style was not yet popularized the first night it did horribly, this could have also been due to the fact that Paisiello’s fans went to the theater it’s opening night and booed during the entirety of the performance (Glimmerglass). The second night and every successive performance following it did increasingly well. This was the kick starter for many other opera buffa to take place. The audience gobbled up the humor and dramatic, frantic performance displayed, they loved the humor. This was unusual for the opera was a place for the wealthy, starting with The Barber of Seville it seems the floodgates for the middle class opened up and they became the predominate class for the audience.\r\n\r\nAs state previously, this opera on it’s first night did horribly. The actors stuttered through their performance, and although they finished, it was not a pretty sight. Many expected the play would not be performed again. This poor opening is believed to have been caused by fans of Paisiello’s fans, who actually organized the disruption. However, the middle class that saw the play loved it. They really like the upbeat non-stop tempo of the story. Even the songs that burst seemingly from no where kept the audiences attention. The plot of the opera fed into the new Romantic era that was just being introduced as a consistent theme, it was the hero that all were rooting for.\r\n\r\nAccording to Fisher “today it is generally considered the greatest comic masterpiece in the entire operatic canon” (Fisher). It is amazing that two hundreed years later it still remains popular and is still performed by so many around the world. As Fisher says “words evoke thought, but music provokes feelings”, which is a truth that still stands today. Any performance that is accompanied by music is so enhanced to make us feel as though we are riding as a part of the story. In an article written by Christopher Monk just this year praises a performance of The Barber, admiring how it “it’s still as fresh, sparkling and downright hilarious” it is (Monk). The fact that The Barber is still so popular speaks volumes to how well Rossini composed such a thrilling story.\r\n\r\nPersonally I find the play to be a spectacular work. I think it is different than many of the romantic comedies we have all become accustomed to. Although it is love at first sight for Almaviva, leading him into many odd circumstances preventing him from confessing his love, it is so much more than that. The amount of talent those that not only performed the parts, but the vocal strength they needed to make the opera convincing is outstanding. This is not just a play that can be entertaining for young kids, but people of all ages can find the humor in the play at the same time enthralled by the talent of those performing.\r\n\r\nDuring around the same Romantic time ballets also gained popularity. As a comparison to “The Barber of Seville” I will use “Sleeping Beauty”. The Barber of Seville is an opera and Sleeping Beauty is a play. The main character of The Barber is a man and his desire to express his love so the woman of his dreams would marry him. The main character of Sleeping Beauty is a woman who is being pursued by the hero of the story. The Barber is a comedy which has a happy ending, based on the Romantic idea of love fulfilled. Sleeping Beauty is more of a tragedy with Beauty dying before love is exchanged, this points toward the Romantic idea of unrequited love. Both are intriguing and well written plots with exceptional talent needed to truly show off the talent of their writers. (Fiero).\r\n\r\nFuture generations should be aware that this was truly the mark of the beginning of an era of comedy in general. If it were not for this play taking something that was a serious piece and transforming it into the ever popular work it is today, we may never had come into the type of comedy we are used to today. The satirical and comedic driving force of our current times can thank The Barber of Seville for leading the way. This should certainly be preserved because it is not only a wonderful form of entertainment, but it carries historical value along with it.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. “The Humanistic Tradition.” McGraw Hill. 6th edition. 2013. Web. 24 Oct, 2013.\r\n\r\nThis is the text book used for class. I used this for comparison of a different type of work of the time The Barber was written. I also used it for historical context.\r\n\r\nFisher, Burton D. “Rossini’s The Barber of Seville.” <i>eBook Collection (EBSCOhost)</i>. 2002. Web. Oct 23 2013.\r\n\r\nThis is an eBook that had the play within it, but also had an insightful prelude and commentary about the play. I used this to write on the current as well as past popularity of the play.\r\n\r\n&nbsp;\r\n\r\n“Giovanni Paisiello (Italian composer)”. <i>Encyclopaedia Britannica</i>. Encyclopaedia Britannica, Inc.  2013. Web. Oct 22, 2013.\r\n\r\nThis is a short article about the life of Paisiello. I used this to find out where The Barber of Seville first gained popularity as well as how this affected Paisiello.\r\n\r\n&nbsp;\r\n\r\nGlimmerglass Opera. “Rossini’s ‘The Barber of Seville’.” <i>NPRMusic</i>. NPR. 15 Aug 2008. Web. 23 Oct 2013.\r\n\r\nThis is an article that gives a summary and a brief history of the opera. This was probably one of the more beneficial articles, that I used to write my own summary and understand the background of the opera.\r\n\r\n&nbsp;\r\n\r\nMonk, Christopher. “The Barber of Seville.” <i>Musical Opinion</i>. English National Opera. 1 May 2013. Web. 24 Oct, 2013.\r\n\r\nThis was a review for a recent performance of the opera. I used it to provide evidence of the popularity of the play even today.\r\n\r\n</div>\r\n</div>','The Barber of Seville','','inherit','open','open','','3550-revision-v1','','','2013-11-04 12:50:50','2013-11-04 18:50:50','',3550,'http://jeanatacc.com/2011/?p=3553',0,'revision','',0),(3551,81,'2013-11-04 13:02:02','2013-11-04 19:02:02','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in; text-align: center;\"><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized.jpg\"><img class=\"size-medium wp-image-3557 aligncenter\" alt=\"puccini-1-sized\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized-214x300.jpg\" width=\"214\" height=\"300\" /></a></em></strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\">http://www.nndb.com/people/265/000087004/puccini-1-sized.jpg</p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><strong><em>\"Madama Butterfly\"</em> by Giacomo Puccini</strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">This opera is based on the story by John Luther Long and the play by David Belasco.<span>  </span>The opera itself was written by Giacomo Puccini (1858-1924). Taking place in the early 20th century, Benjamin Franklin Pinkerton comes to Nagasaki for his prearranged marriage to Cio-Cio-San (Madame Butterfly) who is 15 years of age.<span>  </span>She is a geisha forced into the life by the loss of her family’s wealth.<span>  </span>Despite marrying Butterfly, Pinkerton is set to marry an American woman.<span>  </span>Butterfly is denounced for her “rejection” of her natural heritage.<span>  </span>Pinkerton leaves Nagasaki for three years and leaves behind Butterfly and their three year old son, Sorrow.<span>  </span>Butterfly is afraid he will never return, but he does and brings his American wife-Kate-along with him.<span>  </span>They talk Butterfly into letting them take Sorrow back with them.<span>  </span>Upon their departure, Butterfly is overcome with grief and sadness and commits suicide.<span>  </span>(</span><a href=\"http://www.columbia.edu/.....synopsis.html\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">www.columbia.edu/.....synopsis.html</span></a><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">)<span>  </span>Giacomo Puccini created in Madama Butterfly a work worthy of preservation because of his ability to express the importance of both the music and the story with his original musical elements, his ability to integrate real-life need for cultural assimilation into his work, and his general operatic intelligence.<!--more--></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span> </span><span>           </span>This opera is a great example of the transition into the modern era.<span>  </span>With its tragic love story with a sense of underlying betrayal, it is a piece that is easily relatable.<span>  </span>Also, there is a sense of truth behind this play.<span>  </span>This was actually a semi-common occurrence at this time.<span>  </span>Despite the complete and utter chaos at the time of its first production due to patrons finding it to be much like his previous works, it received good reviews.<span>  </span>Madama Butterfly is a classic and relatable story that allows for readers/viewers of all ages and backgrounds to learn and experience.<span>  </span>The music of Puccini’s operas comes from the words of the story.<span>  </span>Puccini’s works stemmed from his life.<span>  </span>Not only does the preservation of this work allow for future generations to learn and appreciate the music and its development but also to further learn and appreciate the life of Giacomo Puccini-one of the greatest composers of his time.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">At the time of Puccini’s birth, Italy was in the midst of a rash of rampant revolution and attempted reform.<span>  </span>Constitutions were being created by Italian republics in1848.<span>  </span>Eventually, revolutions would lead to the transfer of powers across many regions between 1849 and 1859.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">At the time of the conception of Madama Butterfly, Italy was in a time of turmoil.<span>  </span>The leaders of the country spent years trying to join the super powers of the world only to be met with resistance and a lack of finances.<span>  </span>Giovanni Giolitti was into his second term as Prime Minister.<span>  </span>The country was already in bad shape before Giolitti took his second term.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">The Italian colonies arising outside of the country as well as the eventual Italian involvement in World War I, also contributed to financial instability.<span>  </span>Corruption, starvation, and illiteracy were all rampant problems across the country.<span>  </span>Organized crime and rebellion were also rising.<span>  </span>Italians were flocking to America by the thousands in an effort to escape their steadily declining country.</span></p>\r\n\r\n<div style=\"border: none; border-bottom: solid windowtext 1.0pt; padding: 0in 0in 1.0pt 0in;\">\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">There was also an uprising of political nationalism in countries throughout the periphery of European countries.<span>  </span>(www.britannica.com) The changes of socio-economic and political airs surrounding the time of WWI changed to views of all classes.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">A common style of the time was that of bel canto “beautiful singing”.<span>  </span>It became more refined as plots and music became more sophisticated and refined (www.educationscotland.gov.uk).<span>  </span>It was a type of Italian court singing which originated in the performance of polyphonic music in the 16th century.<span>  </span>Bel canto was based on the very precise control of the intensity of vocal tone.<span>  </span>A demand for vocal agility and a clear articulation of notes as well as well-performed enunciation of words was part of this style.<span>  </span>(www.britannica.com)<span>  </span>This particular style would eventually evolve into what would become the operas of the 17th to 19th centuries.<span>  </span>Use of the style eventually dropped out at the turn of the 20th century as operas and performances called more for heavier and more dramatic singing.<span>  </span></span></p>\r\n\r\n</div>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">It gave precedence to melodic, rhythmic energies.<span>  </span>In the late 19th and early 20th centuries, American composers such as Arnold Schoenberg began to break away from the concept of using key using “all notes freely without relating them to the system of functional harmony.” (www.britannica.com)<span>  </span>)<span>  </span>For instance, Schoenberg’s Suite for Piano was the first of his influential works that started this evolutionary change in music.<span>  </span>Schoenberg’s other works like Violin Concerto and A Survivor from Warsaw signaled the change and transition to what would eventually become Western music.<span>  </span>(www.allmusic.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Madama Butterfly is of deeper more serious tones even in the times when one would expect more of a jovial air.<span>  </span>The images of the opera and the words and the music are all undeniably tied together.<span>  </span>The drama surrounding the story of Butterfly and Pinkerton could not be told without the story created by Giacomo Puccini.<span>  </span>Puccini created a common theme within all of his works, that of “He who has lived for love, has died for love.” (www.britannica.com)<span>  </span>Many of the heroines within his works would eventually fall prey to their own devotions to their lovers.<span>  </span>This idea is quite prominent within Madama Butterfly.<span>  </span>The Puccini style of opera held a strong “emotional appeal but also the restricted scope” of his style.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Puccini was able to apply his own experiences to his characters and vice versa, he was able to channel his characters through himself.<span>  </span>Puccini was an intelligent opera creator who was well aware that an opera’s success is not based solely on its actions.<span>  </span>The lyrics and moments of contemplation are equally important.<span>  </span>He created original musical elements and melodies for these moments.<span>  </span>Death arias and rising moments of passion and radiance were created specifically for these times.<span>  </span>(www.britannica.com)<span>  </span>Puccini held an understanding for the melodies common to 19th century Italian opera but was simultaneously able to channel the likes of Stravinsky.<span>  </span>Puccini’s early works such as La Bohemme showed his capabilities early on.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">These characteristics can be seen in Madama Butterfly.<span>  </span>For instance, Puccini ran off with his married lover and engaged in an illegal union which produced a child.<span>  </span>It wasn’t until the death of her husband in 1904 – the year of the first performance – that they were able to legally marry.<span>  </span>While Butterfly and Pinkerton were not part of an illicit affair, Pinkerton did leave her to return to America for another woman.<span>  </span>In the end, Butterfly killed herself.<span>  </span>The dramatic relationship within the music and story is comparable to that of Puccini’s own life.<span>  </span>Throughout the opera, while the music itself wasn’t exactly complex, there were rises and falls and tone changes and musical passion which enabled a better telling in the story.<span>  </span>For the most part, the music betrayed little emotion.<span>  </span>It was these creations of Puccini’s that changed the opera entirely.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Initially, the citizens of the time had a fairly indifferent view.<span>  </span>Not many were very excited about the piece.<span>  </span>Many felt that it was too much like his previous works to warrant any significant amount of excitement.<span>  </span>During the original performance individuals were placed throughout the theater to insert outdoor noises into the performance.<span>  </span>However, it created such chaos that the initial reception was not all that grand.<span>  </span>(www.musicweb.ecsd.edu) With the “replay” came a much better reception.<span>  </span>There was considerable speculation that there was a conspiracy behind the entire fiasco.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Prior to the performance many members of the press held a bitter attitude toward Puccini and the opera itself.<span>  </span>Performers were forced to learn their parts a few pages at a time due largely to the release being so close to his previous piece.<span>  </span>The publisher required high degrees of secrecy.<span>  </span>The performers were not allowed to take their music/parts from the theater.<span>  </span>Not only was the publisher afraid of them being lost, but he was also convinced it would increase the level of suspense from the spectators.<span>  </span>(www.columbia.edu)<span>  </span>It was this “high-handed” aura.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">The chaos of the premier wasn’t entirely at the fault of the strategically placed performers in the audience.<span>  </span>The close resemblance to La Bohemme seemed to irritate many of the critics and audience.<span>  </span>This seemed to only enhance to growing fiasco.<span>  </span>This fiasco seemed to be a surprise to people despite this.<span>  </span>Scholars<span>  </span>seemed to find structural issues with the opera such as the length of the acts.<span>  </span>It is also felt that the negative air generated by the Japanese-Russian conflict could have influenced the general reception among the public.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Madama Butterfly<span>  </span>is much better received in today’s society.<span>  </span>This can be seen in the fact that it is performed over and over again both in the States as well as abroad, especially in Italy.<span>     </span>Over the course of time, the sting of the fiasco of the premier has had a chance to dwindle.<span>  </span>Structurally speaking, there is still<span>  </span>question over the length of the acts but this has been much better received with the passage of time.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Still today there are countless performances.<span>  </span>For example, the LA Opera, the Metropolitan Opera, and the Seattle Opera are just a few that perform in the United States.<span>  </span>It is also performed in countless other theaters across the world such as the Sferisterio Opera at the Sferisterio Opera Festival in Italy.<span>  </span>There are also museum displays around the world that either did or do exist that have some connection to Puccini and his work.<span>  </span>For example, the Morgan Library &amp; Museum in New York, New York held a display of the original manuscripts in commemoration of the 150th anniversary of Giacomo Puccini’s death. (www.themorgan.org) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Initially,<span>  </span>I was not at all what one would term thrilled.<span>  </span>I knew little to nothing about the work itself outside of a few snippits of video I had seen in music classes over the years.<span>  </span>Upon choosing this topic for my TCP, I looked over a few different copies of a synopsis summarizing the opera in an order to actually learn what this was about.<span>  </span>Then I watched Madama Butterfly in its entirety.<span>  </span>I must say that I now hold a considerably different view.<span>  </span>This is one amazing piece of theatrical excellence.<span>  </span>The story emphasizes this dramatic love story full of emotion and turmoil.<span>  </span>There is also Butterfly’s struggle to change her life and herself only to be jilted by Pinkerton.<span>  </span>Quite honestly, I thought the man to be a coward and a spineless weasel.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">From a structural standpoint, I am no operatic genius the likes of Puccini.<span>  </span>However, I do agree with the scholarly standpoint that the acts were a bit lengthy.<span>  </span>Had I not done previous research to better understand the actual plot line, I would not have been able to sit through the entire two hour performance.<span>  </span>At the end,<span>  </span>I am glad to have put the time and effort into this.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">When compared to Igor Stravinsky’s Song of the Nightingale both similarities and differences are noticeable.<span>  </span>There is the obvious content similarity of the Asian basis.<span>  </span>Nightingale is Chinese and Butterfly is Japanese, but the Asian<span>  </span>basis is there.<span>  </span>With regard to content, the story/plot line is different.<span>  </span>Butterfly is/was more of a love story turned drama while Nightingale is about the Chinese emperor’s fixation or enchantment with the song of the nightingale and the power of the nightingale’s song.<span>  </span>(www.classicalarchives.com)</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">When addressing the opera itself, again there are similarities and differences.<span>  </span>For example, the intensity of Nightingale’s<span>  </span>music seems to carry throughout the work.<span>  </span>Some places are lighter than others and some are heavier than others, but for the majority, the intensity seems to follow through fairly consistently.<span>  </span>With the music of Butterfly, there are more rises and falls.<span>  </span>There are more places in which the change in mood is more obvious within Butterfly.<span>  </span>Nightingale is supposed to be about the power of the nightingale and its music.<span>  </span>There also seems to be much less singing within Nightingale (youtube.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">There is also the obvious difference in length.<span>  </span>Madama Butterfly is three acts of considerable length.<span>  </span>The opera in its entirety is approximately two hours long, over twice what was common at the time.<span>  </span>However, Stravinsky’s Song of the Nightingale is only two much shorter acts totalling to approximately 45 minutes in length.<span>  </span>Some have gone so far as to say Nightingale is more like being<span>  </span>“three scenes in a single act opera.” (White in Archives)<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">First and foremost, Giacomo Puccini was an operatic genius.<span>  </span>He understood early on that the actions of the opera and the music were of equal importance.<span>  </span>He was able to create and integrate original musical elements which enabled him to tell the story of Butterfly and Pinkerton with such finesse thus adding a second reason for which Madama Butterfly should and must be preserved.<span>  </span>Whether the audience knew what was going on or not, it wouldn’t have been very difficult to get some small grasp on the story line.<span>  </span>Puccini changed the face of opera forever which his ups and downs, rises and falls, and actually create emotion with music.<span>  </span>This is a side to opera that future generations must come to know and appreciate, and Puccini’s Butterfly is the perfect example to teach this.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Secondly, Butterfly was created in a time when the need for cultural assimilation was necessary and cultural understanding wasn’t exactly widespread.<span>  </span>On the verge of the first world war, international horizons were full of immigration, political strife, individual changes, and stories like that of Butterfly and Pinkerton.<span>  </span>By illustrating this constant need for assimilation and the accompanying emotions with his music, Puccini creates a work that is relatable and real-life.<span>  </span>In a time when our society is even more culturally diverse than it was then, it is even more important for those of this generation and those to come to grasp the struggle.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;\">[youtube]http://www.youtube.com/watch?v=j8XEyHHr2K8[/youtube]</p>\r\n<p class=\"MsoNormal\" style=\"text-align: center;\" align=\"center\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Works Cited</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">PBS. PBS, n.d. Web. 14 Oct. 2013. &lt;www.pbs.org/wnet/gperf/education/puccini.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is a PBS website containing biographical information on Giacomo Puccini.<span>  </span>I used this particular website to learn about Puccini at the time of his writing, how he may have shown his life through his work, and also as an alternative means for historical background.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Columbia Univeristy. Columbia University, n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/fiasco.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is a website sponsored by Columbia University which led to an html file on <i>Madama Butterfly</i>.<span>  </span>This particular information proved useful in researching reception at the time of production/release, more specifically the fiasco that ensued on the day of its original release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Pasler, J. USCD, n.d. Web. 14 Oct. 2013. &lt;musicweb.ucsd.edu/~jpasler/wp/wp-</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span><span> </span>content/uploads/2012/06/Pasler-Japonisme2008.pdf&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is a critical analysis of <i>Madama Butterfly</i> by Jann Pasler which focuses on the Japanese aspect and the concerns with assimilation.<span>  </span>It also holds information to better understand the reception at the time.<span>  </span>Pasler explains that Russian-Japanese tensions at the time could have affected the reception.<span>  </span>I used this as a second means to understand the reception of this opera at the time considering the obvious Japanese content.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Life in Italy.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span>&lt;http://www.lifeinitaly.com/history/life-italy-during-19th-century&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of <i>Madama Butterfly</i>.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">\"Life in Italy - 1900.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span>&lt;http://www.lifeinitaly.com/history/italy-1900&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***Again,</span> <span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of Madama Butterfly.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.<span>  </span>This particular section was more tailored toward the time of release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\">[youtube]<a href=\"http://www.youtube.com/watch?v=pxL16AqWZ6A\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">www.youtube.com/watch?v=pxL16AqWZ6A</span></a>[/youtube]</p>\r\n<p class=\"MsoNormal\">http://www.youtube.com/watch?v=j8XEyHHr2K8</p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is a YouTube showing of <i>Madama Butterfly </i>in its entirety.<span>  </span>A bit long but very enjoyable.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Columbia University. Columbia University, n.d. Web. 20 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/synopsis.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is a synopsis of the opera.<span>  </span>It explained all three acts.<span>  </span>I used this to actually know what the opera was about as I had no idea prior to this assignment.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Education Scotland. Education Scotland, n.d. Web. 21 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">&lt;</span><a href=\"http://www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp</span></a><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">&gt;</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This website is by Education Scotland.<span>  </span>This particular portion the site contains information on works of the era.<span>  </span>I used this in my efforts to compare <i>La Bohemme </i>and <i>Madama Butterfly</i>.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Staff, Rovi. \"Arnold Schoenberg - Artist Biography.\" AllMusic. AllMusic, n.d. Web. 3 Nov. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span>2013. &lt;http://www.allmusic.com/artist/arnold-schoenberg-mn0000691043/biography&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is from the website AllMusic.<span>  </span>This particular section references Arnold Schoenberg’s biography.<span>  </span>I referenced Schoenberg in an effort to understand works and trends of the time.<span>  </span>I used this site and its information in order to better understand Schoenberg and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">\"THE MORGAN TO DISPLAY ORIGINAL MANUSCRIPTS FROM MADAMA </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">BUTTERFLY AND LA BOHÈME IN NEW EXHIBITION ON GIACOMO PUCCINI .\" The Morgan Library &amp; Museum. N.p., 24 July 2009. Web. 3 Nov. 2013. &lt;http://www.themorgan.org/about/pressReleases2.asp?id=57&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is from the website for the Morgan Library &amp; Museum in New York.<span>  </span>It is a press release referencing a display of the original manuscript for <i><span> </span>Madama Butterfly.</i><span>  </span>I used this to get a better look at today’s reception of Puccini’s work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Fiero, Gloria K. The Humanistic Tradition. 6th ed. Vol. 2. N.p.: McGraw-Hill, n.d. Textbook. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span>Web. 2013.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This is our text book.<span>  </span>I used it for general information and for a basis for analysis.</span></p>','\"Madama Butterfly\"','','publish','open','open','','giacomo-puccinis','','','2013-11-04 22:04:59','2013-11-05 04:04:59','',0,'http://jeanatacc.com/2011/?p=3551',0,'post','',7),(3555,86,'2013-11-04 12:53:14','2013-11-04 18:53:14','V’nai Vazquez\r\n\r\nThe Barber of Seville\r\n\r\nGioachino Antonio Rossini\r\n\r\nFebruary 20, 1816\r\n\r\n[youtube]<a href=\"http://www.youtube.com/watch?v=z8K0xQOMHuU\">http://www.youtube.com/watch?v=z8K0xQOMHuU</a>[/youtube]\r\n\r\nThis performance of the play was done in 2010  the Teatro Argentina, Rome, although this video is not cited in the following paper it is more for your enjoyment or to satisfy your curiosity.\r\n\r\nBarber of Seville is an operatic comedy I hope you come to adore it as much as I did while writing this paper. Not only did the writer take a dramatic and at times sad play and turn it into loud over the top comedy, he did it so well it is today even more popular than the original. It is still played across the country on the big and small stage. If anyone is able to write something that is popular for hundreds of years that speaks not only to the talent but to the work as a whole. Barber of Seville by Gioachino Antonio Rossini ought to be preserved because it was the first ever operatic comedy and it paved the way for the future of humor on stage in this form.<!--more-->\r\n<div> It  “was based on a famous play by Beaumarchais and.. Paisiello [who] had already made a successful opera from the story” (Glimmerglass). The story is about Count Almaviva who fell in love with Rosina. He wanted her to love him for his personality and not all his wealth, so he disguised himself as a poor student. Rosina is supposed to marry a Doctor Bartolo, who’s house  she is currently living. Almaviva comes up with a few schemes to attempt to enter Bartolo’s house, because he thinks the only way he can get Rosina to fall in love with him too is by talking with her. Eventually one of his ploys work with the help of Figaro, who is Bartolo’s barber, he gets to talk to Almaviva and they decide to elope. A number of other antics occur in a frantic procession, with much confusion for all parties. Eventually Bartolo, even though he is not sure what is going on, decides to fetch the policy to arrest Almaviva, but by they time he arrives with them in tow Almaviva and Rosina are already married. He blesses them and wishes them a good wedding (Glimmerglass).</div>\r\n<div>\r\n<div>\r\n\r\nAt the time Barber of Seville was written was during the Romantic era, the hero and the heroine were the center of many art pieces and musical pieces, those pieces also played off of emotion as the driving forces of their subjects. During this era Romantics embraced the creative side of a person, especially those that were the hero of the story. The hero was typically one that stood up against the norm, who had ideas of ways to better society and challenge what has always been. The Romantic era didn’t actually have more heroes than had been before, but there were much more celebrated than ever. Obviously the hero must have someone to love, someone to fight for. Love was the base countless art forms of the time. Individuality was also celebrated as a factor of love. The artists of the time chose to separate themselves from the church , but also defend liberty, they believed in personal freedom and freedom from the institution.\r\n\r\nOpera brought together many types of art forms (the bright colors of the costume was somewhat like painting using specific colors to display a character type, the instrumental part of music, as well as the acting and dance). In Germany, Wagner, who was a composer, helped to break the wall between music and theater. Instead of separating these two elements he used the music to enhance the story and bring the audience further into the story. Barber of Seville was a Baroque style of theater, around the time it was performed it was aimed at the middle class folk, as were much of the other operas of the time. Romantic opera was quite a spectacle, bright colors, overly dramatic acting and flourished costumes. Singing was becoming an art form, a style of entertainment, not just worship confined to the church. Those that performed in the opera’s had to have a true talent and ability to be able to sing the “long, winding melodic lines” (Fiero).\r\n\r\nThe Barber of Seville was typical of it’s era because it was all about the “hero” finding and fighting for true love. Almaviva finds Rosina and he comes up with idea after idea of how he can reach Rosina to tell him how he feels. Almaviva fights through many road blocks because his only goal is to marry her. The music and lyrics of this opera all aligned so perfectly with what was about to explode in other works of it’s time. The music assisted the story’s progression and the lyrics told the story where the normal dialogue paused. Although it was performed in 1816 and this type of work didn’t start occurring until around 1820, it was really a frontman in leading the way for these types of outlandish performances. The amount of vocal ability one needed in order to perform these songs was just the beginning of an entire era of singers who were able to find their voice on stage. Also, it was typical because it was among the first to attract the middle class in droves to the theater. Although Barbiere di Siviglia (1782) had already been popularized by Paisiello, Rossini’s version had a comedic nature which was highly appealing to the middle class audience.\r\n\r\nThis comical and satirical style of operas is known as<i> opera buffa</i>. Since this style was not yet popularized the first night it did horribly, this could have also been due to the fact that Paisiello’s fans went to the theater it’s opening night and booed during the entirety of the performance (Glimmerglass). The second night and every successive performance following it did increasingly well. This was the kick starter for many other opera buffa to take place. The audience gobbled up the humor and dramatic, frantic performance displayed, they loved the humor. This was unusual for the opera was a place for the wealthy, starting with The Barber of Seville it seems the floodgates for the middle class opened up and they became the predominate class for the audience.\r\n\r\nAs state previously, this opera on it’s first night did horribly. The actors stuttered through their performance, and although they finished, it was not a pretty sight. Many expected the play would not be performed again. This poor opening is believed to have been caused by fans of Paisiello’s fans, who actually organized the disruption. However, the middle class that saw the play loved it. They really like the upbeat non-stop tempo of the story. Even the songs that burst seemingly from no where kept the audiences attention. The plot of the opera fed into the new Romantic era that was just being introduced as a consistent theme, it was the hero that all were rooting for.\r\n\r\nAccording to Fisher “today it is generally considered the greatest comic masterpiece in the entire operatic canon” (Fisher). It is amazing that two hundreed years later it still remains popular and is still performed by so many around the world. As Fisher says “words evoke thought, but music provokes feelings”, which is a truth that still stands today. Any performance that is accompanied by music is so enhanced to make us feel as though we are riding as a part of the story. In an article written by Christopher Monk just this year praises a performance of The Barber, admiring how it “it’s still as fresh, sparkling and downright hilarious” it is (Monk). The fact that The Barber is still so popular speaks volumes to how well Rossini composed such a thrilling story.\r\n\r\nPersonally I find the play to be a spectacular work. I think it is different than many of the romantic comedies we have all become accustomed to. Although it is love at first sight for Almaviva, leading him into many odd circumstances preventing him from confessing his love, it is so much more than that. The amount of talent those that not only performed the parts, but the vocal strength they needed to make the opera convincing is outstanding. This is not just a play that can be entertaining for young kids, but people of all ages can find the humor in the play at the same time enthralled by the talent of those performing.\r\n\r\nDuring around the same Romantic time ballets also gained popularity. As a comparison to “The Barber of Seville” I will use “Sleeping Beauty”. The Barber of Seville is an opera and Sleeping Beauty is a play. The main character of The Barber is a man and his desire to express his love so the woman of his dreams would marry him. The main character of Sleeping Beauty is a woman who is being pursued by the hero of the story. The Barber is a comedy which has a happy ending, based on the Romantic idea of love fulfilled. Sleeping Beauty is more of a tragedy with Beauty dying before love is exchanged, this points toward the Romantic idea of unrequited love. Both are intriguing and well written plots with exceptional talent needed to truly show off the talent of their writers. (Fiero).\r\n\r\nFuture generations should be aware that this was truly the mark of the beginning of an era of comedy in general. If it were not for this play taking something that was a serious piece and transforming it into the ever popular work it is today, we may never had come into the type of comedy we are used to today. The satirical and comedic driving force of our current times can thank The Barber of Seville for leading the way. This should certainly be preserved because it is not only a wonderful form of entertainment, but it carries historical value along with it.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. “The Humanistic Tradition.” McGraw Hill. 6th edition. 2013. Web. 24 Oct, 2013.\r\n\r\nThis is the text book used for class. I used this for comparison of a different type of work of the time The Barber was written. I also used it for historical context.\r\n\r\nFisher, Burton D. “Rossini’s The Barber of Seville.” <i>eBook Collection (EBSCOhost)</i>. 2002. Web. Oct 23 2013.\r\n\r\nThis is an eBook that had the play within it, but also had an insightful prelude and commentary about the play. I used this to write on the current as well as past popularity of the play.\r\n\r\n&nbsp;\r\n\r\n“Giovanni Paisiello (Italian composer)”. <i>Encyclopaedia Britannica</i>. Encyclopaedia Britannica, Inc.  2013. Web. Oct 22, 2013.\r\n\r\nThis is a short article about the life of Paisiello. I used this to find out where The Barber of Seville first gained popularity as well as how this affected Paisiello.\r\n\r\n&nbsp;\r\n\r\nGlimmerglass Opera. “Rossini’s ‘The Barber of Seville’.” <i>NPRMusic</i>. NPR. 15 Aug 2008. Web. 23 Oct 2013.\r\n\r\nThis is an article that gives a summary and a brief history of the opera. This was probably one of the more beneficial articles, that I used to write my own summary and understand the background of the opera.\r\n\r\n&nbsp;\r\n\r\nMonk, Christopher. “The Barber of Seville.” <i>Musical Opinion</i>. English National Opera. 1 May 2013. Web. 24 Oct, 2013.\r\n\r\nThis was a review for a recent performance of the opera. I used it to provide evidence of the popularity of the play even today.\r\n\r\n</div>\r\n</div>','The Barber of Seville','','inherit','open','open','','3550-revision-v1','','','2013-11-04 12:53:14','2013-11-04 18:53:14','',3550,'http://jeanatacc.com/2011/?p=3555',0,'revision','',0),(3558,79,'2013-11-04 12:57:26','2013-11-04 18:57:26','<p align=\"right\">Jordan Pinion</p>\r\n<p align=\"right\">10/14/2013</p>\r\n<p align=\"right\">HUMA 1302-007</p>\r\n<p align=\"right\">TCP3D</p>\r\n<p align=\"right\"></p>\r\n<p align=\"center\"> <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Faust.jpg\"><img class=\"alignnone size-medium wp-image-3554\" alt=\"Faust\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Faust-226x300.jpg\" width=\"226\" height=\"300\" /></a></p>\r\n<p align=\"center\">Goethe\'s <i>Faust</i></p>\r\n<p align=\"center\"><a href=\"http://upload.wikimedia.org/wikipedia/commons/e/e6/Faust_und_Mephisto%2C_Stich_von_Tony_Johannot.jpg\"><i>http://upload.wikimedia.org/wikipedia/commons/e/e6/Faust_und_Mephisto%2C_Stich_von_Tony_Johannot.jpg</i></a></p>\r\n<p align=\"center\"><i> </i><i> </i></p>\r\nName: <i>Faust</i>\r\n\r\nAuthor: Johann Wolfgang von Goethe\r\n\r\nDate: Published 1808(Part 1)\r\n\r\nFinished  1832\r\n\r\n“The story of Faust is based on a sixteenth-century German Legend: a traveling physician and a practitioner of black magic, Johann or Georg Faust, was reputed to have sold his soul to the Devil in exchange for infinite knowledge” (Fiero). Goethe\'s <i>Faust </i>is a classic tale of a mans faith being tested in the face of great temptation, not unlike the tale of Job from the Bible. At least that is how is appears on the surface. Others would glean that <i>Faust</i> is about a man who outsmarts the devil in his dealings, and is still granted redemption. Goethe\'s <i>Faust</i> should be preserved not only for its caliber as a play, but for its timeless message of salvation in the face of temptation, and for its recognition of innate human good.\r\n\r\n<!--more-->\r\n\r\nEurope (and much of the Western World) at the time was beginning to appreciate the human condition, romanticizing both traditional and non traditional heroes. In addition to this, Nationalism began to really take hold, paving the way for larger than life heroes.\r\n\r\n“Working to fulfill their own personal vision, Romantic poets, painters, and composers freed themselves from independence on the patronage of the Church and state. At the same time, they defended the ideals of liberty and brotherhood associated with emerging nationalism. They opposed entrenched systems of slavery and institutional limitations to personal freedom. The nineteenth century did not produce more heroes than other centuries, but it celebrated the heroic personality as representative of the Romantic sensibility” (Fiero)\r\n\r\nThis piece is typical of its time in reference to its religious connotations. Around the same time, in other places in the world, people are dealing with the religious implications of magic and witchcraft. Across the Atlantic, and even closer to home in Europe, thousands are being put to death for practicing witchcraft. That aside, Faust is unique in that it presents a Hero going against the norm in order to accomplish something good and wholesome, albeit, rather accidentally.\r\n\r\n<i>Faust </i>retells a fairly standard religious parable in a way that skews the traditional religious connotations. Not only does the main character make a deal with the devil, but he personally gains throughout most of the piece. It is only towards the end where he last minute selfless acts, followed by an untimely demise enable him to enter heaven without first losing his bargained soul to a demon. This lines up quite well with the climate of religious separation that most of Europe is facing at the time.\r\n\r\nGoethe\'s <i>Faust </i>is unusual both in its construction and in its machinations. <i>Faust</i> is really laid out more like an epic poem, and less like a play. Stranger still is the fact that its speed and timing seem better suited to the big screen than it is to the stage. “As a play, it deliberately ignores the Classical unities of time and place – indeed, its shifting \'cinematic\' qualities make it more adaptable to modern film than to traditional stage. Despite a cosmic breadth, which compares with Milton\'s <i>Paradise Lost </i>or <i>Dante\'s Divind Comedy</i>, Goethe\'s <i>Faust </i>focuses more narrowly on the human condition.” (Fiero)\r\n\r\nFaust was very well received in its time, and in fact the genre itself was very much celebrated in Germany. Goethe\'s <i>Faust</i> was merely his rendition of a German folklore, and as such was well received. Today\'s reaction to Goethe\'s <i>Faust</i> is very positive. It has wiggled its way into modern day pop culture, having many media offshoots that can attribute their inspiration to the original by Goethe. It has even become common enough in english to refer to any deal with the devil as a “Faustian” contract or deal.\r\n\r\nPersonally, I absolutely love this piece. It deals with darker concepts than we have seen thus far, but still manages to make a hero out of Faust. It parallels the book of Job from the bible particularly well. Really, what was most impressive for me, was being able to follow this man down his dark, treacherous path, and walk out the other side still convinced that good shall conquer over evil... however accidentally it may seem.\r\n\r\nBeing based off of a well known local fable, there were already many renditions this story in circulation well before Goethe took an attempt, in fact one of which may have influenced Goethe. It goes without saying then, that at this moment in time in Germany, there were many stories dealing with this exact concept of dealing with demons.\r\n\r\nWhen compared to the likes of Mary Shelley\'s <i>Frankenstein</i> we can see that both main characters can be classified as “figures of heroic evil” (Fiero). I draw this    comparison because it can be argued that Faust is no hero, as he merely got away with      his dealings with the devil, the fact of which that he was dealing with the devil in the first place in most circles would classify him as immediately evil. There is where the similarities cease. While <i>Frankenstein </i>seems to parallel the story of Satan\'s downfall, <i>Faust</i> seems to more closely resemble the ensuing war between heaven and hell, over         the souls of all mankind.\r\n\r\n<i>Faust </i>should be preserved for future generations not just for its literary achievements, or even for its religious imagery or connotations, but for celebrating the human condition. What I mean by this is that <i>Faust</i> is unique in that it represents man exactly as man is, misguided and ignorant, but well meaning. Ultimately, good intentions trump bad decisions. Of course, not everyone gets a “get out of jail free card” when dealing with demons, but that is why <i>Faust </i>is considered the quintessential Romantic hero. I believe it is important for us, and for generations to come to        remember that, while only human, given the right opportunities we can accomplish  great things.\r\n\r\n&nbsp;\r\n\r\nCitations\r\n\r\n<i>“Faust” Encyclopedia Britannica Online. </i>Encyclopedia\r\n\r\nEncyclopedia Britannica Inc. 2013\r\n\r\nWeb. 24 October 2013\r\n\r\n&nbsp;\r\n\r\n“Paul Brians” Department of English, Washington State University\r\n\r\nPullman, 99164-5020 June 14, 1995\r\n\r\nLast revised September 28, 2000\r\n\r\n&nbsp;\r\n\r\n“Goethe\'s Baccalaureus and the concept of romantic irony in Faust” Essay, Journal\r\n\r\nShookman, Ellis European Romantic Review, Routledge Sep 2009\r\n\r\nVol. 20 Issue 4, p491-511','Goethe\'s Faust','','inherit','open','open','','3552-revision-v1','','','2013-11-04 12:57:26','2013-11-04 18:57:26','',3552,'http://jeanatacc.com/2011/?p=3558',0,'revision','',0),(3556,86,'2013-11-04 12:54:21','2013-11-04 18:54:21','<p style=\"text-align: center\">V’nai Vazquez</p>\r\n<p style=\"text-align: center\">The Barber of Seville</p>\r\n<p style=\"text-align: center\">Gioachino Antonio Rossini</p>\r\n<p style=\"text-align: center\">February 20, 1816</p>\r\n[youtube]<a href=\"http://www.youtube.com/watch?v=z8K0xQOMHuU\">http://www.youtube.com/watch?v=z8K0xQOMHuU</a>[/youtube]\r\n\r\nThis performance of the play was done in 2010  the Teatro Argentina, Rome, although this video is not cited in the following paper it is more for your enjoyment or to satisfy your curiosity.\r\n\r\nBarber of Seville is an operatic comedy I hope you come to adore it as much as I did while writing this paper. Not only did the writer take a dramatic and at times sad play and turn it into loud over the top comedy, he did it so well it is today even more popular than the original. It is still played across the country on the big and small stage. If anyone is able to write something that is popular for hundreds of years that speaks not only to the talent but to the work as a whole. Barber of Seville by Gioachino Antonio Rossini ought to be preserved because it was the first ever operatic comedy and it paved the way for the future of humor on stage in this form.<!--more-->\r\n<div> It  “was based on a famous play by Beaumarchais and.. Paisiello [who] had already made a successful opera from the story” (Glimmerglass). The story is about Count Almaviva who fell in love with Rosina. He wanted her to love him for his personality and not all his wealth, so he disguised himself as a poor student. Rosina is supposed to marry a Doctor Bartolo, who’s house  she is currently living. Almaviva comes up with a few schemes to attempt to enter Bartolo’s house, because he thinks the only way he can get Rosina to fall in love with him too is by talking with her. Eventually one of his ploys work with the help of Figaro, who is Bartolo’s barber, he gets to talk to Almaviva and they decide to elope. A number of other antics occur in a frantic procession, with much confusion for all parties. Eventually Bartolo, even though he is not sure what is going on, decides to fetch the policy to arrest Almaviva, but by they time he arrives with them in tow Almaviva and Rosina are already married. He blesses them and wishes them a good wedding (Glimmerglass).</div>\r\n<div>\r\n<div>\r\n\r\nAt the time Barber of Seville was written was during the Romantic era, the hero and the heroine were the center of many art pieces and musical pieces, those pieces also played off of emotion as the driving forces of their subjects. During this era Romantics embraced the creative side of a person, especially those that were the hero of the story. The hero was typically one that stood up against the norm, who had ideas of ways to better society and challenge what has always been. The Romantic era didn’t actually have more heroes than had been before, but there were much more celebrated than ever. Obviously the hero must have someone to love, someone to fight for. Love was the base countless art forms of the time. Individuality was also celebrated as a factor of love. The artists of the time chose to separate themselves from the church , but also defend liberty, they believed in personal freedom and freedom from the institution.\r\n\r\nOpera brought together many types of art forms (the bright colors of the costume was somewhat like painting using specific colors to display a character type, the instrumental part of music, as well as the acting and dance). In Germany, Wagner, who was a composer, helped to break the wall between music and theater. Instead of separating these two elements he used the music to enhance the story and bring the audience further into the story. Barber of Seville was a Baroque style of theater, around the time it was performed it was aimed at the middle class folk, as were much of the other operas of the time. Romantic opera was quite a spectacle, bright colors, overly dramatic acting and flourished costumes. Singing was becoming an art form, a style of entertainment, not just worship confined to the church. Those that performed in the opera’s had to have a true talent and ability to be able to sing the “long, winding melodic lines” (Fiero).\r\n\r\nThe Barber of Seville was typical of it’s era because it was all about the “hero” finding and fighting for true love. Almaviva finds Rosina and he comes up with idea after idea of how he can reach Rosina to tell him how he feels. Almaviva fights through many road blocks because his only goal is to marry her. The music and lyrics of this opera all aligned so perfectly with what was about to explode in other works of it’s time. The music assisted the story’s progression and the lyrics told the story where the normal dialogue paused. Although it was performed in 1816 and this type of work didn’t start occurring until around 1820, it was really a frontman in leading the way for these types of outlandish performances. The amount of vocal ability one needed in order to perform these songs was just the beginning of an entire era of singers who were able to find their voice on stage. Also, it was typical because it was among the first to attract the middle class in droves to the theater. Although Barbiere di Siviglia (1782) had already been popularized by Paisiello, Rossini’s version had a comedic nature which was highly appealing to the middle class audience.\r\n\r\nThis comical and satirical style of operas is known as<i> opera buffa</i>. Since this style was not yet popularized the first night it did horribly, this could have also been due to the fact that Paisiello’s fans went to the theater it’s opening night and booed during the entirety of the performance (Glimmerglass). The second night and every successive performance following it did increasingly well. This was the kick starter for many other opera buffa to take place. The audience gobbled up the humor and dramatic, frantic performance displayed, they loved the humor. This was unusual for the opera was a place for the wealthy, starting with The Barber of Seville it seems the floodgates for the middle class opened up and they became the predominate class for the audience.\r\n\r\nAs state previously, this opera on it’s first night did horribly. The actors stuttered through their performance, and although they finished, it was not a pretty sight. Many expected the play would not be performed again. This poor opening is believed to have been caused by fans of Paisiello’s fans, who actually organized the disruption. However, the middle class that saw the play loved it. They really like the upbeat non-stop tempo of the story. Even the songs that burst seemingly from no where kept the audiences attention. The plot of the opera fed into the new Romantic era that was just being introduced as a consistent theme, it was the hero that all were rooting for.\r\n\r\nAccording to Fisher “today it is generally considered the greatest comic masterpiece in the entire operatic canon” (Fisher). It is amazing that two hundreed years later it still remains popular and is still performed by so many around the world. As Fisher says “words evoke thought, but music provokes feelings”, which is a truth that still stands today. Any performance that is accompanied by music is so enhanced to make us feel as though we are riding as a part of the story. In an article written by Christopher Monk just this year praises a performance of The Barber, admiring how it “it’s still as fresh, sparkling and downright hilarious” it is (Monk). The fact that The Barber is still so popular speaks volumes to how well Rossini composed such a thrilling story.\r\n\r\nPersonally I find the play to be a spectacular work. I think it is different than many of the romantic comedies we have all become accustomed to. Although it is love at first sight for Almaviva, leading him into many odd circumstances preventing him from confessing his love, it is so much more than that. The amount of talent those that not only performed the parts, but the vocal strength they needed to make the opera convincing is outstanding. This is not just a play that can be entertaining for young kids, but people of all ages can find the humor in the play at the same time enthralled by the talent of those performing.\r\n\r\nDuring around the same Romantic time ballets also gained popularity. As a comparison to “The Barber of Seville” I will use “Sleeping Beauty”. The Barber of Seville is an opera and Sleeping Beauty is a play. The main character of The Barber is a man and his desire to express his love so the woman of his dreams would marry him. The main character of Sleeping Beauty is a woman who is being pursued by the hero of the story. The Barber is a comedy which has a happy ending, based on the Romantic idea of love fulfilled. Sleeping Beauty is more of a tragedy with Beauty dying before love is exchanged, this points toward the Romantic idea of unrequited love. Both are intriguing and well written plots with exceptional talent needed to truly show off the talent of their writers. (Fiero).\r\n\r\nFuture generations should be aware that this was truly the mark of the beginning of an era of comedy in general. If it were not for this play taking something that was a serious piece and transforming it into the ever popular work it is today, we may never had come into the type of comedy we are used to today. The satirical and comedic driving force of our current times can thank The Barber of Seville for leading the way. This should certainly be preserved because it is not only a wonderful form of entertainment, but it carries historical value along with it.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. “The Humanistic Tradition.” McGraw Hill. 6th edition. 2013. Web. 24 Oct, 2013.\r\n\r\nThis is the text book used for class. I used this for comparison of a different type of work of the time The Barber was written. I also used it for historical context.\r\n\r\nFisher, Burton D. “Rossini’s The Barber of Seville.” <i>eBook Collection (EBSCOhost)</i>. 2002. Web. Oct 23 2013.\r\n\r\nThis is an eBook that had the play within it, but also had an insightful prelude and commentary about the play. I used this to write on the current as well as past popularity of the play.\r\n\r\n&nbsp;\r\n\r\n“Giovanni Paisiello (Italian composer)”. <i>Encyclopaedia Britannica</i>. Encyclopaedia Britannica, Inc.  2013. Web. Oct 22, 2013.\r\n\r\nThis is a short article about the life of Paisiello. I used this to find out where The Barber of Seville first gained popularity as well as how this affected Paisiello.\r\n\r\n&nbsp;\r\n\r\nGlimmerglass Opera. “Rossini’s ‘The Barber of Seville’.” <i>NPRMusic</i>. NPR. 15 Aug 2008. Web. 23 Oct 2013.\r\n\r\nThis is an article that gives a summary and a brief history of the opera. This was probably one of the more beneficial articles, that I used to write my own summary and understand the background of the opera.\r\n\r\n&nbsp;\r\n\r\nMonk, Christopher. “The Barber of Seville.” <i>Musical Opinion</i>. English National Opera. 1 May 2013. Web. 24 Oct, 2013.\r\n\r\nThis was a review for a recent performance of the opera. I used it to provide evidence of the popularity of the play even today.\r\n\r\n</div>\r\n</div>','The Barber of Seville','','inherit','open','open','','3550-revision-v1','','','2013-11-04 12:54:21','2013-11-04 18:54:21','',3550,'http://jeanatacc.com/2011/?p=3556',0,'revision','',0),(3557,81,'2013-11-04 12:54:31','2013-11-04 18:54:31','','puccini-1-sized','','inherit','open','open','','puccini-1-sized','','','2013-11-04 12:54:31','2013-11-04 18:54:31','',3551,'http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized.jpg',0,'attachment','image/jpeg',0),(3554,79,'2013-11-04 12:52:32','2013-11-04 18:52:32','','Faust','','inherit','open','open','','faust','','','2013-11-04 12:52:32','2013-11-04 18:52:32','',3552,'http://jeanatacc.com/2011/wp-content/uploads/2013/11/Faust.jpg',0,'attachment','image/jpeg',0),(3559,83,'2013-11-04 13:07:10','2013-11-04 19:07:10','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/?attachment_id=3563\" rel=\"attachment wp-att-3563\"><img class=\"aligncenter size-full wp-image-3563\" alt=\"Lumiere Factory\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Lumiere.jpg\" width=\"254\" height=\"200\" /></a>http://upload.wikimedia.org/wikipedia/en/0/05/SortiedesOuvriersdel1895-01.jpg</p>\r\n“Break at the Lumiere Factory” is a short black and white film created by the Lumiere brothers in 1895. The Lumiere brothers worked at the factory and “were inspired by Edison\'s work that they created their own combo movie camera and projector.” (Tim Dirks) The film shows workers coming out of the factory during their lunch break in France. This short film is said to be the start of early Cinema.\r\n\r\n<!--more-->\r\nIn this time period there was the Panic and depressions going on all over the world, workers were going on strike for better wages. Felix Faure was the president during this time and “metropolitan France was the third most populous country of Europe, behind Russia and Germany.” (Wikipedia) The Lumiere brothers were inspired by Edison’s work but wanted to improve it, they had both been sent to technical school by their father who owned a factory of his own. According to the article, An introduction to Early Cinema, when the brothers came back “He (father) presented his son Louis with a piece of Kinetoscope film, given to him by one of Edison’s concessionaires and said, \"This is what you have to make, because Edison sells this at crazy prices and the concessionaires are trying to make films here in France to have them cheaper\". The brothers worked on improving this and eventually made it smaller in size and lighter in weight.<br><br>\r\nAlthough it is argued that this was not the first film created, it was definitely the most popular. There was not any type of film going on at this time and people did not have the technology and entertainment we have today, and working those long boring hours you can imagine how happy workers were to be out for break!<br><br>\r\nAccording to the History of Film, the first public run was done in the brothers’ basement to a scientific conference and it was said to have caused a sensation. The people loved this new form of entertainment! The very first movie theatre was built and tickets were sold to see an assortment of short films they made. In an article titled, “The Lumiere Brothers Films-History, “Their film sequence of a train pulling into the station reportedly had audiences screaming and ducking for cover as they believed that the train itself was about to plow into the theater” That just shows how new this was to the people, but they still came back for more! “The Lumière Brothers were quick to patent the Cinematograph outside of their native France, applying for an English Patent on April 18th 1895.” (An Intro to Early Cinema) This was the start of Cinema.<br><br>\r\n“Ironically as we look back in retrospect in comparison to what film has developed into today, the Lumiere Brothers believed it to be a medium without a future” (The Lumiere Brothers Films) however that is definitely not the case as we all know. In schools all around the world, students are learning about this great work and how is has impacted our lives. I have found recent video versions on YouTube being posted just within the past year.<br><br>\r\nAfter watching the short film and researching the work, I was impressed at how these brothers created something like this and how greatly it has impacted so much of our lives today. Personally I gained an appreciation for film and how it came about. I liked seeing the way men women dressed, how they interacted with each other. I think it’s awesome to be able to look back and have a real insight to life and people back then as opposed to actors, and props, and costumes.<br><br>\r\nIf you wanted to see something similar to this type of work, you can take a look at Georges Melies, who was known as the first “Cinemagician” his earliest films were remakes of the Lumiere brothers but later he went on to create his own. The most popular in my opinion is “Cendrillon” aka Cinderella in 1899. This film was black and white like that of its time but it told a story. He got the idea from the play Cinderella but was the first to make it into a short film. This was different from “Break at the Factory” because it was the first short film with scenes.<br><br>\r\nThis short film is most important because it is the first official first film and was the start of our cinema that we still use today. This should definitely be preserved for years to come so that no matter how far along in technology we get, we can always look back at life in the 1900’s and appreciate these great works of our forefathers.\r\n\r\nWork Cited\r\n\r\nThe History of Film written by Tim Dirks. Film History before 1920 Part 2\r\n\r\nGeorges Méliès Trick Films 1899, by Scott Ashlin\r\n\r\n\"Lumière, Louis Jean and Auguste.\" World Encyclopedia. 2005.Encyclopedia.com. 29 Oct.2013 .\r\n\r\nhttp://www.filmsite.org/pre20sintro2.html\r\n\r\nhttp://www.earlycinema.com/pioneers/lumiere_bio.html\r\n\r\n“Lumiere Brothers Films- History” 11/25/2013 http://www.alchemists.com/visual_alchemy/lumiere.html\r\n\r\nhttp://en.wikipedia.org/wiki/F%C3%A9lix_Faur%C3%A9','\"Break at the Lumiere Factory\"','','publish','open','open','','break-at-the-lumiere-factory','','','2013-11-30 19:41:25','2013-12-01 01:41:25','',0,'http://jeanatacc.com/2011/?p=3559',0,'post','',11),(3560,75,'2013-11-04 13:02:02','0000-00-00 00:00:00','','The Home of a Rebel Sharpshooter','','draft','open','open','','','','','2013-11-04 13:02:02','2013-11-04 19:02:02','',0,'http://jeanatacc.com/2011/?p=3560',0,'post','',0),(3562,81,'2013-11-04 13:03:19','2013-11-04 19:03:19','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized.jpg\"><img class=\"alignnone size-medium wp-image-3557\" alt=\"puccini-1-sized\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized-214x300.jpg\" width=\"214\" height=\"300\" /></a></em></strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">http://www.nndb.com/people/265/000087004/puccini-1-sized.jpg</p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em>\"Madama Butterfly\"</em> by Giacomo Puccini</strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">This opera is based on the story by John Luther Long and the play by David Belasco.<span>  </span>The opera itself was written by Giacomo Puccini (1858-1924). Taking place in the early 20th century, Benjamin Franklin Pinkerton comes to Nagasaki for his prearranged marriage to Cio-Cio-San (Madame Butterfly) who is 15 years of age.<span>  </span>She is a geisha forced into the life by the loss of her family’s wealth.<span>  </span>Despite marrying Butterfly, Pinkerton is set to marry an American woman.<span>  </span>Butterfly is denounced for her “rejection” of her natural heritage.<span>  </span>Pinkerton leaves Nagasaki for three years and leaves behind Butterfly and their three year old son, Sorrow.<span>  </span>Butterfly is afraid he will never return, but he does and brings his American wife-Kate-along with him.<span>  </span>They talk Butterfly into letting them take Sorrow back with them.<span>  </span>Upon their departure, Butterfly is overcome with grief and sadness and commits suicide.<span>  </span>(</span><a href=\"http://www.columbia.edu/.....synopsis.html\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.columbia.edu/.....synopsis.html</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">)<span>  </span>Giacomo Puccini created in Madama Butterfly a work worthy of preservation because of his ability to express the importance of both the music and the story with his original musical elements, his ability to integrate real-life need for cultural assimilation into his work, and his general operatic intelligence.<!--more--></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span> </span><span>           </span>This opera is a great example of the transition into the modern era.<span>  </span>With its tragic love story with a sense of underlying betrayal, it is a piece that is easily relatable.<span>  </span>Also, there is a sense of truth behind this play.<span>  </span>This was actually a semi-common occurrence at this time.<span>  </span>Despite the complete and utter chaos at the time of its first production due to patrons finding it to be much like his previous works, it received good reviews.<span>  </span>Madama Butterfly is a classic and relatable story that allows for readers/viewers of all ages and backgrounds to learn and experience.<span>  </span>The music of Puccini’s operas comes from the words of the story.<span>  </span>Puccini’s works stemmed from his life.<span>  </span>Not only does the preservation of this work allow for future generations to learn and appreciate the music and its development but also to further learn and appreciate the life of Giacomo Puccini-one of the greatest composers of his time.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of Puccini’s birth, Italy was in the midst of a rash of rampant revolution and attempted reform.<span>  </span>Constitutions were being created by Italian republics in1848.<span>  </span>Eventually, revolutions would lead to the transfer of powers across many regions between 1849 and 1859.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of the conception of Madama Butterfly, Italy was in a time of turmoil.<span>  </span>The leaders of the country spent years trying to join the super powers of the world only to be met with resistance and a lack of finances.<span>  </span>Giovanni Giolitti was into his second term as Prime Minister.<span>  </span>The country was already in bad shape before Giolitti took his second term.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The Italian colonies arising outside of the country as well as the eventual Italian involvement in World War I, also contributed to financial instability.<span>  </span>Corruption, starvation, and illiteracy were all rampant problems across the country.<span>  </span>Organized crime and rebellion were also rising.<span>  </span>Italians were flocking to America by the thousands in an effort to escape their steadily declining country.</span></p>\r\n\r\n<div style=\"border: none;border-bottom: solid windowtext 1.0pt;padding: 0in 0in 1.0pt 0in\">\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;border: none;padding: 0in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There was also an uprising of political nationalism in countries throughout the periphery of European countries.<span>  </span>(www.britannica.com) The changes of socio-economic and political airs surrounding the time of WWI changed to views of all classes. </span></p>\r\n\r\n</div>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">A common style of the time was that of bel canto “beautiful singing”.<span>  </span>It became more refined as plots and music became more sophisticated and refined (www.educationscotland.gov.uk).<span>  </span>It was a type of Italian court singing which originated in the performance of polyphonic music in the 16th century.<span>  </span>Bel canto was based on the very precise control of the intensity of vocal tone.<span>  </span>A demand for vocal agility and a clear articulation of notes as well as well-performed enunciation of words was part of this style.<span>  </span>(www.britannica.com)<span>  </span>This particular style would eventually evolve into what would become the operas of the 17th to 19th centuries.<span>  </span>Use of the style eventually dropped out at the turn of the 20th century as operas and performances called more for heavier and more dramatic singing.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">It gave precedence to melodic, rhythmic energies.<span>  </span>In the late 19th and early 20th centuries, American composers such as Arnold Schoenberg began to break away from the concept of using key using “all notes freely without relating them to the system of functional harmony.” (www.britannica.com)<span>  </span>)<span>  </span>For instance, Schoenberg’s Suite for Piano was the first of his influential works that started this evolutionary change in music.<span>  </span>Schoenberg’s other works like Violin Concerto and A Survivor from Warsaw signaled the change and transition to what would eventually become Western music.<span>  </span>(www.allmusic.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly is of deeper more serious tones even in the times when one would expect more of a jovial air.<span>  </span>The images of the opera and the words and the music are all undeniably tied together.<span>  </span>The drama surrounding the story of Butterfly and Pinkerton could not be told without the story created by Giacomo Puccini.<span>  </span>Puccini created a common theme within all of his works, that of “He who has lived for love, has died for love.” (www.britannica.com)<span>  </span>Many of the heroines within his works would eventually fall prey to their own devotions to their lovers.<span>  </span>This idea is quite prominent within Madama Butterfly.<span>  </span>The Puccini style of opera held a strong “emotional appeal but also the restricted scope” of his style.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Puccini was able to apply his own experiences to his characters and vice versa, he was able to channel his characters through himself.<span>  </span>Puccini was an intelligent opera creator who was well aware that an opera’s success is not based solely on its actions.<span>  </span>The lyrics and moments of contemplation are equally important.<span>  </span>He created original musical elements and melodies for these moments.<span>  </span>Death arias and rising moments of passion and radiance were created specifically for these times.<span>  </span>(www.britannica.com)<span>  </span>Puccini held an understanding for the melodies common to 19th century Italian opera but was simultaneously able to channel the likes of Stravinsky.<span>  </span>Puccini’s early works such as La Bohemme showed his capabilities early on.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">These characteristics can be seen in Madama Butterfly.<span>  </span>For instance, Puccini ran off with his married lover and engaged in an illegal union which produced a child.<span>  </span>It wasn’t until the death of her husband in 1904 – the year of the first performance – that they were able to legally marry.<span>  </span>While Butterfly and Pinkerton were not part of an illicit affair, Pinkerton did leave her to return to America for another woman.<span>  </span>In the end, Butterfly killed herself.<span>  </span>The dramatic relationship within the music and story is comparable to that of Puccini’s own life.<span>  </span>Throughout the opera, while the music itself wasn’t exactly complex, there were rises and falls and tone changes and musical passion which enabled a better telling in the story.<span>  </span>For the most part, the music betrayed little emotion.<span>  </span>It was these creations of Puccini’s that changed the opera entirely.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially, the citizens of the time had a fairly indifferent view.<span>  </span>Not many were very excited about the piece.<span>  </span>Many felt that it was too much like his previous works to warrant any significant amount of excitement.<span>  </span>During the original performance individuals were placed throughout the theater to insert outdoor noises into the performance.<span>  </span>However, it created such chaos that the initial reception was not all that grand.<span>  </span>(www.musicweb.ecsd.edu) With the “replay” came a much better reception.<span>  </span>There was considerable speculation that there was a conspiracy behind the entire fiasco.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Prior to the performance many members of the press held a bitter attitude toward Puccini and the opera itself.<span>  </span>Performers were forced to learn their parts a few pages at a time due largely to the release being so close to his previous piece.<span>  </span>The publisher required high degrees of secrecy.<span>  </span>The performers were not allowed to take their music/parts from the theater.<span>  </span>Not only was the publisher afraid of them being lost, but he was also convinced it would increase the level of suspense from the spectators.<span>  </span>(www.columbia.edu)<span>  </span>It was this “high-handed” aura.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The chaos of the premier wasn’t entirely at the fault of the strategically placed performers in the audience.<span>  </span>The close resemblance to La Bohemme seemed to irritate many of the critics and audience.<span>  </span>This seemed to only enhance to growing fiasco.<span>  </span>This fiasco seemed to be a surprise to people despite this.<span>  </span>Scholars<span>  </span>seemed to find structural issues with the opera such as the length of the acts.<span>  </span>It is also felt that the negative air generated by the Japanese-Russian conflict could have influenced the general reception among the public.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly<span>  </span>is much better received in today’s society.<span>  </span>This can be seen in the fact that it is performed over and over again both in the States as well as abroad, especially in Italy.<span>     </span>Over the course of time, the sting of the fiasco of the premier has had a chance to dwindle.<span>  </span>Structurally speaking, there is still<span>  </span>question over the length of the acts but this has been much better received with the passage of time.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Still today there are countless performances.<span>  </span>For example, the LA Opera, the Metropolitan Opera, and the Seattle Opera are just a few that perform in the United States.<span>  </span>It is also performed in countless other theaters across the world such as the Sferisterio Opera at the Sferisterio Opera Festival in Italy.<span>  </span>There are also museum displays around the world that either did or do exist that have some connection to Puccini and his work.<span>  </span>For example, the Morgan Library &amp; Museum in New York, New York held a display of the original manuscripts in commemoration of the 150th anniversary of Giacomo Puccini’s death. (www.themorgan.org) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially,<span>  </span>I was not at all what one would term thrilled.<span>  </span>I knew little to nothing about the work itself outside of a few snippits of video I had seen in music classes over the years.<span>  </span>Upon choosing this topic for my TCP, I looked over a few different copies of a synopsis summarizing the opera in an order to actually learn what this was about.<span>  </span>Then I watched Madama Butterfly in its entirety.<span>  </span>I must say that I now hold a considerably different view.<span>  </span>This is one amazing piece of theatrical excellence.<span>  </span>The story emphasizes this dramatic love story full of emotion and turmoil.<span>  </span>There is also Butterfly’s struggle to change her life and herself only to be jilted by Pinkerton.<span>  </span>Quite honestly, I thought the man to be a coward and a spineless weasel.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">From a structural standpoint, I am no operatic genius the likes of Puccini.<span>  </span>However, I do agree with the scholarly standpoint that the acts were a bit lengthy.<span>  </span>Had I not done previous research to better understand the actual plot line, I would not have been able to sit through the entire two hour performance.<span>  </span>At the end,<span>  </span>I am glad to have put the time and effort into this.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When compared to Igor Stravinsky’s Song of the Nightingale both similarities and differences are noticeable.<span>  </span>There is the obvious content similarity of the Asian basis.<span>  </span>Nightingale is Chinese and Butterfly is Japanese, but the Asian<span>  </span>basis is there.<span>  </span>With regard to content, the story/plot line is different.<span>  </span>Butterfly is/was more of a love story turned drama while Nightingale is about the Chinese emperor’s fixation or enchantment with the song of the nightingale and the power of the nightingale’s song.<span>  </span>(www.classicalarchives.com)</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When addressing the opera itself, again there are similarities and differences.<span>  </span>For example, the intensity of Nightingale’s<span>  </span>music seems to carry throughout the work.<span>  </span>Some places are lighter than others and some are heavier than others, but for the majority, the intensity seems to follow through fairly consistently.<span>  </span>With the music of Butterfly, there are more rises and falls.<span>  </span>There are more places in which the change in mood is more obvious within Butterfly.<span>  </span>Nightingale is supposed to be about the power of the nightingale and its music.<span>  </span>There also seems to be much less singing within Nightingale (youtube.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There is also the obvious difference in length.<span>  </span>Madama Butterfly is three acts of considerable length.<span>  </span>The opera in its entirety is approximately two hours long, over twice what was common at the time.<span>  </span>However, Stravinsky’s Song of the Nightingale is only two much shorter acts totalling to approximately 45 minutes in length.<span>  </span>Some have gone so far as to say Nightingale is more like being<span>  </span>“three scenes in a single act opera.” (White in Archives)<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">First and foremost, Giacomo Puccini was an operatic genius.<span>  </span>He understood early on that the actions of the opera and the music were of equal importance.<span>  </span>He was able to create and integrate original musical elements which enabled him to tell the story of Butterfly and Pinkerton with such finesse thus adding a second reason for which Madama Butterfly should and must be preserved.<span>  </span>Whether the audience knew what was going on or not, it wouldn’t have been very difficult to get some small grasp on the story line.<span>  </span>Puccini changed the face of opera forever which his ups and downs, rises and falls, and actually create emotion with music.<span>  </span>This is a side to opera that future generations must come to know and appreciate, and Puccini’s Butterfly is the perfect example to teach this.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Secondly, Butterfly was created in a time when the need for cultural assimilation was necessary and cultural understanding wasn’t exactly widespread.<span>  </span>On the verge of the first world war, international horizons were full of immigration, political strife, individual changes, and stories like that of Butterfly and Pinkerton.<span>  </span>By illustrating this constant need for assimilation and the accompanying emotions with his music, Puccini creates a work that is relatable and real-life.<span>  </span>In a time when our society is even more culturally diverse than it was then, it is even more important for those of this generation and those to come to grasp the struggle.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">[youtube]http://www.youtube.com/watch?v=j8XEyHHr2K8[/youtube]</p>\r\n<p class=\"MsoNormal\" style=\"text-align: center\" align=\"center\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Works Cited</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">PBS. PBS, n.d. Web. 14 Oct. 2013. &lt;www.pbs.org/wnet/gperf/education/puccini.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a PBS website containing biographical information on Giacomo Puccini.<span>  </span>I used this particular website to learn about Puccini at the time of his writing, how he may have shown his life through his work, and also as an alternative means for historical background.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia Univeristy. Columbia University, n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/fiasco.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a website sponsored by Columbia University which led to an html file on <i>Madama Butterfly</i>.<span>  </span>This particular information proved useful in researching reception at the time of production/release, more specifically the fiasco that ensued on the day of its original release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Pasler, J. USCD, n.d. Web. 14 Oct. 2013. &lt;musicweb.ucsd.edu/~jpasler/wp/wp-</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span><span> </span>content/uploads/2012/06/Pasler-Japonisme2008.pdf&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a critical analysis of <i>Madama Butterfly</i> by Jann Pasler which focuses on the Japanese aspect and the concerns with assimilation.<span>  </span>It also holds information to better understand the reception at the time.<span>  </span>Pasler explains that Russian-Japanese tensions at the time could have affected the reception.<span>  </span>I used this as a second means to understand the reception of this opera at the time considering the obvious Japanese content.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/life-italy-during-19th-century&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of <i>Madama Butterfly</i>.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"Life in Italy - 1900.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/italy-1900&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Again,</span> <span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of Madama Butterfly.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.<span>  </span>This particular section was more tailored toward the time of release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\">[youtube]<a href=\"http://www.youtube.com/watch?v=pxL16AqWZ6A\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.youtube.com/watch?v=pxL16AqWZ6A</span></a>[/youtube]</p>\r\n<p class=\"MsoNormal\">http://www.youtube.com/watch?v=j8XEyHHr2K8</p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a YouTube showing of <i>Madama Butterfly </i>in its entirety.<span>  </span>A bit long but very enjoyable.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia University. Columbia University, n.d. Web. 20 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/synopsis.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a synopsis of the opera.<span>  </span>It explained all three acts.<span>  </span>I used this to actually know what the opera was about as I had no idea prior to this assignment.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Education Scotland. Education Scotland, n.d. Web. 21 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&lt;</span><a href=\"http://www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&gt;</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This website is by Education Scotland.<span>  </span>This particular portion the site contains information on works of the era.<span>  </span>I used this in my efforts to compare <i>La Bohemme </i>and <i>Madama Butterfly</i>.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Staff, Rovi. \"Arnold Schoenberg - Artist Biography.\" AllMusic. AllMusic, n.d. Web. 3 Nov. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>2013. &lt;http://www.allmusic.com/artist/arnold-schoenberg-mn0000691043/biography&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website AllMusic.<span>  </span>This particular section references Arnold Schoenberg’s biography.<span>  </span>I referenced Schoenberg in an effort to understand works and trends of the time.<span>  </span>I used this site and its information in order to better understand Schoenberg and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"THE MORGAN TO DISPLAY ORIGINAL MANUSCRIPTS FROM MADAMA </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">BUTTERFLY AND LA BOHÈME IN NEW EXHIBITION ON GIACOMO PUCCINI .\" The Morgan Library &amp; Museum. N.p., 24 July 2009. Web. 3 Nov. 2013. &lt;http://www.themorgan.org/about/pressReleases2.asp?id=57&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website for the Morgan Library &amp; Museum in New York.<span>  </span>It is a press release referencing a display of the original manuscript for <i><span> </span>Madama Butterfly.</i><span>  </span>I used this to get a better look at today’s reception of Puccini’s work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Fiero, Gloria K. The Humanistic Tradition. 6th ed. Vol. 2. N.p.: McGraw-Hill, n.d. Textbook. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>Web. 2013.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is our text book.<span>  </span>I used it for general information and for a basis for analysis.</span></p>','\"Madama Butterfly\"','','inherit','open','open','','3551-revision-v1','','','2013-11-04 13:03:19','2013-11-04 19:03:19','',3551,'http://jeanatacc.com/2011/?p=3562',0,'revision','',0),(3561,81,'2013-11-04 13:02:03','2013-11-04 19:02:03','<!--[if gte mso 9]&gt;-->\r\n\r\n\r\n\r\n\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\nNormal\r\n0\r\n\r\n\r\n\r\n\r\nfalse\r\nfalse\r\nfalse\r\n\r\nEN-US\r\nX-NONE\r\nX-NONE\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n<!--[if gte mso 10]&gt;-->\r\n\r\n\r\n /* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;}\r\n\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized.jpg\"><img class=\"alignnone size-medium wp-image-3557\" alt=\"puccini-1-sized\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized-214x300.jpg\" width=\"214\" height=\"300\" /></a></em></strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">http://www.nndb.com/people/265/000087004/puccini-1-sized.jpg</p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em>\"Madama Butterfly\"</em> by Giacomo Puccini</strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">This opera is based on the story by John Luther Long and the play by David Belasco.<span>  </span>The opera itself was written by Giacomo Puccini (1858-1924). Taking place in the early 20th century, Benjamin Franklin Pinkerton comes to Nagasaki for his prearranged marriage to Cio-Cio-San (Madame Butterfly) who is 15 years of age.<span>  </span>She is a geisha forced into the life by the loss of her family’s wealth.<span>  </span>Despite marrying Butterfly, Pinkerton is set to marry an American woman.<span>  </span>Butterfly is denounced for her “rejection” of her natural heritage.<span>  </span>Pinkerton leaves Nagasaki for three years and leaves behind Butterfly and their three year old son, Sorrow.<span>  </span>Butterfly is afraid he will never return, but he does and brings his American wife-Kate-along with him.<span>  </span>They talk Butterfly into letting them take Sorrow back with them.<span>  </span>Upon their departure, Butterfly is overcome with grief and sadness and commits suicide.<span>  </span>(</span><a href=\"http://www.columbia.edu/.....synopsis.html\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.columbia.edu/.....synopsis.html</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">)<span>  </span>Giacomo Puccini created in Madama Butterfly a work worthy of preservation because of his ability to express the importance of both the music and the story with his original musical elements, his ability to integrate real-life need for cultural assimilation into his work, and his general operatic intelligence.<!--more--></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span> </span><span>           </span>This opera is a great example of the transition into the modern era.<span>  </span>With its tragic love story with a sense of underlying betrayal, it is a piece that is easily relatable.<span>  </span>Also, there is a sense of truth behind this play.<span>  </span>This was actually a semi-common occurrence at this time.<span>  </span>Despite the complete and utter chaos at the time of its first production due to patrons finding it to be much like his previous works, it received good reviews.<span>  </span>Madama Butterfly is a classic and relatable story that allows for readers/viewers of all ages and backgrounds to learn and experience.<span>  </span>The music of Puccini’s operas comes from the words of the story.<span>  </span>Puccini’s works stemmed from his life.<span>  </span>Not only does the preservation of this work allow for future generations to learn and appreciate the music and its development but also to further learn and appreciate the life of Giacomo Puccini-one of the greatest composers of his time.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of Puccini’s birth, Italy was in the midst of a rash of rampant revolution and attempted reform.<span>  </span>Constitutions were being created by Italian republics in1848.<span>  </span>Eventually, revolutions would lead to the transfer of powers across many regions between 1849 and 1859.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of the conception of Madama Butterfly, Italy was in a time of turmoil.<span>  </span>The leaders of the country spent years trying to join the super powers of the world only to be met with resistance and a lack of finances.<span>  </span>Giovanni Giolitti was into his second term as Prime Minister.<span>  </span>The country was already in bad shape before Giolitti took his second term.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The Italian colonies arising outside of the country as well as the eventual Italian involvement in World War I, also contributed to financial instability.<span>  </span>Corruption, starvation, and illiteracy were all rampant problems across the country.<span>  </span>Organized crime and rebellion were also rising.<span>  </span>Italians were flocking to America by the thousands in an effort to escape their steadily declining country.</span></p>\r\n\r\n<div style=\"border: none;border-bottom: solid windowtext 1.0pt;padding: 0in 0in 1.0pt 0in\">\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in;border: none;padding: 0in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There was also an uprising of political nationalism in countries throughout the periphery of European countries.<span>  </span>(www.britannica.com) The changes of socio-economic and political airs surrounding the time of WWI changed to views of all classes. </span></p>\r\n\r\n</div>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">A common style of the time was that of bel canto “beautiful singing”.<span>  </span>It became more refined as plots and music became more sophisticated and refined (www.educationscotland.gov.uk).<span>  </span>It was a type of Italian court singing which originated in the performance of polyphonic music in the 16th century.<span>  </span>Bel canto was based on the very precise control of the intensity of vocal tone.<span>  </span>A demand for vocal agility and a clear articulation of notes as well as well-performed enunciation of words was part of this style.<span>  </span>(www.britannica.com)<span>  </span>This particular style would eventually evolve into what would become the operas of the 17th to 19th centuries.<span>  </span>Use of the style eventually dropped out at the turn of the 20th century as operas and performances called more for heavier and more dramatic singing.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">It gave precedence to melodic, rhythmic energies.<span>  </span>In the late 19th and early 20th centuries, American composers such as Arnold Schoenberg began to break away from the concept of using key using “all notes freely without relating them to the system of functional harmony.” (www.britannica.com)<span>  </span>)<span>  </span>For instance, Schoenberg’s Suite for Piano was the first of his influential works that started this evolutionary change in music.<span>  </span>Schoenberg’s other works like Violin Concerto and A Survivor from Warsaw signaled the change and transition to what would eventually become Western music.<span>  </span>(www.allmusic.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly is of deeper more serious tones even in the times when one would expect more of a jovial air.<span>  </span>The images of the opera and the words and the music are all undeniably tied together.<span>  </span>The drama surrounding the story of Butterfly and Pinkerton could not be told without the story created by Giacomo Puccini.<span>  </span>Puccini created a common theme within all of his works, that of “He who has lived for love, has died for love.” (www.britannica.com)<span>  </span>Many of the heroines within his works would eventually fall prey to their own devotions to their lovers.<span>  </span>This idea is quite prominent within Madama Butterfly.<span>  </span>The Puccini style of opera held a strong “emotional appeal but also the restricted scope” of his style.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Puccini was able to apply his own experiences to his characters and vice versa, he was able to channel his characters through himself.<span>  </span>Puccini was an intelligent opera creator who was well aware that an opera’s success is not based solely on its actions.<span>  </span>The lyrics and moments of contemplation are equally important.<span>  </span>He created original musical elements and melodies for these moments.<span>  </span>Death arias and rising moments of passion and radiance were created specifically for these times.<span>  </span>(www.britannica.com)<span>  </span>Puccini held an understanding for the melodies common to 19th century Italian opera but was simultaneously able to channel the likes of Stravinsky.<span>  </span>Puccini’s early works such as La Bohemme showed his capabilities early on.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">These characteristics can be seen in Madama Butterfly.<span>  </span>For instance, Puccini ran off with his married lover and engaged in an illegal union which produced a child.<span>  </span>It wasn’t until the death of her husband in 1904 – the year of the first performance – that they were able to legally marry.<span>  </span>While Butterfly and Pinkerton were not part of an illicit affair, Pinkerton did leave her to return to America for another woman.<span>  </span>In the end, Butterfly killed herself.<span>  </span>The dramatic relationship within the music and story is comparable to that of Puccini’s own life.<span>  </span>Throughout the opera, while the music itself wasn’t exactly complex, there were rises and falls and tone changes and musical passion which enabled a better telling in the story.<span>  </span>For the most part, the music betrayed little emotion.<span>  </span>It was these creations of Puccini’s that changed the opera entirely.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially, the citizens of the time had a fairly indifferent view.<span>  </span>Not many were very excited about the piece.<span>  </span>Many felt that it was too much like his previous works to warrant any significant amount of excitement.<span>  </span>During the original performance individuals were placed throughout the theater to insert outdoor noises into the performance.<span>  </span>However, it created such chaos that the initial reception was not all that grand.<span>  </span>(www.musicweb.ecsd.edu) With the “replay” came a much better reception.<span>  </span>There was considerable speculation that there was a conspiracy behind the entire fiasco.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Prior to the performance many members of the press held a bitter attitude toward Puccini and the opera itself.<span>  </span>Performers were forced to learn their parts a few pages at a time due largely to the release being so close to his previous piece.<span>  </span>The publisher required high degrees of secrecy.<span>  </span>The performers were not allowed to take their music/parts from the theater.<span>  </span>Not only was the publisher afraid of them being lost, but he was also convinced it would increase the level of suspense from the spectators.<span>  </span>(www.columbia.edu)<span>  </span>It was this “high-handed” aura.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The chaos of the premier wasn’t entirely at the fault of the strategically placed performers in the audience.<span>  </span>The close resemblance to La Bohemme seemed to irritate many of the critics and audience.<span>  </span>This seemed to only enhance to growing fiasco.<span>  </span>This fiasco seemed to be a surprise to people despite this.<span>  </span>Scholars<span>  </span>seemed to find structural issues with the opera such as the length of the acts.<span>  </span>It is also felt that the negative air generated by the Japanese-Russian conflict could have influenced the general reception among the public.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly<span>  </span>is much better received in today’s society.<span>  </span>This can be seen in the fact that it is performed over and over again both in the States as well as abroad, especially in Italy.<span>     </span>Over the course of time, the sting of the fiasco of the premier has had a chance to dwindle.<span>  </span>Structurally speaking, there is still<span>  </span>question over the length of the acts but this has been much better received with the passage of time.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Still today there are countless performances.<span>  </span>For example, the LA Opera, the Metropolitan Opera, and the Seattle Opera are just a few that perform in the United States.<span>  </span>It is also performed in countless other theaters across the world such as the Sferisterio Opera at the Sferisterio Opera Festival in Italy.<span>  </span>There are also museum displays around the world that either did or do exist that have some connection to Puccini and his work.<span>  </span>For example, the Morgan Library &amp; Museum in New York, New York held a display of the original manuscripts in commemoration of the 150th anniversary of Giacomo Puccini’s death. (www.themorgan.org) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially,<span>  </span>I was not at all what one would term thrilled.<span>  </span>I knew little to nothing about the work itself outside of a few snippits of video I had seen in music classes over the years.<span>  </span>Upon choosing this topic for my TCP, I looked over a few different copies of a synopsis summarizing the opera in an order to actually learn what this was about.<span>  </span>Then I watched Madama Butterfly in its entirety.<span>  </span>I must say that I now hold a considerably different view.<span>  </span>This is one amazing piece of theatrical excellence.<span>  </span>The story emphasizes this dramatic love story full of emotion and turmoil.<span>  </span>There is also Butterfly’s struggle to change her life and herself only to be jilted by Pinkerton.<span>  </span>Quite honestly, I thought the man to be a coward and a spineless weasel.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">From a structural standpoint, I am no operatic genius the likes of Puccini.<span>  </span>However, I do agree with the scholarly standpoint that the acts were a bit lengthy.<span>  </span>Had I not done previous research to better understand the actual plot line, I would not have been able to sit through the entire two hour performance.<span>  </span>At the end,<span>  </span>I am glad to have put the time and effort into this.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When compared to Igor Stravinsky’s Song of the Nightingale both similarities and differences are noticeable.<span>  </span>There is the obvious content similarity of the Asian basis.<span>  </span>Nightingale is Chinese and Butterfly is Japanese, but the Asian<span>  </span>basis is there.<span>  </span>With regard to content, the story/plot line is different.<span>  </span>Butterfly is/was more of a love story turned drama while Nightingale is about the Chinese emperor’s fixation or enchantment with the song of the nightingale and the power of the nightingale’s song.<span>  </span>(www.classicalarchives.com)</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When addressing the opera itself, again there are similarities and differences.<span>  </span>For example, the intensity of Nightingale’s<span>  </span>music seems to carry throughout the work.<span>  </span>Some places are lighter than others and some are heavier than others, but for the majority, the intensity seems to follow through fairly consistently.<span>  </span>With the music of Butterfly, there are more rises and falls.<span>  </span>There are more places in which the change in mood is more obvious within Butterfly.<span>  </span>Nightingale is supposed to be about the power of the nightingale and its music.<span>  </span>There also seems to be much less singing within Nightingale (youtube.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There is also the obvious difference in length.<span>  </span>Madama Butterfly is three acts of considerable length.<span>  </span>The opera in its entirety is approximately two hours long, over twice what was common at the time.<span>  </span>However, Stravinsky’s Song of the Nightingale is only two much shorter acts totalling to approximately 45 minutes in length.<span>  </span>Some have gone so far as to say Nightingale is more like being<span>  </span>“three scenes in a single act opera.” (White in Archives)<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">First and foremost, Giacomo Puccini was an operatic genius.<span>  </span>He understood early on that the actions of the opera and the music were of equal importance.<span>  </span>He was able to create and integrate original musical elements which enabled him to tell the story of Butterfly and Pinkerton with such finesse thus adding a second reason for which Madama Butterfly should and must be preserved.<span>  </span>Whether the audience knew what was going on or not, it wouldn’t have been very difficult to get some small grasp on the story line.<span>  </span>Puccini changed the face of opera forever which his ups and downs, rises and falls, and actually create emotion with music.<span>  </span>This is a side to opera that future generations must come to know and appreciate, and Puccini’s Butterfly is the perfect example to teach this.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Secondly, Butterfly was created in a time when the need for cultural assimilation was necessary and cultural understanding wasn’t exactly widespread.<span>  </span>On the verge of the first world war, international horizons were full of immigration, political strife, individual changes, and stories like that of Butterfly and Pinkerton.<span>  </span>By illustrating this constant need for assimilation and the accompanying emotions with his music, Puccini creates a work that is relatable and real-life.<span>  </span>In a time when our society is even more culturally diverse than it was then, it is even more important for those of this generation and those to come to grasp the struggle.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">[youtube]http://www.youtube.com/watch?v=j8XEyHHr2K8[/youtube]</p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center\" align=\"center\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Works Cited</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">PBS. PBS, n.d. Web. 14 Oct. 2013. &lt;www.pbs.org/wnet/gperf/education/puccini.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a PBS website containing biographical information on Giacomo Puccini.<span>  </span>I used this particular website to learn about Puccini at the time of his writing, how he may have shown his life through his work, and also as an alternative means for historical background.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia Univeristy. Columbia University, n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/fiasco.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a website sponsored by Columbia University which led to an html file on <i>Madama Butterfly</i>.<span>  </span>This particular information proved useful in researching reception at the time of production/release, more specifically the fiasco that ensued on the day of its original release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Pasler, J. USCD, n.d. Web. 14 Oct. 2013. &lt;musicweb.ucsd.edu/~jpasler/wp/wp-</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span><span> </span>content/uploads/2012/06/Pasler-Japonisme2008.pdf&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a critical analysis of <i>Madama Butterfly</i> by Jann Pasler which focuses on the Japanese aspect and the concerns with assimilation.<span>  </span>It also holds information to better understand the reception at the time.<span>  </span>Pasler explains that Russian-Japanese tensions at the time could have affected the reception.<span>  </span>I used this as a second means to understand the reception of this opera at the time considering the obvious Japanese content.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/life-italy-during-19th-century&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of <i>Madama Butterfly</i>.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"Life in Italy - 1900.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/italy-1900&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Again,</span> <span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of Madama Butterfly.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.<span>  </span>This particular section was more tailored toward the time of release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\">[youtube]<a href=\"http://www.youtube.com/watch?v=pxL16AqWZ6A\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.youtube.com/watch?v=pxL16AqWZ6A</span></a>[/youtube]</p>\r\n<p class=\"MsoNormal\">http://www.youtube.com/watch?v=j8XEyHHr2K8</p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a YouTube showing of <i>Madama Butterfly </i>in its entirety.<span>  </span>A bit long but very enjoyable.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia University. Columbia University, n.d. Web. 20 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/synopsis.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a synopsis of the opera.<span>  </span>It explained all three acts.<span>  </span>I used this to actually know what the opera was about as I had no idea prior to this assignment.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Education Scotland. Education Scotland, n.d. Web. 21 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&lt;</span><a href=\"http://www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&gt;</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This website is by Education Scotland.<span>  </span>This particular portion the site contains information on works of the era.<span>  </span>I used this in my efforts to compare <i>La Bohemme </i>and <i>Madama Butterfly</i>.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Staff, Rovi. \"Arnold Schoenberg - Artist Biography.\" AllMusic. AllMusic, n.d. Web. 3 Nov. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>2013. &lt;http://www.allmusic.com/artist/arnold-schoenberg-mn0000691043/biography&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website AllMusic.<span>  </span>This particular section references Arnold Schoenberg’s biography.<span>  </span>I referenced Schoenberg in an effort to understand works and trends of the time.<span>  </span>I used this site and its information in order to better understand Schoenberg and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"THE MORGAN TO DISPLAY ORIGINAL MANUSCRIPTS FROM MADAMA </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">BUTTERFLY AND LA BOHÈME IN NEW EXHIBITION ON GIACOMO PUCCINI .\" The Morgan Library &amp; Museum. N.p., 24 July 2009. Web. 3 Nov. 2013. &lt;http://www.themorgan.org/about/pressReleases2.asp?id=57&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website for the Morgan Library &amp; Museum in New York.<span>  </span>It is a press release referencing a display of the original manuscript for <i><span> </span>Madama Butterfly.</i><span>  </span>I used this to get a better look at today’s reception of Puccini’s work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Fiero, Gloria K. The Humanistic Tradition. 6th ed. Vol. 2. N.p.: McGraw-Hill, n.d. Textbook. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>Web. 2013.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is our text book.<span>  </span>I used it for general information and for a basis for analysis.</span></p>','Giacomo Puccini\'s ','','inherit','open','open','','3551-revision-v1','','','2013-11-04 13:02:03','2013-11-04 19:02:03','',3551,'http://jeanatacc.com/2011/?p=3561',0,'revision','',0),(3563,83,'2013-11-04 13:04:17','2013-11-04 19:04:17','','Lumiere Factory','','inherit','open','open','','lumiere','','','2013-11-04 13:04:17','2013-11-04 19:04:17','',3559,'http://jeanatacc.com/2011/wp-content/uploads/2013/11/Lumiere.jpg',0,'attachment','image/jpeg',0),(3564,81,'2013-11-04 13:05:15','2013-11-04 19:05:15','<!--[if gte mso 9]&gt;-->\n\n<!--[if gte mso 9]&gt;-->\n\n&nbsp;\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized.jpg\"><img class=\"alignnone size-medium wp-image-3557\" alt=\"puccini-1-sized\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized-214x300.jpg\" width=\"214\" height=\"300\" /></a></em></strong></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">http://www.nndb.com/people/265/000087004/puccini-1-sized.jpg</p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em>\"Madama Butterfly\"</em> by Giacomo Puccini</strong></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">This opera is based on the story by John Luther Long and the play by David Belasco.<span>  </span>The opera itself was written by Giacomo Puccini (1858-1924). Taking place in the early 20th century, Benjamin Franklin Pinkerton comes to Nagasaki for his prearranged marriage to Cio-Cio-San (Madame Butterfly) who is 15 years of age.<span>  </span>She is a geisha forced into the life by the loss of her family’s wealth.<span>  </span>Despite marrying Butterfly, Pinkerton is set to marry an American woman.<span>  </span>Butterfly is denounced for her “rejection” of her natural heritage.<span>  </span>Pinkerton leaves Nagasaki for three years and leaves behind Butterfly and their three year old son, Sorrow.<span>  </span>Butterfly is afraid he will never return, but he does and brings his American wife-Kate-along with him.<span>  </span>They talk Butterfly into letting them take Sorrow back with them.<span>  </span>Upon their departure, Butterfly is overcome with grief and sadness and commits suicide.<span>  </span>(</span><a href=\"http://www.columbia.edu/.....synopsis.html\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.columbia.edu/.....synopsis.html</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">)<span>  </span>Giacomo Puccini created in Madama Butterfly a work worthy of preservation because of his ability to express the importance of both the music and the story with his original musical elements, his ability to integrate real-life need for cultural assimilation into his work, and his general operatic intelligence.<!--more--></span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span> </span><span>           </span>This opera is a great example of the transition into the modern era.<span>  </span>With its tragic love story with a sense of underlying betrayal, it is a piece that is easily relatable.<span>  </span>Also, there is a sense of truth behind this play.<span>  </span>This was actually a semi-common occurrence at this time.<span>  </span>Despite the complete and utter chaos at the time of its first production due to patrons finding it to be much like his previous works, it received good reviews.<span>  </span>Madama Butterfly is a classic and relatable story that allows for readers/viewers of all ages and backgrounds to learn and experience.<span>  </span>The music of Puccini’s operas comes from the words of the story.<span>  </span>Puccini’s works stemmed from his life.<span>  </span>Not only does the preservation of this work allow for future generations to learn and appreciate the music and its development but also to further learn and appreciate the life of Giacomo Puccini-one of the greatest composers of his time.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of Puccini’s birth, Italy was in the midst of a rash of rampant revolution and attempted reform.<span>  </span>Constitutions were being created by Italian republics in1848.<span>  </span>Eventually, revolutions would lead to the transfer of powers across many regions between 1849 and 1859.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of the conception of Madama Butterfly, Italy was in a time of turmoil.<span>  </span>The leaders of the country spent years trying to join the super powers of the world only to be met with resistance and a lack of finances.<span>  </span>Giovanni Giolitti was into his second term as Prime Minister.<span>  </span>The country was already in bad shape before Giolitti took his second term.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The Italian colonies arising outside of the country as well as the eventual Italian involvement in World War I, also contributed to financial instability.<span>  </span>Corruption, starvation, and illiteracy were all rampant problems across the country.<span>  </span>Organized crime and rebellion were also rising.<span>  </span>Italians were flocking to America by the thousands in an effort to escape their steadily declining country.</span></p>\n\n<div style=\"border: none;border-bottom: solid windowtext 1.0pt;padding: 0in 0in 1.0pt 0in\">\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There was also an uprising of political nationalism in countries throughout the periphery of European countries.<span>  </span>(www.britannica.com) The changes of socio-economic and political airs surrounding the time of WWI changed to views of all classes.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">A common style of the time was that of bel canto “beautiful singing”.<span>  </span>It became more refined as plots and music became more sophisticated and refined (www.educationscotland.gov.uk).<span>  </span>It was a type of Italian court singing which originated in the performance of polyphonic music in the 16th century.<span>  </span>Bel canto was based on the very precise control of the intensity of vocal tone.<span>  </span>A demand for vocal agility and a clear articulation of notes as well as well-performed enunciation of words was part of this style.<span>  </span>(www.britannica.com)<span>  </span>This particular style would eventually evolve into what would become the operas of the 17th to 19th centuries.<span>  </span>Use of the style eventually dropped out at the turn of the 20th century as operas and performances called more for heavier and more dramatic singing.<span>  </span></span></p>\n\n</div>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">It gave precedence to melodic, rhythmic energies.<span>  </span>In the late 19th and early 20th centuries, American composers such as Arnold Schoenberg began to break away from the concept of using key using “all notes freely without relating them to the system of functional harmony.” (www.britannica.com)<span>  </span>)<span>  </span>For instance, Schoenberg’s Suite for Piano was the first of his influential works that started this evolutionary change in music.<span>  </span>Schoenberg’s other works like Violin Concerto and A Survivor from Warsaw signaled the change and transition to what would eventually become Western music.<span>  </span>(www.allmusic.com) </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly is of deeper more serious tones even in the times when one would expect more of a jovial air.<span>  </span>The images of the opera and the words and the music are all undeniably tied together.<span>  </span>The drama surrounding the story of Butterfly and Pinkerton could not be told without the story created by Giacomo Puccini.<span>  </span>Puccini created a common theme within all of his works, that of “He who has lived for love, has died for love.” (www.britannica.com)<span>  </span>Many of the heroines within his works would eventually fall prey to their own devotions to their lovers.<span>  </span>This idea is quite prominent within Madama Butterfly.<span>  </span>The Puccini style of opera held a strong “emotional appeal but also the restricted scope” of his style.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Puccini was able to apply his own experiences to his characters and vice versa, he was able to channel his characters through himself.<span>  </span>Puccini was an intelligent opera creator who was well aware that an opera’s success is not based solely on its actions.<span>  </span>The lyrics and moments of contemplation are equally important.<span>  </span>He created original musical elements and melodies for these moments.<span>  </span>Death arias and rising moments of passion and radiance were created specifically for these times.<span>  </span>(www.britannica.com)<span>  </span>Puccini held an understanding for the melodies common to 19th century Italian opera but was simultaneously able to channel the likes of Stravinsky.<span>  </span>Puccini’s early works such as La Bohemme showed his capabilities early on.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">These characteristics can be seen in Madama Butterfly.<span>  </span>For instance, Puccini ran off with his married lover and engaged in an illegal union which produced a child.<span>  </span>It wasn’t until the death of her husband in 1904 – the year of the first performance – that they were able to legally marry.<span>  </span>While Butterfly and Pinkerton were not part of an illicit affair, Pinkerton did leave her to return to America for another woman.<span>  </span>In the end, Butterfly killed herself.<span>  </span>The dramatic relationship within the music and story is comparable to that of Puccini’s own life.<span>  </span>Throughout the opera, while the music itself wasn’t exactly complex, there were rises and falls and tone changes and musical passion which enabled a better telling in the story.<span>  </span>For the most part, the music betrayed little emotion.<span>  </span>It was these creations of Puccini’s that changed the opera entirely.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially, the citizens of the time had a fairly indifferent view.<span>  </span>Not many were very excited about the piece.<span>  </span>Many felt that it was too much like his previous works to warrant any significant amount of excitement.<span>  </span>During the original performance individuals were placed throughout the theater to insert outdoor noises into the performance.<span>  </span>However, it created such chaos that the initial reception was not all that grand.<span>  </span>(www.musicweb.ecsd.edu) With the “replay” came a much better reception.<span>  </span>There was considerable speculation that there was a conspiracy behind the entire fiasco.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Prior to the performance many members of the press held a bitter attitude toward Puccini and the opera itself.<span>  </span>Performers were forced to learn their parts a few pages at a time due largely to the release being so close to his previous piece.<span>  </span>The publisher required high degrees of secrecy.<span>  </span>The performers were not allowed to take their music/parts from the theater.<span>  </span>Not only was the publisher afraid of them being lost, but he was also convinced it would increase the level of suspense from the spectators.<span>  </span>(www.columbia.edu)<span>  </span>It was this “high-handed” aura.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The chaos of the premier wasn’t entirely at the fault of the strategically placed performers in the audience.<span>  </span>The close resemblance to La Bohemme seemed to irritate many of the critics and audience.<span>  </span>This seemed to only enhance to growing fiasco.<span>  </span>This fiasco seemed to be a surprise to people despite this.<span>  </span>Scholars<span>  </span>seemed to find structural issues with the opera such as the length of the acts.<span>  </span>It is also felt that the negative air generated by the Japanese-Russian conflict could have influenced the general reception among the public.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly<span>  </span>is much better received in today’s society.<span>  </span>This can be seen in the fact that it is performed over and over again both in the States as well as abroad, especially in Italy.<span>     </span>Over the course of time, the sting of the fiasco of the premier has had a chance to dwindle.<span>  </span>Structurally speaking, there is still<span>  </span>question over the length of the acts but this has been much better received with the passage of time.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Still today there are countless performances.<span>  </span>For example, the LA Opera, the Metropolitan Opera, and the Seattle Opera are just a few that perform in the United States.<span>  </span>It is also performed in countless other theaters across the world such as the Sferisterio Opera at the Sferisterio Opera Festival in Italy.<span>  </span>There are also museum displays around the world that either did or do exist that have some connection to Puccini and his work.<span>  </span>For example, the Morgan Library &amp; Museum in New York, New York held a display of the original manuscripts in commemoration of the 150th anniversary of Giacomo Puccini’s death. (www.themorgan.org) </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially,<span>  </span>I was not at all what one would term thrilled.<span>  </span>I knew little to nothing about the work itself outside of a few snippits of video I had seen in music classes over the years.<span>  </span>Upon choosing this topic for my TCP, I looked over a few different copies of a synopsis summarizing the opera in an order to actually learn what this was about.<span>  </span>Then I watched Madama Butterfly in its entirety.<span>  </span>I must say that I now hold a considerably different view.<span>  </span>This is one amazing piece of theatrical excellence.<span>  </span>The story emphasizes this dramatic love story full of emotion and turmoil.<span>  </span>There is also Butterfly’s struggle to change her life and herself only to be jilted by Pinkerton.<span>  </span>Quite honestly, I thought the man to be a coward and a spineless weasel.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">From a structural standpoint, I am no operatic genius the likes of Puccini.<span>  </span>However, I do agree with the scholarly standpoint that the acts were a bit lengthy.<span>  </span>Had I not done previous research to better understand the actual plot line, I would not have been able to sit through the entire two hour performance.<span>  </span>At the end,<span>  </span>I am glad to have put the time and effort into this.<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When compared to Igor Stravinsky’s Song of the Nightingale both similarities and differences are noticeable.<span>  </span>There is the obvious content similarity of the Asian basis.<span>  </span>Nightingale is Chinese and Butterfly is Japanese, but the Asian<span>  </span>basis is there.<span>  </span>With regard to content, the story/plot line is different.<span>  </span>Butterfly is/was more of a love story turned drama while Nightingale is about the Chinese emperor’s fixation or enchantment with the song of the nightingale and the power of the nightingale’s song.<span>  </span>(www.classicalarchives.com)</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When addressing the opera itself, again there are similarities and differences.<span>  </span>For example, the intensity of Nightingale’s<span>  </span>music seems to carry throughout the work.<span>  </span>Some places are lighter than others and some are heavier than others, but for the majority, the intensity seems to follow through fairly consistently.<span>  </span>With the music of Butterfly, there are more rises and falls.<span>  </span>There are more places in which the change in mood is more obvious within Butterfly.<span>  </span>Nightingale is supposed to be about the power of the nightingale and its music.<span>  </span>There also seems to be much less singing within Nightingale (youtube.com) </span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There is also the obvious difference in length.<span>  </span>Madama Butterfly is three acts of considerable length.<span>  </span>The opera in its entirety is approximately two hours long, over twice what was common at the time.<span>  </span>However, Stravinsky’s Song of the Nightingale is only two much shorter acts totalling to approximately 45 minutes in length.<span>  </span>Some have gone so far as to say Nightingale is more like being<span>  </span>“three scenes in a single act opera.” (White in Archives)<span>  </span></span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">First and foremost, Giacomo Puccini was an operatic genius.<span>  </span>He understood early on that the actions of the opera and the music were of equal importance.<span>  </span>He was able to create and integrate original musical elements which enabled him to tell the story of Butterfly and Pinkerton with such finesse thus adding a second reason for which Madama Butterfly should and must be preserved.<span>  </span>Whether the audience knew what was going on or not, it wouldn’t have been very difficult to get some small grasp on the story line.<span>  </span>Puccini changed the face of opera forever which his ups and downs, rises and falls, and actually create emotion with music.<span>  </span>This is a side to opera that future generations must come to know and appreciate, and Puccini’s Butterfly is the perfect example to teach this.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Secondly, Butterfly was created in a time when the need for cultural assimilation was necessary and cultural understanding wasn’t exactly widespread.<span>  </span>On the verge of the first world war, international horizons were full of immigration, political strife, individual changes, and stories like that of Butterfly and Pinkerton.<span>  </span>By illustrating this constant need for assimilation and the accompanying emotions with his music, Puccini creates a work that is relatable and real-life.<span>  </span>In a time when our society is even more culturally diverse than it was then, it is even more important for those of this generation and those to come to grasp the struggle.</span></p>\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">[youtube]http://www.youtube.com/watch?v=j8XEyHHr2K8[/youtube]</p>\n<p class=\"MsoNormal\" style=\"text-align: center\" align=\"center\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Works Cited</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">PBS. PBS, n.d. Web. 14 Oct. 2013. &lt;www.pbs.org/wnet/gperf/education/puccini.html&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a PBS website containing biographical information on Giacomo Puccini.<span>  </span>I used this particular website to learn about Puccini at the time of his writing, how he may have shown his life through his work, and also as an alternative means for historical background.<span>  </span></span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia Univeristy. Columbia University, n.d. Web. 14 Oct. 2013. </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/fiasco.html&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a website sponsored by Columbia University which led to an html file on <i>Madama Butterfly</i>.<span>  </span>This particular information proved useful in researching reception at the time of production/release, more specifically the fiasco that ensued on the day of its original release.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Pasler, J. USCD, n.d. Web. 14 Oct. 2013. &lt;musicweb.ucsd.edu/~jpasler/wp/wp-</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span><span> </span>content/uploads/2012/06/Pasler-Japonisme2008.pdf&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a critical analysis of <i>Madama Butterfly</i> by Jann Pasler which focuses on the Japanese aspect and the concerns with assimilation.<span>  </span>It also holds information to better understand the reception at the time.<span>  </span>Pasler explains that Russian-Japanese tensions at the time could have affected the reception.<span>  </span>I used this as a second means to understand the reception of this opera at the time considering the obvious Japanese content.<span>  </span></span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/life-italy-during-19th-century&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of <i>Madama Butterfly</i>.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"Life in Italy - 1900.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/italy-1900&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Again,</span> <span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of Madama Butterfly.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.<span>  </span>This particular section was more tailored toward the time of release.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\">[youtube]<a href=\"http://www.youtube.com/watch?v=pxL16AqWZ6A\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.youtube.com/watch?v=pxL16AqWZ6A</span></a>[/youtube]</p>\n<p class=\"MsoNormal\">http://www.youtube.com/watch?v=j8XEyHHr2K8</p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a YouTube showing of <i>Madama Butterfly </i>in its entirety.<span>  </span>A bit long but very enjoyable.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia University. Columbia University, n.d. Web. 20 Oct. 2013. </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/synopsis.html&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a synopsis of the opera.<span>  </span>It explained all three acts.<span>  </span>I used this to actually know what the opera was about as I had no idea prior to this assignment.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Education Scotland. Education Scotland, n.d. Web. 21 Oct. 2013. </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&lt;</span><a href=\"http://www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&gt;</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This website is by Education Scotland.<span>  </span>This particular portion the site contains information on works of the era.<span>  </span>I used this in my efforts to compare <i>La Bohemme </i>and <i>Madama Butterfly</i>.<span>  </span></span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span></span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Staff, Rovi. \"Arnold Schoenberg - Artist Biography.\" AllMusic. AllMusic, n.d. Web. 3 Nov. </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>2013. &lt;http://www.allmusic.com/artist/arnold-schoenberg-mn0000691043/biography&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website AllMusic.<span>  </span>This particular section references Arnold Schoenberg’s biography.<span>  </span>I referenced Schoenberg in an effort to understand works and trends of the time.<span>  </span>I used this site and its information in order to better understand Schoenberg and his work.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"THE MORGAN TO DISPLAY ORIGINAL MANUSCRIPTS FROM MADAMA </span></p>\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">BUTTERFLY AND LA BOHÈME IN NEW EXHIBITION ON GIACOMO PUCCINI .\" The Morgan Library &amp; Museum. N.p., 24 July 2009. Web. 3 Nov. 2013. &lt;http://www.themorgan.org/about/pressReleases2.asp?id=57&gt;.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website for the Morgan Library &amp; Museum in New York.<span>  </span>It is a press release referencing a display of the original manuscript for <i><span> </span>Madama Butterfly.</i><span>  </span>I used this to get a better look at today’s reception of Puccini’s work.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Fiero, Gloria K. The Humanistic Tradition. 6th ed. Vol. 2. N.p.: McGraw-Hill, n.d. Textbook. </span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>Web. 2013.</span></p>\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is our text book.<span>  </span>I used it for general information and for a basis for analysis.</span></p>','\"Madama Butterfly\"','','inherit','open','open','','3551-autosave-v1','','','2013-11-04 13:05:15','2013-11-04 19:05:15','',3551,'http://jeanatacc.com/2011/?p=3564',0,'revision','',0),(3565,81,'2013-11-04 13:05:37','2013-11-04 19:05:37','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized.jpg\"><img class=\"alignnone size-medium wp-image-3557\" alt=\"puccini-1-sized\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/puccini-1-sized-214x300.jpg\" width=\"214\" height=\"300\" /></a></em></strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">http://www.nndb.com/people/265/000087004/puccini-1-sized.jpg</p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><strong><em>\"Madama Butterfly\"</em> by Giacomo Puccini</strong></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">This opera is based on the story by John Luther Long and the play by David Belasco.<span>  </span>The opera itself was written by Giacomo Puccini (1858-1924). Taking place in the early 20th century, Benjamin Franklin Pinkerton comes to Nagasaki for his prearranged marriage to Cio-Cio-San (Madame Butterfly) who is 15 years of age.<span>  </span>She is a geisha forced into the life by the loss of her family’s wealth.<span>  </span>Despite marrying Butterfly, Pinkerton is set to marry an American woman.<span>  </span>Butterfly is denounced for her “rejection” of her natural heritage.<span>  </span>Pinkerton leaves Nagasaki for three years and leaves behind Butterfly and their three year old son, Sorrow.<span>  </span>Butterfly is afraid he will never return, but he does and brings his American wife-Kate-along with him.<span>  </span>They talk Butterfly into letting them take Sorrow back with them.<span>  </span>Upon their departure, Butterfly is overcome with grief and sadness and commits suicide.<span>  </span>(</span><a href=\"http://www.columbia.edu/.....synopsis.html\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.columbia.edu/.....synopsis.html</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">)<span>  </span>Giacomo Puccini created in Madama Butterfly a work worthy of preservation because of his ability to express the importance of both the music and the story with his original musical elements, his ability to integrate real-life need for cultural assimilation into his work, and his general operatic intelligence.<!--more--></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span> </span><span>           </span>This opera is a great example of the transition into the modern era.<span>  </span>With its tragic love story with a sense of underlying betrayal, it is a piece that is easily relatable.<span>  </span>Also, there is a sense of truth behind this play.<span>  </span>This was actually a semi-common occurrence at this time.<span>  </span>Despite the complete and utter chaos at the time of its first production due to patrons finding it to be much like his previous works, it received good reviews.<span>  </span>Madama Butterfly is a classic and relatable story that allows for readers/viewers of all ages and backgrounds to learn and experience.<span>  </span>The music of Puccini’s operas comes from the words of the story.<span>  </span>Puccini’s works stemmed from his life.<span>  </span>Not only does the preservation of this work allow for future generations to learn and appreciate the music and its development but also to further learn and appreciate the life of Giacomo Puccini-one of the greatest composers of his time.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of Puccini’s birth, Italy was in the midst of a rash of rampant revolution and attempted reform.<span>  </span>Constitutions were being created by Italian republics in1848.<span>  </span>Eventually, revolutions would lead to the transfer of powers across many regions between 1849 and 1859.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">At the time of the conception of Madama Butterfly, Italy was in a time of turmoil.<span>  </span>The leaders of the country spent years trying to join the super powers of the world only to be met with resistance and a lack of finances.<span>  </span>Giovanni Giolitti was into his second term as Prime Minister.<span>  </span>The country was already in bad shape before Giolitti took his second term.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The Italian colonies arising outside of the country as well as the eventual Italian involvement in World War I, also contributed to financial instability.<span>  </span>Corruption, starvation, and illiteracy were all rampant problems across the country.<span>  </span>Organized crime and rebellion were also rising.<span>  </span>Italians were flocking to America by the thousands in an effort to escape their steadily declining country.</span></p>\r\n\r\n<div style=\"border: none;border-bottom: solid windowtext 1.0pt;padding: 0in 0in 1.0pt 0in\">\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There was also an uprising of political nationalism in countries throughout the periphery of European countries.<span>  </span>(www.britannica.com) The changes of socio-economic and political airs surrounding the time of WWI changed to views of all classes.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">A common style of the time was that of bel canto “beautiful singing”.<span>  </span>It became more refined as plots and music became more sophisticated and refined (www.educationscotland.gov.uk).<span>  </span>It was a type of Italian court singing which originated in the performance of polyphonic music in the 16th century.<span>  </span>Bel canto was based on the very precise control of the intensity of vocal tone.<span>  </span>A demand for vocal agility and a clear articulation of notes as well as well-performed enunciation of words was part of this style.<span>  </span>(www.britannica.com)<span>  </span>This particular style would eventually evolve into what would become the operas of the 17th to 19th centuries.<span>  </span>Use of the style eventually dropped out at the turn of the 20th century as operas and performances called more for heavier and more dramatic singing.<span>  </span></span></p>\r\n\r\n</div>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">It gave precedence to melodic, rhythmic energies.<span>  </span>In the late 19th and early 20th centuries, American composers such as Arnold Schoenberg began to break away from the concept of using key using “all notes freely without relating them to the system of functional harmony.” (www.britannica.com)<span>  </span>)<span>  </span>For instance, Schoenberg’s Suite for Piano was the first of his influential works that started this evolutionary change in music.<span>  </span>Schoenberg’s other works like Violin Concerto and A Survivor from Warsaw signaled the change and transition to what would eventually become Western music.<span>  </span>(www.allmusic.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly is of deeper more serious tones even in the times when one would expect more of a jovial air.<span>  </span>The images of the opera and the words and the music are all undeniably tied together.<span>  </span>The drama surrounding the story of Butterfly and Pinkerton could not be told without the story created by Giacomo Puccini.<span>  </span>Puccini created a common theme within all of his works, that of “He who has lived for love, has died for love.” (www.britannica.com)<span>  </span>Many of the heroines within his works would eventually fall prey to their own devotions to their lovers.<span>  </span>This idea is quite prominent within Madama Butterfly.<span>  </span>The Puccini style of opera held a strong “emotional appeal but also the restricted scope” of his style.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Puccini was able to apply his own experiences to his characters and vice versa, he was able to channel his characters through himself.<span>  </span>Puccini was an intelligent opera creator who was well aware that an opera’s success is not based solely on its actions.<span>  </span>The lyrics and moments of contemplation are equally important.<span>  </span>He created original musical elements and melodies for these moments.<span>  </span>Death arias and rising moments of passion and radiance were created specifically for these times.<span>  </span>(www.britannica.com)<span>  </span>Puccini held an understanding for the melodies common to 19th century Italian opera but was simultaneously able to channel the likes of Stravinsky.<span>  </span>Puccini’s early works such as La Bohemme showed his capabilities early on.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">These characteristics can be seen in Madama Butterfly.<span>  </span>For instance, Puccini ran off with his married lover and engaged in an illegal union which produced a child.<span>  </span>It wasn’t until the death of her husband in 1904 – the year of the first performance – that they were able to legally marry.<span>  </span>While Butterfly and Pinkerton were not part of an illicit affair, Pinkerton did leave her to return to America for another woman.<span>  </span>In the end, Butterfly killed herself.<span>  </span>The dramatic relationship within the music and story is comparable to that of Puccini’s own life.<span>  </span>Throughout the opera, while the music itself wasn’t exactly complex, there were rises and falls and tone changes and musical passion which enabled a better telling in the story.<span>  </span>For the most part, the music betrayed little emotion.<span>  </span>It was these creations of Puccini’s that changed the opera entirely.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially, the citizens of the time had a fairly indifferent view.<span>  </span>Not many were very excited about the piece.<span>  </span>Many felt that it was too much like his previous works to warrant any significant amount of excitement.<span>  </span>During the original performance individuals were placed throughout the theater to insert outdoor noises into the performance.<span>  </span>However, it created such chaos that the initial reception was not all that grand.<span>  </span>(www.musicweb.ecsd.edu) With the “replay” came a much better reception.<span>  </span>There was considerable speculation that there was a conspiracy behind the entire fiasco.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Prior to the performance many members of the press held a bitter attitude toward Puccini and the opera itself.<span>  </span>Performers were forced to learn their parts a few pages at a time due largely to the release being so close to his previous piece.<span>  </span>The publisher required high degrees of secrecy.<span>  </span>The performers were not allowed to take their music/parts from the theater.<span>  </span>Not only was the publisher afraid of them being lost, but he was also convinced it would increase the level of suspense from the spectators.<span>  </span>(www.columbia.edu)<span>  </span>It was this “high-handed” aura.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">The chaos of the premier wasn’t entirely at the fault of the strategically placed performers in the audience.<span>  </span>The close resemblance to La Bohemme seemed to irritate many of the critics and audience.<span>  </span>This seemed to only enhance to growing fiasco.<span>  </span>This fiasco seemed to be a surprise to people despite this.<span>  </span>Scholars<span>  </span>seemed to find structural issues with the opera such as the length of the acts.<span>  </span>It is also felt that the negative air generated by the Japanese-Russian conflict could have influenced the general reception among the public.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Madama Butterfly<span>  </span>is much better received in today’s society.<span>  </span>This can be seen in the fact that it is performed over and over again both in the States as well as abroad, especially in Italy.<span>     </span>Over the course of time, the sting of the fiasco of the premier has had a chance to dwindle.<span>  </span>Structurally speaking, there is still<span>  </span>question over the length of the acts but this has been much better received with the passage of time.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Still today there are countless performances.<span>  </span>For example, the LA Opera, the Metropolitan Opera, and the Seattle Opera are just a few that perform in the United States.<span>  </span>It is also performed in countless other theaters across the world such as the Sferisterio Opera at the Sferisterio Opera Festival in Italy.<span>  </span>There are also museum displays around the world that either did or do exist that have some connection to Puccini and his work.<span>  </span>For example, the Morgan Library &amp; Museum in New York, New York held a display of the original manuscripts in commemoration of the 150th anniversary of Giacomo Puccini’s death. (www.themorgan.org) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Initially,<span>  </span>I was not at all what one would term thrilled.<span>  </span>I knew little to nothing about the work itself outside of a few snippits of video I had seen in music classes over the years.<span>  </span>Upon choosing this topic for my TCP, I looked over a few different copies of a synopsis summarizing the opera in an order to actually learn what this was about.<span>  </span>Then I watched Madama Butterfly in its entirety.<span>  </span>I must say that I now hold a considerably different view.<span>  </span>This is one amazing piece of theatrical excellence.<span>  </span>The story emphasizes this dramatic love story full of emotion and turmoil.<span>  </span>There is also Butterfly’s struggle to change her life and herself only to be jilted by Pinkerton.<span>  </span>Quite honestly, I thought the man to be a coward and a spineless weasel.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">From a structural standpoint, I am no operatic genius the likes of Puccini.<span>  </span>However, I do agree with the scholarly standpoint that the acts were a bit lengthy.<span>  </span>Had I not done previous research to better understand the actual plot line, I would not have been able to sit through the entire two hour performance.<span>  </span>At the end,<span>  </span>I am glad to have put the time and effort into this.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When compared to Igor Stravinsky’s Song of the Nightingale both similarities and differences are noticeable.<span>  </span>There is the obvious content similarity of the Asian basis.<span>  </span>Nightingale is Chinese and Butterfly is Japanese, but the Asian<span>  </span>basis is there.<span>  </span>With regard to content, the story/plot line is different.<span>  </span>Butterfly is/was more of a love story turned drama while Nightingale is about the Chinese emperor’s fixation or enchantment with the song of the nightingale and the power of the nightingale’s song.<span>  </span>(www.classicalarchives.com)</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">When addressing the opera itself, again there are similarities and differences.<span>  </span>For example, the intensity of Nightingale’s<span>  </span>music seems to carry throughout the work.<span>  </span>Some places are lighter than others and some are heavier than others, but for the majority, the intensity seems to follow through fairly consistently.<span>  </span>With the music of Butterfly, there are more rises and falls.<span>  </span>There are more places in which the change in mood is more obvious within Butterfly.<span>  </span>Nightingale is supposed to be about the power of the nightingale and its music.<span>  </span>There also seems to be much less singing within Nightingale (youtube.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">There is also the obvious difference in length.<span>  </span>Madama Butterfly is three acts of considerable length.<span>  </span>The opera in its entirety is approximately two hours long, over twice what was common at the time.<span>  </span>However, Stravinsky’s Song of the Nightingale is only two much shorter acts totalling to approximately 45 minutes in length.<span>  </span>Some have gone so far as to say Nightingale is more like being<span>  </span>“three scenes in a single act opera.” (White in Archives)<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">First and foremost, Giacomo Puccini was an operatic genius.<span>  </span>He understood early on that the actions of the opera and the music were of equal importance.<span>  </span>He was able to create and integrate original musical elements which enabled him to tell the story of Butterfly and Pinkerton with such finesse thus adding a second reason for which Madama Butterfly should and must be preserved.<span>  </span>Whether the audience knew what was going on or not, it wouldn’t have been very difficult to get some small grasp on the story line.<span>  </span>Puccini changed the face of opera forever which his ups and downs, rises and falls, and actually create emotion with music.<span>  </span>This is a side to opera that future generations must come to know and appreciate, and Puccini’s Butterfly is the perfect example to teach this.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Secondly, Butterfly was created in a time when the need for cultural assimilation was necessary and cultural understanding wasn’t exactly widespread.<span>  </span>On the verge of the first world war, international horizons were full of immigration, political strife, individual changes, and stories like that of Butterfly and Pinkerton.<span>  </span>By illustrating this constant need for assimilation and the accompanying emotions with his music, Puccini creates a work that is relatable and real-life.<span>  </span>In a time when our society is even more culturally diverse than it was then, it is even more important for those of this generation and those to come to grasp the struggle.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: .5in\">[youtube]http://www.youtube.com/watch?v=j8XEyHHr2K8[/youtube]</p>\r\n<p class=\"MsoNormal\" style=\"text-align: center\" align=\"center\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Works Cited</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">PBS. PBS, n.d. Web. 14 Oct. 2013. &lt;www.pbs.org/wnet/gperf/education/puccini.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a PBS website containing biographical information on Giacomo Puccini.<span>  </span>I used this particular website to learn about Puccini at the time of his writing, how he may have shown his life through his work, and also as an alternative means for historical background.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia Univeristy. Columbia University, n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/fiasco.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a website sponsored by Columbia University which led to an html file on <i>Madama Butterfly</i>.<span>  </span>This particular information proved useful in researching reception at the time of production/release, more specifically the fiasco that ensued on the day of its original release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Pasler, J. USCD, n.d. Web. 14 Oct. 2013. &lt;musicweb.ucsd.edu/~jpasler/wp/wp-</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span><span> </span>content/uploads/2012/06/Pasler-Japonisme2008.pdf&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a critical analysis of <i>Madama Butterfly</i> by Jann Pasler which focuses on the Japanese aspect and the concerns with assimilation.<span>  </span>It also holds information to better understand the reception at the time.<span>  </span>Pasler explains that Russian-Japanese tensions at the time could have affected the reception.<span>  </span>I used this as a second means to understand the reception of this opera at the time considering the obvious Japanese content.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/life-italy-during-19th-century&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of <i>Madama Butterfly</i>.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"Life in Italy - 1900.\" Life in Italy. N.p., n.d. Web. 14 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;http://www.lifeinitaly.com/history/italy-1900&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***Again,</span> <span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Life in Italy is a website that contains information of Italy and its history.<span>  </span>It allows for an understanding of the historical happenings at the time of Puccini’s birth as well as the creation of Madama Butterfly.<span>  </span>I used this to learn what was happening in Italy and the surrounding world(s) and how it could have potentially influenced Puccini and his work.<span>  </span>This particular section was more tailored toward the time of release.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\">[youtube]<a href=\"http://www.youtube.com/watch?v=pxL16AqWZ6A\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.youtube.com/watch?v=pxL16AqWZ6A</span></a>[/youtube]</p>\r\n<p class=\"MsoNormal\">http://www.youtube.com/watch?v=j8XEyHHr2K8</p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a YouTube showing of <i>Madama Butterfly </i>in its entirety.<span>  </span>A bit long but very enjoyable.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Columbia University. Columbia University, n.d. Web. 20 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>&lt;www.columbia.edu/itc/music/NYCO/butterfly/synopsis.html&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is a synopsis of the opera.<span>  </span>It explained all three acts.<span>  </span>I used this to actually know what the opera was about as I had no idea prior to this assignment.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Education Scotland. Education Scotland, n.d. Web. 21 Oct. 2013. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&lt;</span><a href=\"http://www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">www.educationscotland.gov.uk/learnlisteningonline/higherandadvancedhigher/musicaltopics/opera/20thcentury.asp</span></a><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">&gt;</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This website is by Education Scotland.<span>  </span>This particular portion the site contains information on works of the era.<span>  </span>I used this in my efforts to compare <i>La Bohemme </i>and <i>Madama Butterfly</i>.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Staff, Rovi. \"Arnold Schoenberg - Artist Biography.\" AllMusic. AllMusic, n.d. Web. 3 Nov. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>2013. &lt;http://www.allmusic.com/artist/arnold-schoenberg-mn0000691043/biography&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website AllMusic.<span>  </span>This particular section references Arnold Schoenberg’s biography.<span>  </span>I referenced Schoenberg in an effort to understand works and trends of the time.<span>  </span>I used this site and its information in order to better understand Schoenberg and his work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">\"THE MORGAN TO DISPLAY ORIGINAL MANUSCRIPTS FROM MADAMA </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">BUTTERFLY AND LA BOHÈME IN NEW EXHIBITION ON GIACOMO PUCCINI .\" The Morgan Library &amp; Museum. N.p., 24 July 2009. Web. 3 Nov. 2013. &lt;http://www.themorgan.org/about/pressReleases2.asp?id=57&gt;.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is from the website for the Morgan Library &amp; Museum in New York.<span>  </span>It is a press release referencing a display of the original manuscript for <i><span> </span>Madama Butterfly.</i><span>  </span>I used this to get a better look at today’s reception of Puccini’s work.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"> </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">Fiero, Gloria K. The Humanistic Tradition. 6th ed. Vol. 2. N.p.: McGraw-Hill, n.d. Textbook. </span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\"><span>            </span>Web. 2013.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt;line-height: 115%;font-family: \'Times New Roman\',\'serif\'\">***This is our text book.<span>  </span>I used it for general information and for a basis for analysis.</span></p>','\"Madama Butterfly\"','','inherit','open','open','','3551-revision-v1','','','2013-11-04 13:05:37','2013-11-04 19:05:37','',3551,'http://jeanatacc.com/2011/?p=3565',0,'revision','',0),(3566,83,'2013-11-04 13:06:01','2013-11-04 19:06:01','<a href=\"http://jeanatacc.com/2011/?attachment_id=3563\" rel=\"attachment wp-att-3563\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Lumiere.jpg\" alt=\"Lumiere Factory\" width=\"254\" height=\"200\" class=\"aligncenter size-full wp-image-3563\" /></a>\r\nhttp://upload.wikimedia.org/wikipedia/en/0/05/SortiedesOuvriersdel1895-01.jpg\r\n\r\n   “Break at the Lumiere Factory” is a short black and white film created by the Lumiere brothers in 1895. The Lumiere brothers worked at the factory and “were inspired by Edison\'s work that they created their own combo movie camera and projector.” The film shows workers coming out of the factory during their lunch break in France. This short film is said to be the start of early Cinema. \r\n   In this time period there was the Panic and depression going on all over the world, and workers were going on strike for better wages. Felix Faure was the president during this time and “metropolitan France was the third most populous country of Europe, behind Russia and Germany.” The Lumiere brothers were inspired by Edison’s work but wanted to improve it, they had both been sent to technical school by their father who owned a factory of his own. When they came back, “He presented his son Louis with a piece of Kinescope film, given to him by one of Edison’s concessionaires and said, \"This is what you have to make, because Edison sells this at crazy prices and the concessionaires are trying to make films here in France to have them cheaper\". The brothers worked on improving this and eventually made it smaller in size and lighter in weight.\r\n   Although it is argued that this was not the first film created, it was definitely the most popular. There was not any type of film going on at this time and people did not have the technology and entertainment we have today, and working those long boring hours you can imagine how happy workers were to be out for break!\r\n   According to the History of Film, the first public run was done in the brothers’ basement to a scientific conference and it was said to have caused a sensation. The people loved this new form of entertainment! The very first movie theatre was built and tickets were sold to see an assortment of short films they made.  In an account to reactions of this, “their film sequence of a train pulling into the station reportedly had audiences screaming and ducking for cover as they believed that the train itself was about to plow into the theater” That just shows how new this was to the people, but they still came back for more! “The Lumière Brothers were quick to patent the Cinematograph outside of their native France, applying for an English Patent on April 18th 1895.” This was the start of Cinema.\r\n    “Ironically as we look back in retrospect in comparison to what film has developed into today, the Lumiere Brothers believed it to be a medium without a future” however that is definitely not the case as we all know. In schools all around the world, students are learning about this great work and how is has impacted our lives. I have found recent video versions on YouTube being posted just within the past year.\r\n   After watching the short film and researching the work, I was impressed at how these brothers created something like this and how greatly it has impacted so much of our lives today. Personally I gained an appreciation for film and how it came about. I liked seeing the way men women dressed, how they interacted with each other. I think it is awesome to be able to look back and have a real insight to life and people back then as opposed to actors, and props, and costumes.\r\n   If you wanted to see something similar to this type of work, you can take a look at Georges Melies, who was known as the first “Cinemagician” his earliest films were remakes of the Lumiere brothers but later he went on to create his own. The most popular in my opinion is “Cendrillon” aka Cinderella in 1899. This film was black and white like that of its time but it told a story. He got the idea from the play Cinderella but was the first to make it into a short film. This was different from “Break at the Factory” because it was the first short film with scenes. \r\n   This short film is most important because it is the first official first film and was the start of our cinema that we still use today. This should definitely be preserved for years to come so that no matter how far along in technology we get, we can always look back at life in the 1900’s and appreciate these great works of our forefathers.\r\n\r\n\r\n\r\n\r\n\r\n                                        Work Cited\r\n\r\n\r\nThe History of Film written by Tim Dirks. Film History before 1920 Part 2\r\nGeorges Méliès Trick Films 1899, by Scott Ashlin\r\n\"Lumière, Louis Jean and Auguste.\" World Encyclopedia. 2005.Encyclopedia.com. 29 Oct. 2013 .\r\nhttp://www.filmsite.org/pre20sintro2.html\r\nhttp://www.earlycinema.com/pioneers/lumiere_bio.html\r\nhttp://www.alchemists.com/visual_alchemy/lumiere.html\r\nhttp://en.wikipedia.org/wiki/F%C3%A9lix_Faur%C3%A9\r\n','\"Break at the Lumiere Factory','','inherit','open','open','','3559-revision-v1','','','2013-11-04 13:06:01','2013-11-04 19:06:01','',3559,'http://jeanatacc.com/2011/?p=3566',0,'revision','',0),(3587,1,'2013-11-04 22:07:04','2013-11-05 04:07:04','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/?attachment_id=3563\" rel=\"attachment wp-att-3563\"><img class=\"aligncenter size-full wp-image-3563\" alt=\"Lumiere Factory\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Lumiere.jpg\" width=\"254\" height=\"200\" /></a>\r\nhttp://upload.wikimedia.org/wikipedia/en/0/05/SortiedesOuvriersdel1895-01.jpg</p>\r\n“Break at the Lumiere Factory” is a short black and white film created by the Lumiere brothers in 1895. The Lumiere brothers worked at the factory and “were inspired by Edison\'s work that they created their own combo movie camera and projector.” The film shows workers coming out of the factory during their lunch break in France. This short film is said to be the start of early Cinema.<!--more-->\r\n\r\nIn this time period there was the Panic and depression going on all over the world, and workers were going on strike for better wages. Felix Faure was the president during this time and “metropolitan France was the third most populous country of Europe, behind Russia and Germany.” The Lumiere brothers were inspired by Edison’s work but wanted to improve it, they had both been sent to technical school by their father who owned a factory of his own. When they came back, “He presented his son Louis with a piece of Kinescope film, given to him by one of Edison’s concessionaires and said, \"This is what you have to make, because Edison sells this at crazy prices and the concessionaires are trying to make films here in France to have them cheaper\". The brothers worked on improving this and eventually made it smaller in size and lighter in weight.\r\n\r\nAlthough it is argued that this was not the first film created, it was definitely the most popular. There was not any type of film going on at this time and people did not have the technology and entertainment we have today, and working those long boring hours you can imagine how happy workers were to be out for break!\r\n\r\nAccording to the History of Film, the first public run was done in the brothers’ basement to a scientific conference and it was said to have caused a sensation. The people loved this new form of entertainment! The very first movie theatre was built and tickets were sold to see an assortment of short films they made. In an account to reactions of this, “their film sequence of a train pulling into the station reportedly had audiences screaming and ducking for cover as they believed that the train itself was about to plow into the theater” That just shows how new this was to the people, but they still came back for more! “The Lumière Brothers were quick to patent the Cinematograph outside of their native France, applying for an English Patent on April 18th 1895.” This was the start of Cinema.\r\n\r\n“Ironically as we look back in retrospect in comparison to what film has developed into today, the Lumiere Brothers believed it to be a medium without a future” however that is definitely not the case as we all know. In schools all around the world, students are learning about this great work and how is has impacted our lives. I have found recent video versions on YouTube being posted just within the past year.\r\n\r\nAfter watching the short film and researching the work, I was impressed at how these brothers created something like this and how greatly it has impacted so much of our lives today. Personally I gained an appreciation for film and how it came about. I liked seeing the way men women dressed, how they interacted with each other. I think it is awesome to be able to look back and have a real insight to life and people back then as opposed to actors, and props, and costumes.\r\n\r\nIf you wanted to see something similar to this type of work, you can take a look at Georges Melies, who was known as the first “Cinemagician” his earliest films were remakes of the Lumiere brothers but later he went on to create his own. The most popular in my opinion is “Cendrillon” aka Cinderella in 1899. This film was black and white like that of its time but it told a story. He got the idea from the play Cinderella but was the first to make it into a short film. This was different from “Break at the Factory” because it was the first short film with scenes.\r\n\r\nThis short film is most important because it is the first official first film and was the start of our cinema that we still use today. This should definitely be preserved for years to come so that no matter how far along in technology we get, we can always look back at life in the 1900’s and appreciate these great works of our forefathers.\r\n\r\nWork Cited\r\n\r\nThe History of Film written by Tim Dirks. Film History before 1920 Part 2\r\nGeorges Méliès Trick Films 1899, by Scott Ashlin\r\n\"Lumière, Louis Jean and Auguste.\" World Encyclopedia. 2005.Encyclopedia.com. 29 Oct. 2013 .\r\nhttp://www.filmsite.org/pre20sintro2.html\r\nhttp://www.earlycinema.com/pioneers/lumiere_bio.html\r\nhttp://www.alchemists.com/visual_alchemy/lumiere.html\r\nhttp://en.wikipedia.org/wiki/F%C3%A9lix_Faur%C3%A9','\"Break at the Lumiere Factory\"','','inherit','open','open','','3559-revision-v1','','','2013-11-04 22:07:04','2013-11-05 04:07:04','',3559,'http://jeanatacc.com/2011/?p=3587',0,'revision','',0),(3567,83,'2013-11-04 13:07:48','2013-11-04 19:07:48','<a href=\"http://jeanatacc.com/2011/?attachment_id=3563\" rel=\"attachment wp-att-3563\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Lumiere.jpg\" alt=\"Lumiere Factory\" width=\"254\" height=\"200\" class=\"aligncenter size-full wp-image-3563\" /></a>\r\nhttp://upload.wikimedia.org/wikipedia/en/0/05/SortiedesOuvriersdel1895-01.jpg\r\n\r\n   “Break at the Lumiere Factory” is a short black and white film created by the Lumiere brothers in 1895. The Lumiere brothers worked at the factory and “were inspired by Edison\'s work that they created their own combo movie camera and projector.” The film shows workers coming out of the factory during their lunch break in France. This short film is said to be the start of early Cinema. \r\n\r\n   In this time period there was the Panic and depression going on all over the world, and workers were going on strike for better wages. Felix Faure was the president during this time and “metropolitan France was the third most populous country of Europe, behind Russia and Germany.” The Lumiere brothers were inspired by Edison’s work but wanted to improve it, they had both been sent to technical school by their father who owned a factory of his own. When they came back, “He presented his son Louis with a piece of Kinescope film, given to him by one of Edison’s concessionaires and said, \"This is what you have to make, because Edison sells this at crazy prices and the concessionaires are trying to make films here in France to have them cheaper\". The brothers worked on improving this and eventually made it smaller in size and lighter in weight.\r\n\r\n   Although it is argued that this was not the first film created, it was definitely the most popular. There was not any type of film going on at this time and people did not have the technology and entertainment we have today, and working those long boring hours you can imagine how happy workers were to be out for break!\r\n\r\n   According to the History of Film, the first public run was done in the brothers’ basement to a scientific conference and it was said to have caused a sensation. The people loved this new form of entertainment! The very first movie theatre was built and tickets were sold to see an assortment of short films they made.  In an account to reactions of this, “their film sequence of a train pulling into the station reportedly had audiences screaming and ducking for cover as they believed that the train itself was about to plow into the theater” That just shows how new this was to the people, but they still came back for more! “The Lumière Brothers were quick to patent the Cinematograph outside of their native France, applying for an English Patent on April 18th 1895.” This was the start of Cinema.\r\n\r\n    “Ironically as we look back in retrospect in comparison to what film has developed into today, the Lumiere Brothers believed it to be a medium without a future” however that is definitely not the case as we all know. In schools all around the world, students are learning about this great work and how is has impacted our lives. I have found recent video versions on YouTube being posted just within the past year.\r\n   After watching the short film and researching the work, I was impressed at how these brothers created something like this and how greatly it has impacted so much of our lives today. Personally I gained an appreciation for film and how it came about. I liked seeing the way men women dressed, how they interacted with each other. I think it is awesome to be able to look back and have a real insight to life and people back then as opposed to actors, and props, and costumes.\r\n\r\n   If you wanted to see something similar to this type of work, you can take a look at Georges Melies, who was known as the first “Cinemagician” his earliest films were remakes of the Lumiere brothers but later he went on to create his own. The most popular in my opinion is “Cendrillon” aka Cinderella in 1899. This film was black and white like that of its time but it told a story. He got the idea from the play Cinderella but was the first to make it into a short film. This was different from “Break at the Factory” because it was the first short film with scenes. \r\n\r\n   This short film is most important because it is the first official first film and was the start of our cinema that we still use today. This should definitely be preserved for years to come so that no matter how far along in technology we get, we can always look back at life in the 1900’s and appreciate these great works of our forefathers.\r\n\r\n\r\n\r\n\r\n\r\n                                        Work Cited\r\n\r\n\r\nThe History of Film written by Tim Dirks. Film History before 1920 Part 2\r\nGeorges Méliès Trick Films 1899, by Scott Ashlin\r\n\"Lumière, Louis Jean and Auguste.\" World Encyclopedia. 2005.Encyclopedia.com. 29 Oct. 2013 .\r\nhttp://www.filmsite.org/pre20sintro2.html\r\nhttp://www.earlycinema.com/pioneers/lumiere_bio.html\r\nhttp://www.alchemists.com/visual_alchemy/lumiere.html\r\nhttp://en.wikipedia.org/wiki/F%C3%A9lix_Faur%C3%A9\r\n','\"Break at the Lumiere Factory\"','','inherit','open','open','','3559-revision-v1','','','2013-11-04 13:07:48','2013-11-04 19:07:48','',3559,'http://jeanatacc.com/2011/?p=3567',0,'revision','',0),(3568,83,'2013-11-04 13:07:54','2013-11-04 19:07:54','<a href=\"http://jeanatacc.com/2011/?attachment_id=3563\" rel=\"attachment wp-att-3563\"><img src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Lumiere.jpg\" alt=\"Lumiere Factory\" width=\"254\" height=\"200\" class=\"aligncenter size-full wp-image-3563\" /></a>\r\nhttp://upload.wikimedia.org/wikipedia/en/0/05/SortiedesOuvriersdel1895-01.jpg\r\n\r\n   “Break at the Lumiere Factory” is a short black and white film created by the Lumiere brothers in 1895. The Lumiere brothers worked at the factory and “were inspired by Edison\'s work that they created their own combo movie camera and projector.” The film shows workers coming out of the factory during their lunch break in France. This short film is said to be the start of early Cinema. \r\n\r\n   In this time period there was the Panic and depression going on all over the world, and workers were going on strike for better wages. Felix Faure was the president during this time and “metropolitan France was the third most populous country of Europe, behind Russia and Germany.” The Lumiere brothers were inspired by Edison’s work but wanted to improve it, they had both been sent to technical school by their father who owned a factory of his own. When they came back, “He presented his son Louis with a piece of Kinescope film, given to him by one of Edison’s concessionaires and said, \"This is what you have to make, because Edison sells this at crazy prices and the concessionaires are trying to make films here in France to have them cheaper\". The brothers worked on improving this and eventually made it smaller in size and lighter in weight.\r\n\r\n   Although it is argued that this was not the first film created, it was definitely the most popular. There was not any type of film going on at this time and people did not have the technology and entertainment we have today, and working those long boring hours you can imagine how happy workers were to be out for break!\r\n\r\n   According to the History of Film, the first public run was done in the brothers’ basement to a scientific conference and it was said to have caused a sensation. The people loved this new form of entertainment! The very first movie theatre was built and tickets were sold to see an assortment of short films they made.  In an account to reactions of this, “their film sequence of a train pulling into the station reportedly had audiences screaming and ducking for cover as they believed that the train itself was about to plow into the theater” That just shows how new this was to the people, but they still came back for more! “The Lumière Brothers were quick to patent the Cinematograph outside of their native France, applying for an English Patent on April 18th 1895.” This was the start of Cinema.\r\n\r\n    “Ironically as we look back in retrospect in comparison to what film has developed into today, the Lumiere Brothers believed it to be a medium without a future” however that is definitely not the case as we all know. In schools all around the world, students are learning about this great work and how is has impacted our lives. I have found recent video versions on YouTube being posted just within the past year.\r\n   After watching the short film and researching the work, I was impressed at how these brothers created something like this and how greatly it has impacted so much of our lives today. Personally I gained an appreciation for film and how it came about. I liked seeing the way men women dressed, how they interacted with each other. I think it is awesome to be able to look back and have a real insight to life and people back then as opposed to actors, and props, and costumes.\r\n\r\n   If you wanted to see something similar to this type of work, you can take a look at Georges Melies, who was known as the first “Cinemagician” his earliest films were remakes of the Lumiere brothers but later he went on to create his own. The most popular in my opinion is “Cendrillon” aka Cinderella in 1899. This film was black and white like that of its time but it told a story. He got the idea from the play Cinderella but was the first to make it into a short film. This was different from “Break at the Factory” because it was the first short film with scenes. \r\n\r\n   This short film is most important because it is the first official first film and was the start of our cinema that we still use today. This should definitely be preserved for years to come so that no matter how far along in technology we get, we can always look back at life in the 1900’s and appreciate these great works of our forefathers.\r\n\r\n\r\n\r\n\r\n\r\n                                        Work Cited\r\n\r\n\r\nThe History of Film written by Tim Dirks. Film History before 1920 Part 2\r\nGeorges Méliès Trick Films 1899, by Scott Ashlin\r\n\"Lumière, Louis Jean and Auguste.\" World Encyclopedia. 2005.Encyclopedia.com. 29 Oct. 2013 .\r\nhttp://www.filmsite.org/pre20sintro2.html\r\nhttp://www.earlycinema.com/pioneers/lumiere_bio.html\r\nhttp://www.alchemists.com/visual_alchemy/lumiere.html\r\nhttp://en.wikipedia.org/wiki/F%C3%A9lix_Faur%C3%A9\r\n','\"Break at the Lumiere Factory\"','','inherit','open','open','','3559-autosave-v1','','','2013-11-04 13:07:54','2013-11-04 19:07:54','',3559,'http://jeanatacc.com/2011/?p=3568',0,'revision','',0),(3601,1,'2013-11-04 22:18:32','2013-11-05 04:18:32','&nbsp;\r\n<p align=\"center\">“Listen. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their creator with certain unalienable rights that among these are life, liberty, and the pursuit of happiness.” Thomas Jefferson.</p>\r\nLiberty, what is Liberty? It is not a statue. Although that is what we picture when we say liberty. By definition, liberty is the state or condition of people who are able to act and speak freely. It is not a statue. The Statue is only a symbol. The statue is only copper, granite, steel, and iron. The statue speaks to us; what it makes us feel inside is what makes it so significant. Liberty is what we as Americans always wanted. It was what the country was founded on and what the Revolution was fought for. Therefore the Statue of Liberty should be preserved for individual reasons and beliefs, as well as the creative and artistic intellect of Frederic Augusta Bartholdi along with the architectural brilliance of Alexander Gustave Eiffel.<!--more-->\r\n\r\nIn 1861 the northern and southern United States had tensions over issues of state rights versus federal authority, westward expansion and how slavery blew up in the American Civil War (1861-1865). When Republican Abraham Lincoln was elected in 1860, he was known as the anti-slavery president that caused seven southern states to break away from the Union to form the Confederate States of America. Later four more joined them after the first shots of the Civil War were fired. Four years of vicious conflict of historic battles such as Bull Run (Manassas), Gettysburg and Vicksburg to just to name a few, the Civil War position neighbor against neighbor. The Confederate States surrender in 1865 with the Civil War being established as the most tragic war ever fought on American soil.  620,000 of 2.4 million soldiers were killed, millions more injured, and the population and territory of the South was devastated. Around the same time cross the ocean a French political intellectual and authority on the U.S. Constitution by the name Eduardo Laboulaye held a dinner party and proposed an idea to give a monument representing liberty to the U.S. independence by the centennial year. (1876) A sculptor by the name of Frederic Augusta Bartholdi was at the party and was very intrigued by the proposal of Laboulaye, he enthusiastically supports his proposed statue and becomes the sculptor. In 1867 Bartholdi proposed a huge statue of an Egyptian robed women holding a torch for the opening of the Suez Canal with a meaning of “Egypt bringing the light to Asia” Bartholdi said. However; Egypt denied his offer, nevertheless Bartholdi stayed undiscouraged and kept his drawings. In 1871 Laboulaye urged Bartholdi to take a trip to the United States to promote the statue. As he sails through the New York harbor he saw Bedloe’s Island and said to himself this is where I should erect my statue. This is what people should see when they view the new world. In 1872 Bartholdi returns to France to report interest in the statue and declares the ideal spot for Liberty.\r\n\r\nThe Statue of Liberty creators strongly felt that the project should be a joint effort, as the French would agree to fund the statue if the American’s fund the pedestal. The Franco-American Union committee approves Bartholdi’s plaster model of “Liberty enlightening the world “in 1875 and fundraised 600,000 Francs that Bartholdi claimed he would need.  Laboulaye presented a formal request to the President Ulysses S. Grant. The statue’s life began in Paris, France and the Statue\'s hand holding the torch was completed in 1876 and sent to Philadelphia on May 18<sup>th</sup> to be displayed at the Centennial Exposition. Then in 1877 the Statue\'s hand and torch was moved and displayed at Madison Square in New York City where it remained until 1882.\r\n\r\nFebruary 22, 1876 the U.S. Congress accepted the Statue of Liberty as a gift from the people of France. One week later on March 3<sup>rd</sup> 1876 President Ulysses S. Grant signed a bill designating Bedloe\'s Island as the Statue\'s site. The United States began fundraising for the construction of the pedestal through the American Committee for the Statue of Liberty which raised $125,000 between 1877 and 1884.\r\n\r\nWhen the arm and torch returned to Paris, Bartholdi was struck with a dilemma. Bartholdi was unsure on how a structure so big would be put together and transported across an ocean and kept stable on its pedestal. That is when Bartholdi enlisted in the help of Alexander Gustave Eiffel. Eiffel was well recognized for his bold bridges in France and later would go on to create the most famous tower in the world. (Eiffel Tower) Over the course of a year, Eiffel devised framework that would be sturdy but elastic and not only carry the 80-ton copper skin, but also be protected from all the elements such as heat and cold. Eiffel began to build his master piece in the courtyard of Gaget and Gauthier. The base was a sturdy pylon assembled of crossed-braced iron post that stands 96 feet high. This supported the framework of light beams and the most resourceful of all, was the hundreds of short, thin iron bars fitted to the framework. This in turn would attach directly to the inside of the copper skin. They would act like spring and allow the statue to sway, swing, contract, and breath.\r\n\r\nYears later Alexander Gustave Eiffel put his thumb print in history architect when he designed the Eiffel Tower. The Eiffel Tower was built for the 1889 Exposition Universelle to celebrate the 100th year anniversary of the French Revolution. The tower stands at 1,063 ft tall surpassing the Statue of Liberty by an easy 758 ft. On March 30, 1885 Eiffel presented his project to the Société des Ingiénieurs Civils. The discussions was of technical problems and emphasizing the practical uses of the tower, Eiffel concluded the discussion by stating that the tower would symbolize \"not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France\'s gratitude.\"  The tower was attracting criticism from those who did not believe that it was reasonable and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about the relationship between architecture and engineering. At the time the tower was built, many people were stunned by its bold shape. Eiffel was criticized for the design and accused of trying to create something artistic, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind.\r\n\r\nOn July 4, 1884 Liberty was formally handed over to the Minister of the United States Levi P. Morton. Workers dismantled the statue and load it into 210 crates, 36 of them were just for nuts, bolts, and rivets and the statue was placed on a warship named Lsere to set sail on May 21, 1885. Half way through the trip a storm hit and for 72 hours Lsere struggled to stay up right from all the heavy cargo aboard. When Lsere reached New York it was greeted by nearly 100 ships. However; no one knew if the statue would ever be reassembled. The United States was unable to fund the work on the pedestal and work had to stop. After a year of fundraising and working on the pedestal, workman began prying open the crates in the spring of 1886, which had been sitting on Bedloe’s Island for a year. In just three months the Statue of Liberty stood tall again at an astonishing 305 feet and 1 inch from the ground up. Finally 21 years after the dinner at Laboulaye, just 15 years before Bartholdi first sailed to New York, 10 years after American centennial celebration for which the statue was originally intended for, just a mere 3 days before the official unavailing. Bartholdi inspected his finished work and said “I believe that it will last until eternity”.\r\n\r\nIn 1982, the statue was in substantial need of restoration. The right arm had been improperly attached to the main structure. When strong winds blew it would sway and there was cause for significant risk of structural failure. The head had been installed two feet off center, along with the right arm wearing a hole, this could be seen when the statue moved in the wind. The structure was so corroded that about two percent of the exterior plates needed to be replaced. Although problems with the framework had been recognized in 1936 when they replaced some of the cast iron bars, much of the corrosion had been hidden by the multiple layers of paint applied over the years. The torch was leaking water since the 1916 alterations were the torch was replaced with an exact replica of Bartholdi\'s unaltered torch. In 1984 the statue was closed to the public for the duration of the renovation. The entire skeleton designed by Alexander Gustave Eiffel was replaced with low-carbon corrosion-resistant stainless steel bars, which now hold the staples next to the skin that which are made of Ferralium. This is an alloy that bends slightly and returns to its original shape as the statue moves. The statue reopened on July 3-6, 1986 which was designated “Liberty Weekend” and marked the centennial. When President Reagan presided over the rededication, with French President Francois Mitterrand in attendance, Regan said in his speech “We are the keepers of the flame of liberty; we hold it high for the world to see.\".\r\n\r\nThe Statue of Liberty isn’t a warrior, she isn’t overbearing, domineering or threatening, and she isn’t a symbol of power. The Statue of Liberty is a symbol of freedom. As we are all the beneficiary of those who have come before us, who have worked, fought, cared vastly to the very depth of their soul and paid the ultimate sacrifice to achieve liberty.\r\n<p align=\"center\">“Give me your tired, your poor,</p>\r\n<p align=\"center\">Your huddled masses yearning to breathe free,</p>\r\n<p align=\"center\">The wretched refuse of your teeming shore.</p>\r\n<p align=\"center\">Send these, the homeless, tempest-tossed, to me:\r\nI lift my lamp beside the golden door.“</p>\r\n<p align=\"center\">Quote on the Statue of Liberty.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nCited\r\n\r\n\"The Statue of Liberty? A Film by Ken Burns.\" Films On Demand. Films Media Group, 1985. Web. 23 Oct. 2013. &lt;http://digital.films.com/PortalPlaylists.aspx?aid=17517&amp;xtid=44164&gt;.\r\n\r\n<a href=\"http://www.pbs.org/kenburns/statueofliberty/timeline/\">http://www.pbs.org/kenburns/statueofliberty/timeline/</a>\r\n\r\n<a href=\"http://www.nps.gov/stli/historyculture/liberty-island-a-chronology.htm\">http://www.nps.gov/stli/historyculture/liberty-island-a-chronology.htm</a>\r\n\r\n<a href=\"http://www.zyra.org.uk/liberty1.htm\">http://www.zyra.org.uk/liberty1.htm</a>\r\n\r\n<a href=\"http://www.tour-eiffel.fr/en/everything-about-the-tower/the-major-events.html\">http://www.tour-eiffel.fr/en/everything-about-the-tower/the-major-events.html</a>\r\n\r\n<a href=\"http://www.history.com/topics/american-civil-war\">http://www.history.com/topics/american-civil-war</a>','The Statue of Liberty','','inherit','open','open','','3533-revision-v1','','','2013-11-04 22:18:32','2013-11-05 04:18:32','',3533,'http://jeanatacc.com/2011/?p=3601',0,'revision','',0),(3570,84,'2013-11-04 23:57:10','2013-11-05 05:57:10','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/brady.jpg\"><img class=\"size-medium wp-image-3615 aligncenter\" alt=\"brady\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/brady-300x168.jpg\" width=\"300\" height=\"168\" /></a>\"Photograph by Alexander Gardner. <em>Dead at Antietam.</em> October 1862\"</p>\r\nFrom the seventeenth to nineteenth centuries, art was an excellent way to portray wars and inventions around the world. Painting showed how artists viewed events, and it successfully could appeal to and shaped how people felt about the world around them. However, beginning in 1835, art had experienced a new rival in terms of picture taking. Photography became popular in the United States and Europe, and this concept brought to the world a more vivid grasp of Realism. By the mid-nineteenth century, people worldwide thought that the camera was an amazing tool. People took photos of geographical icons and monuments. Wars were also a major interest, which inspired photographer Matthew Brady to take a collection of Civil War photographs. One of these photographs was Dead at Antietam, which was part of the Civil War collection of the Battle of Antietam in 1863. When these photographs were shown to people, the people got a true essence of what war was like during this time period, as witnessed by photographers. The work Dead at Antietam by Matthew Brady should be restored because people who enjoy photography would be very interested in learning about its origins.<!--more-->\r\n\r\nBrady’s Battle of Antietam series, including Death at Antietam, were innovative of the nineteenth century because this is the first time in history that people experienced the horrific life of war. Seeing realistic vivid footage of war was extremely alarming to people as well as influential. On the bright side, this new concept of photography allowed Civil War soldiers and families to see pictures of each other. It also served a method of communication between the home and war fronts so all Americans could see what was going on with their loved ones. Thanks to photography, mothers and children of soldiers got a big picture of the tragic and bloody events of the American Civil War. (Wert)\r\n\r\nUnlike art, which did not portray Realism, photography had people frightened about the massive shootings in the North. The American Civil War was the first war to be shown in photographs instead of canvas art. People across America were enlightened by photography, especially Civil War soldiers, who had a great opportunity of connecting with their families. On the war front, soldiers had professional photographs sent home thanks to portrait studios being established on army campsites. Americans were thankful for these photos because they never knew if their loved ones would return home again. With realistic pictorial images, photography was a source of visual information across the United States that was helpful in keeping families together. (American History Online)\r\n\r\nIn the era of the twenty-first century, Brady’s photographs have traveled all across the United States. Museums such as the Smithsonian’s National Portrait Gallery and the National Civil War Medicine. At the Smithsonian, portraits of Civil War Union soldiers are currently on display. At the National Museum of Civil War Medicine, the Antietam series has been recreated and put on display. To this day, Brady’s portraits have been a liking to museum scholars alike as well as museum patrons. (Encyclopedia of World Biography)\r\n\r\nBrady’s work has sparked my interests because I knew very little about photography’s origins, nor did I know that war was a big interest to early photographers. I was impressed how early cameras took extraordinary photographs. Also, I found amazing how much these photographs how big of an impact these photographs had on families on the home front. One thing I did not appreciate so much is the fact that Brady was credited for fellow co-photographer Alexander Gardener’s work. I believe that Gardener should have received credit because he had taken most of the photos. If I was Brady, I would have given Gardner full credit for his work and praised him for taking the photographs for me.\r\n\r\nWhile the debut of taking war photographs occurred during the Civil War, the concept of showing war on television first appeared during the Vietnam War. This televised war had a big impact on families across the United States for ten years because these families ate dinner and watched soldiers being killed. Like Brady’s Civil War photographs, people were disturbed by the sights of the shootings. Having the ability of witnessing moving pictures and sounds, people became increasingly terrified of watching the evening news. Due to television, the Vietnam War was more frightening than the Civil War because of the effect of moving pictures.\r\n\r\nThe Tet Offensive became the most controversial massacre to be shown on television. People no longer trusted President Lyndon B. Johnson when they saw North Vietnam launching an attack on the United States in Saigon. The evening news had a major effect visually on people as the Vietnam War was the primary news focus on television. In comparison with Brady’s photographs, the Vietnam War television sights were frightening to people in this time period. These two visual sources were successful as they portrayed these wars to Americans by stirring horrific emotions.\r\n\r\nThe photographs by Matthew Brady, especially the Battle of Antietam series, should be restored because I believe learning what the first photographers were interested in may be of interest to people. I think the origins of photography are interesting to learn about because many people like me do not know how photography was invented. For a fact, I am definitely one of those people who found the history of photography to be of great interest. Along with Brady’s Antietam photographs, I think that the stories of the reactions of people and families of soldiers should be restored as well. These people’s stories would provide a good prospective of how they reacted when they viewed these photos for the first time. I enjoyed learning about Matthew Brady as well as the history of photography. As a student, my overall reaction was outstanding when I found out what a large impact on Civil War families. These portraits should definitely be restored to tell stories about how photography was a huge success in the beginning as well as to tell about the Civil War.\r\n\r\nBibliography:\r\n\r\n\"Mathew B. Brady.\" <i>Encyclopedia of World Biography</i>. Detroit: Gale, 1998. <i>World History In Context</i>. Web. 18 Oct. 2013.\r\n\r\nWert, Jeffry D. \"Civil War Photography.\" <i>Civil War Times</i> 45.6 (2006): 7. <i>MasterFILE Premier</i>. Web. 20 Oct. 2013.\r\n\r\n&nbsp;\r\n\r\n\"Civil War Photography.\" <i>www.fofweb.com</i>. American History Online, Web. 20 Oct. 2013.','Matthew Brady\'s Civil War Photography','','publish','open','open','','matthew-bradys-civil-war-photography','','','2013-11-25 13:00:02','2013-11-25 19:00:02','',0,'http://jeanatacc.com/2011/?p=3570',0,'post','',13),(3571,75,'2013-11-04 13:40:04','2013-11-04 19:40:04','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/1863gardner1.jpg\"><img class=\"aligncenter size-medium wp-image-3589\" alt=\"1863gardner1\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/1863gardner1-300x232.jpg\" width=\"300\" height=\"232\" /></a>\r\n<p style=\"text-align: center;\">http://www.museumofhoaxes.com/images/database/1863gardner1.jpg</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/1863gardner2.jpg\"><img class=\"aligncenter size-medium wp-image-3590\" alt=\"1863gardner2\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/1863gardner2-300x238.jpg\" width=\"300\" height=\"238\" /></a>\r\n<p style=\"text-align: center;\">http://www.museumofhoaxes.com/images/database/1863gardner2.jpg</p>\r\nHome of a Rebel Sharpshooter\r\n\r\nBy Alexander Gardner (1821-1882)\r\n\r\nIn July, 1863.\r\n\r\nThe general story outline is all about the photographs taken by Gardner and Timothy O’Sullivan at the Gettysburg battlefield in July 1863. The controversy surrounding the photographs that it was not the original stage of the wounded soldier that Gardner and his assistance fabricated and manipulated the home of the rebel sharpshooter to suit the photographic image taken, and the differences in the appearance of the photographs taken three days after the battle. The one taken in Devil’s den and the shots taken in the home of a rebel sharpshooter.<!--more-->\r\n\r\nSeveral shots of photographs were taken by Gardner of the dead soldier, “ Geographic features place four of the six photographs at the southern slope of Devil’s Den (top) and two at what Gardner called the “ sharpshooter’s Den”. The series of photographs showing the aftermath of the Battle of Gettysburg depicts historically the photographic image of the Civil War at Gettysburg in his time.\r\n\r\nThe photographic work of Gardner was categorized of shots taken of the wounded soldier three days of the battlefield at Gettysburg and the stage manage Home of a Rebel sharpshooter. The photographic work was proven influential in defining the image of the Civil War for many Americans in his era.\r\n\r\nThe photographic work of Gardner was unusual and unique because it was able to illustrate the image of the home of a Rebel sharpshooter, built up between two hugs rocks, a stone wall, from the crevices, wounded and laying waste on the Ground with dismounted guns, wrecked caissons, and the debris of a broken army.\r\n\r\nThe photographic work of Gardner was able to define the image of the civil war in its era; it showed vividly the photographs of the home of a rebel sharpshooter, lying down wounded upon his blanket to await death, the shots taken in the battlefield of Gettysburg.\r\n\r\nThe people of today believe that the photographic work of Gardner on the home of a rebel sharpshooter was stage managed. They believe the dead wounded confederate soldier corpse and weapons was moved from the initial battlefield ground by Gardner to this place he called the home of a rebel sharpshooter. People like “Fredrick Ray, the art director of the civil war times, noticed that two of the photographs, taken in different locations on the battlefield appeared to show the same corpse”. Ray argues that the corpse body was moved forty yards to a rocky niche looking at the diagram above, the one below the home of a rebel sharpshooter”. “And that although Gardner identified the soldier as a sharpshooter, that the weapon beside him was not a sharpshooter’s Rifle. That it was probably a prop, placed there by Gardner.”\r\n\r\nDespite the view of Fredrick ray and others that Gardner’s  work of photographing the battlefield of Gettysburg were stage managed and manipulated, the work by Gardner and Timothy still remain unique and outstanding to many who sees such a magnificent photographer in the 1800’s. If proper study is not conducted hardly you can see if the work was actually fabricated.\r\n\r\nThe work of Gardner the “Home of a Rebel Sharpshooter” was comparable to the work of Timothy O’Sullivan “A Harvest of Death” because the both of them work together in taking shots of the confederate wounded soldiers in the battlefield of Gettysburg, looking at both work critically they look similar in terms of the positioning of the dead soldiers, the imagery, the style, and having the same features as a photographers.\r\n\r\nThe photographic style of Gardner, the positioning for a good dramatic image for a Photograph makes this work significant for future generations, they should be aware that the shots taken by Gardner of the Home of a Rebel sharpshooter makes him influential amongst his peers in defining the image of the civil war.\r\n\r\nThe work as a whole is based on the photographic image work of Gardner on the “Home of a Rebel Sharpshooter” at the Battlefield of Gettysburg, and how it was criticized by his critics (Fredrick Ray) that the photograph of the wounded confederate soldier in the Devil’s taken by Gardner was similar to the wounded soldier in the “Home of the Rebel Sharpshooter” that it was stage managed and a fabricated piece of work.\r\n\r\n&nbsp;\r\n\r\nCited Work:\r\n<ol>\r\n	<li><a href=\"http://www.museumofhoaxes.com/hoax/photo_database/image/a_sharpshooters_last_sleep\">http://www.museumofhoaxes.com/hoax/photo_database/image/a_sharpshooters_last_sleep</a>.</li>\r\n	<li><a href=\"http://memory.loc.gov/ammem/cwphtml/cwpcam/cwcam3c.html\">http://memory.loc.gov/ammem/cwphtml/cwpcam/cwcam3c.html</a></li>\r\n	<li><a href=\"http://rmc.library.cornell.edu/7milVol/plate41g.html\">http://rmc.library.cornell.edu/7milVol/plate41g.html</a></li>\r\n</ol>\r\n&nbsp;\r\n\r\n&nbsp;','Home of a Rebel Sharpshooter ','','publish','open','open','','home-of-a-rebel-sharpshooter','','','2013-11-04 22:10:35','2013-11-05 04:10:35','',0,'http://jeanatacc.com/2011/?p=3571',0,'post','',8),(3572,84,'2013-11-04 13:17:54','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-11-04 13:17:54','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3572',0,'post','',0),(3573,84,'2013-11-04 13:21:11','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-11-04 13:21:11','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3573',0,'post','',0),(3575,75,'2013-11-04 13:31:02','2013-11-04 19:31:02','<img class=\"aligncenter\" alt=\"\" src=\"http://www.museumofhoaxes.com/images/database/1863gardner1.jpg\" width=\"288\" height=\"224\" />\r\n<p style=\"text-align: center\">http://www.museumofhoaxes.com/images/database/1863gardner1.jpg</p>\r\n<img class=\"aligncenter\" alt=\"\" src=\"http://www.museumofhoaxes.com/images/database/1863gardner2.jpg\" width=\"288\" height=\"229\" />\r\n<p style=\"text-align: center\">http://www.museumofhoaxes.com/images/database/1863gardner2.jpg</p>\r\nHome of a Rebel Sharpshooter\r\n\r\nBy Alexander Gardner (1821-1882)\r\n\r\nIn July, 1863.\r\n\r\nThe general story outline is all about the photographs taken by Gardner and Timothy O’Sullivan at the Gettysburg battlefield in July 1863. The controversy surrounding the photographs that it was not the original stage of the wounded soldier that Gardner and his assistance fabricated and manipulated the home of the rebel sharpshooter to suit the photographic image taken, and the differences in the appearance of the photographs taken three days after the battle. The one taken in Devil’s den and the shots taken in the home of a rebel sharpshooter.\r\n\r\nSeveral shots of photographs were taken by Gardner of the dead soldier, “ Geographic features place four of the six photographs at the southern slope of Devil’s Den (top) and two at what Gardner called the “ sharpshooter’s Den”. The series of photographs showing the aftermath of the Battle of Gettysburg depicts historically the photographic image of the Civil War at Gettysburg in his time.\r\n\r\nThe photographic work of Gardner was categorized of shots taken of the wounded soldier three days of the battlefield at Gettysburg and the stage manage Home of a Rebel sharpshooter. The photographic work was proven influential in defining the image of the Civil War for many Americans in his era.\r\n\r\nThe photographic work of Gardner was unusual and unique because it was able to illustrate the image of the home of a Rebel sharpshooter, built up between two hugs rocks, a stone wall, from the crevices, wounded and laying waste on the Ground with dismounted guns, wrecked caissons, and the debris of a broken army.\r\n\r\nThe photographic work of Gardner was able to define the image of the civil war in its era; it showed vividly the photographs of the home of a rebel sharpshooter, lying down wounded upon his blanket to await death, the shots taken in the battlefield of Gettysburg.\r\n\r\nThe people of today believe that the photographic work of Gardner on the home of a rebel sharpshooter was stage managed. They believe the dead wounded confederate soldier corpse and weapons was moved from the initial battlefield ground by Gardner to this place he called the home of a rebel sharpshooter. People like “Fredrick Ray, the art director of the civil war times, noticed that two of the photographs, taken in different locations on the battlefield appeared to show the same corpse”. Ray argues that the corpse body was moved forty yards to a rocky niche looking at the diagram above, the one below the home of a rebel sharpshooter”. “And that although Gardner identified the soldier as a sharpshooter, that the weapon beside him was not a sharpshooter’s Rifle. That it was probably a prop, placed there by Gardner.”\r\n\r\nDespite the view of Fredrick ray and others that Gardner’s  work of photographing the battlefield of Gettysburg were stage managed and manipulated, the work by Gardner and Timothy still remain unique and outstanding to many who sees such a magnificent photographer in the 1800’s. If proper study is not conducted hardly you can see if the work was actually fabricated.\r\n\r\nThe work of Gardner the “Home of a Rebel Sharpshooter” was comparable to the work of Timothy O’Sullivan “A Harvest of Death” because the both of them work together in taking shots of the confederate wounded soldiers in the battlefield of Gettysburg, looking at both work critically they look similar in terms of the positioning of the dead soldiers, the imagery, the style, and having the same features as a photographers.\r\n\r\nThe photographic style of Gardner, the positioning for a good dramatic image for a Photograph makes this work significant for future generations, they should be aware that the shots taken by Gardner of the Home of a Rebel sharpshooter makes him influential amongst his peers in defining the image of the civil war.\r\n\r\nThe work as a whole is based on the photographic image work of Gardner on the “Home of a Rebel Sharpshooter” at the Battlefield of Gettysburg, and how it was criticized by his critics (Fredrick Ray) that the photograph of the wounded confederate soldier in the Devil’s taken by Gardner was similar to the wounded soldier in the “Home of the Rebel Sharpshooter” that it was stage managed and a fabricated piece of work.\r\n\r\n&nbsp;\r\n\r\nCited Work:\r\n<ol>\r\n	<li><a href=\"http://www.museumofhoaxes.com/hoax/photo_database/image/a_sharpshooters_last_sleep\">http://www.museumofhoaxes.com/hoax/photo_database/image/a_sharpshooters_last_sleep</a>.</li>\r\n	<li><a href=\"http://memory.loc.gov/ammem/cwphtml/cwpcam/cwcam3c.html\">http://memory.loc.gov/ammem/cwphtml/cwpcam/cwcam3c.html</a></li>\r\n	<li><a href=\"http://rmc.library.cornell.edu/7milVol/plate41g.html\">http://rmc.library.cornell.edu/7milVol/plate41g.html</a></li>\r\n</ol>\r\n&nbsp;\r\n\r\n&nbsp;','Home of a Rebel Sharpshooter ','','inherit','open','open','','3571-revision-v1','','','2013-11-04 13:31:02','2013-11-04 19:31:02','',3571,'http://jeanatacc.com/2011/?p=3575',0,'revision','',0),