INSERT INTO `wp_posts` VALUES (2839,1,'2012-10-17 18:59:51','2012-10-18 00:59:51','<p align=\"center\">Le Nozze Di Figaro</p>\r\n<p align=\"center\">Wolfgang Amadeus Mozart</p>\r\n<p align=\"center\">1786</p>\r\n<strong><span style=\"font-size: large;\">Mozart’s Le Nozze di Figaro received it’s world premier in Vienna, Austria, on May first, 1786. Mozart would compose four operas that are among the most important and popular in classical music. Le Nozze di Figaro was the first piece during Mozart’s most productive and successful span of his life which is why it should be preserved for future generations<span style=\"font-size: large;\">. </span></span></strong>\r\n\r\n<span style=\"font-size: large;\"><!--more-->Wolfgang Amadeus Mozart ( Johannes Chrysostomus Wolfgangus Theophilus), was born in a small town in Austria by the name of Salzburg on January 27, 1756. Raised by his successful composer father Leopold, things were quite strict in their household, but music was always an important part of their life. By the age of three, Mozart had already begun playing the harpsichord ( musical instrument much like an organ or a piano). His musical genius was so prevalent that in 1762, at the ripe age of six, his father took him and his older sister on a concert tour beginning in Munich and Vienna and continuing through Paris and London from 1763-1766.</span>\r\n\r\nYoung Mozart was so impressive in his musical talents that he was considered a “wonder child” in every city he played. His astounding piano playing and improvisations left wondering ears in awe. Mozart was also considered to have a photographic memory and could play an entire piece of music after listening to it only once.(www.imbd.com/nm0003665/bio). In 1769, at age thirteen he became the concertmaster of the Archbishop and was knighted by the Pope in Rome. For twelve years he remained there until a heated argument with the Archbishop forced him to quit and move to Vienna in 1781.\r\n\r\nIn the early 1780’s, the city of Vienna began to embrace the movement of enlightenment. Joseph II reformed censorship which allowed the Viennese people to have access to all the great works of the seventeenth and eighteenth centuries. For the next decade, the city took advantage of their “freedom” and created a wave of inspired writers, publishing houses and reading rooms.( Pursuing Enlightenment in Vienna, 1781-1790 by Heather Morrison Aug. 2005 ). Due to the king’s lack of support, the movement came to a halt. But for Mozart, the timing of his arrival could not have been better to let his musical creativity shine, composing thirty symphonies by the time he was eighteen.\r\n\r\nBy 1786, Mozart was considered one of, if not the most experienced and accomplished thirty year old musician in the world. Although he had composed four popular operas, his success did not began until the release of his four act opera buffa (comic opera), <em>Le Nozze di Figaro</em>. The piece was a collaboration with an Italian by the name of Lorenzo Da Ponte and inspired by a 1784 stage comedy by Pierre Beaumarchais called <em>La Folle Journee, ou le Mariage de Figaro</em>. The opera made it’s debut in Vienna on May 1, 1786, but almost did not make the stage. The opera was banned due to it’s “recklessness” but Da Ponte managed to get approval for an operatic version which eventually achieved an abundant amount of success.\r\n\r\nThere were five encores during the premiere performance of <em>Figaro </em>on this day in 1786, and seven during it’s second performance one week later, prompting the emperor himself to impose a ban on encores during future performances, in order \"to prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces.\" Basically, this piece was so awesome and that well received that the emperor had to put a stop to all future acts that desired to attempt encores! The combination of da Ponte\'s libretto and Mozart\'s score made <em>Le Nozze di Figaro</em> an instant success and led to two further triumphant collaborations on <em>Don Giovanni </em>and<em> Cosî fan tutte.</em>\r\n\r\nDuring the year of 1786, it seemed that the dramatic operas the community were accustomed to, had begun to be replaced by more uplifting and triumphant pieces of music. Pieces like Joseph Haydn’s <em>Symphony no. 82 in C </em>(also known as “The Bear”) were among those. If you were to listen to both Haydn’s Symphony and Mozart’s Le Nozze, the similarities between the two definitely stand out. Much like <em>Le Nozze di Figaro</em>, The Bear Symphony is composed of the same instrumental sections (two flutes, two oboes, two clarinets, two bassoons, two horns etc.). Each musical composition includes a strong sound in their horn section along with fluctuating melodies and a “happy feeling” in their string section. Although one can make out the great similarities between the two pieces, it is Mozart who’s music captures the heart of the people.\r\n\r\nMozart’s musical relationship with the public was so powerful that even before the release of <em>Le Nozze di Figaro</em>, his operas were causing great competitions with other artists of his time. One in particular is that of Antonio Salieri’s <em>Prima la Musica e Poi le Parole. </em>On February 7, 1786, Salieri’s triumphant musical creation was commissioned by the Emperor Joseph II to perform at a festival in Vienna. While his opera was performed on one end of the stage, Mozart’s musical comedy <em>Der Schauspieldirektor </em>was being held at the other end. Due to Mozart’s growing popularity, it is safe to say that Salieri was not pleased as Mozart was praised. That began an on going musical battle between the two composers and their librettists.\r\n\r\nPersonally, I can understand the demand for Mozart’s music back then. It seems that he came around at a time when people wanted to laugh and be merry and be entertained by comedy instead of tragedy. When I hear the overture of <em>Le Nozze di Figaro</em>, it gives me a sense of warmth and enlightenment. I love the way the piece crescendos in the beginning and takes you on a journey through the flutes and clarinets. I imagine a lot of comedic chaos, like if this were the music to a silent film, there would be overly dramatic hands and arms and things being out of place and unruly.\r\n\r\nI am not one to listen to classical music nor am I one to go to an opera. Just last year, I went to my first ballet…<em>The Nutcracker </em>(composed by Peter Ilyich Tchaikovsky in 1892). I was surprised at how much I enjoyed the experience. The dancers made the music come alive for me and I actually felt myself slip into somewhat of a trance during the dance of the Snow Queen. The music itself just reminded me of Christmas time. I never knew that all those holiday commercials were inspired by the music in <em>The Nutcracker</em>.\r\n\r\nLike <em>The Nutcracker</em>, Mozart’s <em>Le Nozze di Figaro </em>has done more than stand the test of time. It has influenced even our current generation in ways that I honestly would not have noticed if I did not do this assignment. Much of his music is featured as a musical score in many films but this particular piece is also in television shows, commercials and I even found a video game that uses <em>Le Nozze di Figaro </em>as a score as well. It is currently being featured as the music to motivate America to lose weight and eat healthier in a Subway ad. You can also hear this piece in cartoons such as <em>Bugs Bunny </em>and <em>Ren and Stimpy</em>, movies like the <em>Shawshank Redemption </em>and <em>Zombieland</em>, to television shows like <em>Seinfeld.</em>\r\n\r\nMozart is probably the only composer in history to have written undisputed masterworks in virtually every musical genre of his age. Of Mozart’s operas, <em>Le Nozze di Figaro</em>, is the earliest opera still found in the repertoire of virtually all of today’s opera houses.( <a href=\"http://www.ipl.org/div/mushist/clas/mozart.html\"><span style=\"text-decoration: underline;\"><span style=\"text-decoration: underline;\"><span style=\"color: #0000ff;\">http://www.ipl.org/div/mushist/clas/mozart.html</span></span></span></a>). It could be said that today’s society appreciates and accepts the piece just as well as they did when it debuted back in 1786. <em>Le Nozze di Figaro </em>is even being showcased at the Austin Lyric Opera this year proving its capability to stand the test of time. It is a remarkable piece that is always recognized when heard by anyone, whether they are a classical music lover or not and should be kept in the hearts for generations to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited List\r\n\r\n-Pursuing Enlightenment in Vienna, 1781-1790 by Heather Morrison Aug. 2005\r\n\r\nThis paper assisted with the discovery of how talented Mozart was at such a young age. It informed me of some of his musical achievements as well.\r\n\r\n-http://www.ipl.org/div/muschist/clas/Mozart.html\r\n\r\nThis site helped me discover how important and prominent Figaro is in today’s opera houses. It’s the earliest piece still found in today’s opera houses. \\\r\n\r\n-www.history.com/this-day-in-history/mozarts-le-nozze-di-Figaro-premiers-in-Vienna\r\n\r\nThis site was great in helping with information on the exact day it was debuted . Vital information on how the crowd responded and the actions Figaro would cause for future acts and there ‘attempts’ to perform encores were found here.\r\n\r\n-www.1000recordings.com/music/marriage-Figaro/\r\n\r\nThis site helped with the overall importance of the piece.\r\n\r\n-www.imbd.com/nm0003665/bio\r\n\r\nThis site listed all the different places Figaro can be heard, including all the film scores, television shows, cartoons etc. It informed me of basic bio and family information as well.','Mozart\'s Le Nozze di Figaro','','inherit','open','open','','2829-revision-7','','','2012-10-17 18:59:51','2012-10-18 00:59:51','',2829,'http://jeanatacc.com/2011/?p=2839',0,'revision','',0),(2840,1,'2012-10-17 19:00:15','2012-10-18 01:00:15','<p align=\"center\">Le Nozze Di Figaro</p>\r\n<p align=\"center\">Wolfgang Amadeus Mozart</p>\r\n<p align=\"center\">1786</p>\r\n<strong><span style=\"font-size: large;\">Mozart’s Le Nozze di Figaro received it’s world premier in Vienna, Austria, on May first, 1786. Mozart would compose four operas that are among the most important and popular in classical music. Le Nozze di Figaro was the first piece during Mozart’s most productive and successful span of his life which is why it should be preserved for future generations<span style=\"font-size: large;\">. </span></span></strong>\r\n\r\n<span style=\"font-size: large;\"><!--more-->Wolfgang Amadeus Mozart ( Johannes Chrysostomus Wolfgangus Theophilus), was born in a small town in Austria by the name of Salzburg on January 27, 1756. Raised by his successful composer father Leopold, things were quite strict in their household, but music was always an important part of their life. By the age of three, Mozart had already begun playing the harpsichord ( musical instrument much like an organ or a piano). His musical genius was so prevalent that in 1762, at the ripe age of six, his father took him and his older sister on a concert tour beginning in Munich and Vienna and continuing through Paris and London from 1763-1766.</span>\r\n\r\nYoung Mozart was so impressive in his musical talents that he was considered a “wonder child” in every city he played. His astounding piano playing and improvisations left wondering ears in awe. Mozart was also considered to have a photographic memory and could play an entire piece of music after listening to it only once.(www.imbd.com/nm0003665/bio). In 1769, at age thirteen he became the concertmaster of the Archbishop and was knighted by the Pope in Rome. For twelve years he remained there until a heated argument with the Archbishop forced him to quit and move to Vienna in 1781.\r\n\r\nIn the early 1780’s, the city of Vienna began to embrace the movement of enlightenment. Joseph II reformed censorship which allowed the Viennese people to have access to all the great works of the seventeenth and eighteenth centuries. For the next decade, the city took advantage of their “freedom” and created a wave of inspired writers, publishing houses and reading rooms.( Pursuing Enlightenment in Vienna, 1781-1790 by Heather Morrison Aug. 2005 ). Due to the king’s lack of support, the movement came to a halt. But for Mozart, the timing of his arrival could not have been better to let his musical creativity shine, composing thirty symphonies by the time he was eighteen.\r\n\r\nBy 1786, Mozart was considered one of, if not the most experienced and accomplished thirty year old musician in the world. Although he had composed four popular operas, his success did not began until the release of his four act opera buffa (comic opera), <em>Le Nozze di Figaro</em>. The piece was a collaboration with an Italian by the name of Lorenzo Da Ponte and inspired by a 1784 stage comedy by Pierre Beaumarchais called <em>La Folle Journee, ou le Mariage de Figaro</em>. The opera made it’s debut in Vienna on May 1, 1786, but almost did not make the stage. The opera was banned due to it’s “recklessness” but Da Ponte managed to get approval for an operatic version which eventually achieved an abundant amount of success.\r\n\r\nThere were five encores during the premiere performance of <em>Figaro </em>on this day in 1786, and seven during it’s second performance one week later, prompting the emperor himself to impose a ban on encores during future performances, in order \"to prevent the excessive duration of operas, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces.\" Basically, this piece was so awesome and that well received that the emperor had to put a stop to all future acts that desired to attempt encores! The combination of da Ponte\'s libretto and Mozart\'s score made <em>Le Nozze di Figaro</em> an instant success and led to two further triumphant collaborations on <em>Don Giovanni </em>and<em> Cosî fan tutte.</em>\r\n\r\nDuring the year of 1786, it seemed that the dramatic operas the community were accustomed to, had begun to be replaced by more uplifting and triumphant pieces of music. Pieces like Joseph Haydn’s <em>Symphony no. 82 in C </em>(also known as “The Bear”) were among those. If you were to listen to both Haydn’s Symphony and Mozart’s Le Nozze, the similarities between the two definitely stand out. Much like <em>Le Nozze di Figaro</em>, The Bear Symphony is composed of the same instrumental sections (two flutes, two oboes, two clarinets, two bassoons, two horns etc.). Each musical composition includes a strong sound in their horn section along with fluctuating melodies and a “happy feeling” in their string section. Although one can make out the great similarities between the two pieces, it is Mozart who’s music captures the heart of the people.\r\n\r\nMozart’s musical relationship with the public was so powerful that even before the release of <em>Le Nozze di Figaro</em>, his operas were causing great competitions with other artists of his time. One in particular is that of Antonio Salieri’s <em>Prima la Musica e Poi le Parole. </em>On February 7, 1786, Salieri’s triumphant musical creation was commissioned by the Emperor Joseph II to perform at a festival in Vienna. While his opera was performed on one end of the stage, Mozart’s musical comedy <em>Der Schauspieldirektor </em>was being held at the other end. Due to Mozart’s growing popularity, it is safe to say that Salieri was not pleased as Mozart was praised. That began an on going musical battle between the two composers and their librettists.\r\n\r\nPersonally, I can understand the demand for Mozart’s music back then. It seems that he came around at a time when people wanted to laugh and be merry and be entertained by comedy instead of tragedy. When I hear the overture of <em>Le Nozze di Figaro</em>, it gives me a sense of warmth and enlightenment. I love the way the piece crescendos in the beginning and takes you on a journey through the flutes and clarinets. I imagine a lot of comedic chaos, like if this were the music to a silent film, there would be overly dramatic hands and arms and things being out of place and unruly.\r\n\r\nI am not one to listen to classical music nor am I one to go to an opera. Just last year, I went to my first ballet…<em>The Nutcracker </em>(composed by Peter Ilyich Tchaikovsky in 1892). I was surprised at how much I enjoyed the experience. The dancers made the music come alive for me and I actually felt myself slip into somewhat of a trance during the dance of the Snow Queen. The music itself just reminded me of Christmas time. I never knew that all those holiday commercials were inspired by the music in <em>The Nutcracker</em>.\r\n\r\nLike <em>The Nutcracker</em>, Mozart’s <em>Le Nozze di Figaro </em>has done more than stand the test of time. It has influenced even our current generation in ways that I honestly would not have noticed if I did not do this assignment. Much of his music is featured as a musical score in many films but this particular piece is also in television shows, commercials and I even found a video game that uses <em>Le Nozze di Figaro </em>as a score as well. It is currently being featured as the music to motivate America to lose weight and eat healthier in a Subway ad. You can also hear this piece in cartoons such as <em>Bugs Bunny </em>and <em>Ren and Stimpy</em>, movies like the <em>Shawshank Redemption </em>and <em>Zombieland</em>, to television shows like <em>Seinfeld.</em>\r\n\r\nMozart is probably the only composer in history to have written undisputed masterworks in virtually every musical genre of his age. Of Mozart’s operas, <em>Le Nozze di Figaro</em>, is the earliest opera still found in the repertoire of virtually all of today’s opera houses.( <a href=\"http://www.ipl.org/div/mushist/clas/mozart.html\"><span style=\"text-decoration: underline;\"><span style=\"text-decoration: underline;\"><span style=\"color: #0000ff;\">http://www.ipl.org/div/mushist/clas/mozart.html</span></span></span></a>). It could be said that today’s society appreciates and accepts the piece just as well as they did when it debuted back in 1786. <em>Le Nozze di Figaro </em>is even being showcased at the Austin Lyric Opera this year proving its capability to stand the test of time. It is a remarkable piece that is always recognized when heard by anyone, whether they are a classical music lover or not and should be kept in the hearts for generations to come.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited List\r\n\r\n-Pursuing Enlightenment in Vienna, 1781-1790 by Heather Morrison Aug. 2005\r\n\r\nThis paper assisted with the discovery of how talented Mozart was at such a young age. It informed me of some of his musical achievements as well.\r\n\r\n-http://www.ipl.org/div/muschist/clas/Mozart.html\r\n\r\nThis site helped me discover how important and prominent Figaro is in today’s opera houses. It’s the earliest piece still found in today’s opera houses. \\\r\n\r\n-www.history.com/this-day-in-history/mozarts-le-nozze-di-Figaro-premiers-in-Vienna\r\n\r\nThis site was great in helping with information on the exact day it was debuted . Vital information on how the crowd responded and the actions Figaro would cause for future acts and there ‘attempts’ to perform encores were found here.\r\n\r\n-www.1000recordings.com/music/marriage-Figaro/\r\n\r\nThis site helped with the overall importance of the piece.\r\n\r\n-www.imbd.com/nm0003665/bio\r\n\r\nThis site listed all the different places Figaro can be heard, including all the film scores, television shows, cartoons etc. It informed me of basic bio and family information as well.','Mozart\'s Le Nozze di Figaro','','inherit','open','open','','2829-revision-8','','','2012-10-17 19:00:15','2012-10-18 01:00:15','',2829,'http://jeanatacc.com/2011/?p=2840',0,'revision','',0),(2841,61,'2012-10-16 14:28:17','2012-10-16 20:28:17','AUSTIN COMMUNITY COLLEGE\r\nTCP-2 DECLARATION OF INDEPENDENCE\r\nJ. Lauer – 1302 – 207 # 13622\r\nPHILIP ROBINSON\r\n10/14/2012\r\n\r\n[caption id=\"attachment_2761\" align=\"aligncenter\" width=\"375\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/10/Declaration-of-Independence-Mouse-Pad1.png\"><img class=\"wp-image-2761 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/10/Declaration-of-Independence-Mouse-Pad1-889x1024.png\" alt=\"\" width=\"375\" height=\"431\" /></a> http://jeanatacc.com/2011/wp-content/uploads/2012/10/Declaration-of-Independence-Mouse-Pad1.png[/caption]\r\n\r\n&nbsp;\r\n\r\nAs you are by now well aware, the purpose of this project is to discuss the merits or flaws in the decision to keep a particular piece of art in the time capsule. My opinion is that the pieces we collect will provide an understanding and appreciation of the past. For this paper my intent is to enlighten those that may not already know or agree that the Declaration of Independence should have a place in the capsule, so that future generations will be mindful of our mistakes, and inspired by our greatness.<!--more-->\r\n\r\nPenned By Thomas Jefferson in 1776, and signed by 55 others gentlemen on the fourth day of July that same year was influenced by present and not so present men. (web)After the printing press came to be Thomas Paine’s, “Common Sense” sells 150,000 copies in the first few weeks after publishing argues that Independence is the true course of free people, and a “natural right.” (“history.com”) There is another work that I believe to be similar that may have had an impact on Jefferson as he was writing the Declaration of Independence, and that work is the “The Second Treatise on Civil Government” by John Locke. “Most agree that the natural rights philosophy of English philosopher JOHN LOCKE greatly influenced Jefferson’s composition of the Declaration. In particular, Locke advanced the ideas that a just government derives its legitimacy and power from the consent of the governed, that people possess inalienable rights Page 390 that no legitimate government may take away, and that the people have the right and duty to overthrow a government that violates their rights. Jefferson also paralleled Locke in his identification of three major rights—the rights to “Life, Liberty and the pursuit of Happiness”—though the last of his three is a change from Locke’s right to “property.”(“Declaration of Independence”)(“Locke”)\r\n\r\n“<em> In March 1776, North Carolina\'s revolutionary convention became the first to vote in favor of independence; seven other colonies had followed suit by mid-May. On June 7, the Virginia delegate Richard Henry Lee introduced a motion calling for the colonies\' independence before the Continental Congress when it met at the Pennsylvania State House (later Independence Hall) in Philadelphia. Amid heated debate, Congress postponed the vote on Lee\'s resolution and called a recess for several weeks. Before departing, however, the delegates also appointed a five-man committee--including Thomas Jefferson of Virginia, John Adams of Massachusetts, Roger Sherman of Connecticut, Benjamin Franklin of Pennsylvania and Robert R. Livingston of New York--to draft a formal statement justifying the break with Great Britain. That document would become known as the Declaration of Independence.</em>”(“history.com”)\r\n\r\nThe part that I find unusual is that almost never happened, as at this time in the colonies most of the populace was focused on subject’s rights under the crown. The revolution was at full tilt by the following summer when resistance had grown to the point of forcing a Continental Congress to vote. In mid-June 1776, a five-man committee including Thomas Jefferson, John Adams and Benjamin Franklin was tasked with drafting a formal statement of the colonies\' intentions. The Congress formally adopted the Declaration of Independence--written largely by Jefferson--in Philadelphia on July 4, a date now celebrated as the birth of American independence.\r\n\r\nWhen looking at how this work was received in the past, we must first declare the audience. If the audience is King George III, then one can pretty much say that he was infuriated by these upstarts. If one is referring to the educated populace of the colonies, then separating from British control was thought radical in thought or action until the King attempted to crush the rebellion. If one is referring to the simple folk that are struggling enough just to live, then all you want is for life to be better. However when push comes to shove and the King orders the enlargement of the Army and navy, even the conservative’s abandons hope of reconciliation. (history.com) Apparently there were some members of the colonies that doubted this well crafted document was original, and some years afterward Jefferson responded with the following.\r\n\r\n<em>[n]ot to find out new principles or new arguments, never before thought of, not merely to say things which had never been said before; but to place before mankind the common sense of the subject, in terms so plain and firm as to command their assent, and to justify ourselves in the independent stand we are compelled to take. Neither aiming at originality of principle or sentiment, nor yet copied from any particular and previous writing, it was intended to be an expression of the American mind, and to give to that expression the proper tone and spirit called for by the occasion.</em>(history.com)\r\n\r\nWhen looking at how the Declaration of Independence is viewed today, once again we must clarify who the audience is to accurately relay how the Declaration of Independence is received. If one is part of the elite and part of the military industrial corporate governmental conglomerate that is running the country, you would be doing your best to distract and dumb down your populace enough to not understand the Declaration. If you are part of this great nation that believes in the Declaration, our Constitution, and our Bill of Rights; then you are looking closely at the form and procedure of the Declaration. As an enlightened individual, I am horrified by what I see as the shredding of the founding documents of this nation by those that we placed as guides for our populace. If you are an ignorant sheep that blindly follows what you are told, then all you want is for life to be better.\r\n\r\nIn my opinion the Declaration of Independence is the quintessential piece that defines by demonstration the path a society should take in severing itself from its tyrannical leadership. One can easily follow the rhetorical elements that are artfully expressed throughout this document. The path from having valid issues, to citing their grievances, and finally to stating their ultimatum are well penned. I believe that the most important reason for this Document to be in the time capsule for future generations is this is one of the strongest examples of how a populace regains its freedom from the people that were put in power by the populace after they run amuck. This document also serves as a reminder for our populace that there is a duty in citizenship.\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\"Declaration of Independence.\" Gale Encyclopedia of American Law. Ed. Donna Batten. 3rd ed. Vol. 3. Detroit: Gale, 2010. 388-390. Gale Virtual Reference Library. Web. 15 Oct. 2012.\r\nDocument URL\r\nhttp://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX1337701301&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\n\"Declaration of Independence.\" History.com. A&amp;E Television Networks, n.d. Web. 15 Oct 2012. .\r\n\r\nLocke, John. \"Second Treatise of Civil Government.\" Essay Concerning the true original, extend, and end of Civil Government n.pag. James. Web. 15 Oct 2012. . – Database I found of works converted to html.','The Declaration of Independence','','inherit','open','open','','2473-revision-10','','','2012-10-16 14:28:17','2012-10-16 20:28:17','',2473,'http://jeanatacc.com/2011/?p=2841',0,'revision','',0),(2842,1,'2012-09-30 12:05:02','2012-09-30 18:05:02','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"233\" height=\"334\" /></p>\r\n&nbsp;\r\n\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\n<!--more-->The early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-9','','','2012-09-30 12:05:02','2012-09-30 18:05:02','',2560,'http://jeanatacc.com/2011/?p=2842',0,'revision','',0),(2843,1,'2012-10-18 08:48:22','2012-10-18 14:48:22','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p style=\"text-align: center;\" align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"233\" height=\"334\" /></p>\r\n<p style=\"text-align: center;\">http://duanegraham.files.wordpress.com/2010/01/the-prince.jpg</p>\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\n<!--more-->The early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-10','','','2012-10-18 08:48:22','2012-10-18 14:48:22','',2560,'http://jeanatacc.com/2011/?p=2843',0,'revision','',0),(2844,1,'2012-10-18 08:48:54','2012-10-18 14:48:54','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p style=\"text-align: center;\" align=\"center\"> <img src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"233\" height=\"334\" /></p>\r\n<p style=\"text-align: center;\">http://duanegraham.files.wordpress.com/2010/01/the-prince.jpg</p>\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\n<!--more-->The early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-11','','','2012-10-18 08:48:54','2012-10-18 14:48:54','',2560,'http://jeanatacc.com/2011/?p=2844',0,'revision','',0),(2845,61,'2012-10-18 01:08:05','2012-10-18 07:08:05','AUSTIN COMMUNITY COLLEGE\r\nTCP-2 DECLARATION OF INDEPENDENCE\r\nJ. Lauer – 1302 – 207 # 13622\r\nPHILIP ROBINSON\r\n10/14/2012\r\n\r\n[caption id=\"attachment_2761\" align=\"aligncenter\" width=\"375\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/10/Declaration-of-Independence-Mouse-Pad1.png\"><img class=\"wp-image-2761 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/10/Declaration-of-Independence-Mouse-Pad1-889x1024.png\" alt=\"\" width=\"375\" height=\"431\" /></a> http://jeanatacc.com/2011/wp-content/uploads/2012/10/Declaration-of-Independence-Mouse-Pad1.png[/caption]\r\n\r\n&nbsp;\r\n\r\nAs you are by now well aware, the purpose of this project is to discuss the merits or flaws in the decision to keep a particular piece of art in the time capsule. My opinion is that the pieces we collect will provide an understanding and appreciation of the past. For this paper my intent is to enlighten those that may not already know or agree that the Declaration of Independence should have a place in the capsule, so that future generations will be mindful of our mistakes, and inspired by our greatness.<!--more-->\r\n\r\nPenned By Thomas Jefferson in 1776, and signed by 55 others gentlemen on the fourth day of July that same year was influenced by present and not so present men. (web)After the printing press came to be Thomas Paine’s, “Common Sense” sells 150,000 copies in the first few weeks after publishing argues that Independence is the true course of free people, and a “natural right.” (“history.com”) There is another work that I believe to be similar that may have had an impact on Jefferson as he was writing the Declaration of Independence, and that work is the “The Second Treatise on Civil Government” by John Locke. “Most agree that the natural rights philosophy of English philosopher JOHN LOCKE greatly influenced Jefferson’s composition of the Declaration. In particular, Locke advanced the ideas that a just government derives its legitimacy and power from the consent of the governed, that people possess inalienable rights Page 390 that no legitimate government may take away, and that the people have the right and duty to overthrow a government that violates their rights. Jefferson also paralleled Locke in his identification of three major rights—the rights to “Life, Liberty and the pursuit of Happiness”—though the last of his three is a change from Locke’s right to “property.”(“Declaration of Independence”)(“Locke”)\r\n\r\n“<em> In March 1776, North Carolina\'s revolutionary convention became the first to vote in favor of independence; seven other colonies had followed suit by mid-May. On June 7, the Virginia delegate Richard Henry Lee introduced a motion calling for the colonies\' independence before the Continental Congress when it met at the Pennsylvania State House (later Independence Hall) in Philadelphia. Amid heated debate, Congress postponed the vote on Lee\'s resolution and called a recess for several weeks. Before departing, however, the delegates also appointed a five-man committee--including Thomas Jefferson of Virginia, John Adams of Massachusetts, Roger Sherman of Connecticut, Benjamin Franklin of Pennsylvania and Robert R. Livingston of New York--to draft a formal statement justifying the break with Great Britain. That document would become known as the Declaration of Independence.</em>”(“history.com”)\r\n\r\nThe part that I find unusual is that almost never happened, as at this time in the colonies most of the populace was focused on subject’s rights under the crown. The revolution was at full tilt by the following summer when resistance had grown to the point of forcing a Continental Congress to vote. In mid-June 1776, a five-man committee including Thomas Jefferson, John Adams and Benjamin Franklin was tasked with drafting a formal statement of the colonies\' intentions. The Congress formally adopted the Declaration of Independence--written largely by Jefferson--in Philadelphia on July 4, a date now celebrated as the birth of American independence.\r\n\r\nWhen looking at how this work was received in the past, we must first declare the audience. If the audience is King George III, then one can pretty much say that he was infuriated by these upstarts. If one is referring to the educated populace of the colonies, then separating from British control was thought radical in thought or action until the King attempted to crush the rebellion. If one is referring to the simple folk that are struggling enough just to live, then all you want is for life to be better. However when push comes to shove and the King orders the enlargement of the Army and navy, even the conservative’s abandons hope of reconciliation. (history.com) Apparently there were some members of the colonies that doubted this well crafted document was original, and some years afterward Jefferson responded with the following.\r\n\r\n<em>[n]ot to find out new principles or new arguments, never before thought of, not merely to say things which had never been said before; but to place before mankind the common sense of the subject, in terms so plain and firm as to command their assent, and to justify ourselves in the independent stand we are compelled to take. Neither aiming at originality of principle or sentiment, nor yet copied from any particular and previous writing, it was intended to be an expression of the American mind, and to give to that expression the proper tone and spirit called for by the occasion.</em>(history.com)\r\n\r\nWhen looking at how the Declaration of Independence is viewed today, once again we must clarify who the audience is to accurately relay how the Declaration of Independence is received. If one is part of the elite and part of the military industrial corporate governmental conglomerate that is running the country, you would be doing your best to distract and dumb down your populace enough to not understand the Declaration. If you are part of this great nation that believes in the Declaration, our Constitution, and our Bill of Rights; then you are looking closely at the form and procedure of the Declaration. As an enlightened individual, I am horrified by what I see as the shredding of the founding documents of this nation by those that we placed as guides for our populace. If you are an ignorant sheep that blindly follows what you are told, then all you want is for life to be better.\r\n\r\nIn my opinion the Declaration of Independence is the quintessential piece that defines by demonstration the path a society should take in severing itself from its tyrannical leadership. One can easily follow the rhetorical elements that are artfully expressed throughout this document. The path from having valid issues, to citing their grievances, and finally to stating their ultimatum are well penned. I believe that the most important reason for this Document to be in the time capsule for future generations is this is one of the strongest examples of how a populace regains its freedom from the people that were put in power by the populace after they run amuck. This document also serves as a reminder for our populace that there is a duty in citizenship.\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\n\"Declaration of Independence.\" Gale Encyclopedia of American Law. Ed. Donna Batten. 3rd ed. Vol. 3. Detroit: Gale, 2010. 388-390. Gale Virtual Reference Library. Web. 15 Oct. 2012.\r\nDocument URL\r\nhttp://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX1337701301&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\n&nbsp;\r\n\r\n\"Declaration of Independence.\" History.com. A&amp;E Television Networks, n.d. Web. 15 Oct 2012. .\r\n\r\n&nbsp;\r\n\r\nLocke, John. \"Second Treatise of Civil Government.\" Essay Concerning the true original, extend, and end of Civil Government n.pag. James. Web. 15 Oct 2012. .\r\n\r\nhttp://jim.com/2ndtreat.htm – Database I found of works converted to html.','The Declaration of Independence','','inherit','open','open','','2473-revision-11','','','2012-10-18 01:08:05','2012-10-18 07:08:05','',2473,'http://jeanatacc.com/2011/?p=2845',0,'revision','',0),(2846,67,'2012-11-05 12:48:56','2012-11-05 18:48:56','<p align=\"center\"><img src=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\" alt=\"\" width=\"330\" height=\"300\" /></p>\r\n<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\">http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg</a></p>\r\n<p align=\"center\">Der Ring der Nibelungen</p>\r\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\r\n\r\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\r\n\r\nAround the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\r\n\r\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\r\n\r\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\r\n\r\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\r\n\r\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\r\n\r\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\r\n\r\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\r\n\r\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\r\n\r\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\r\n\r\nBeing as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\r\n\r\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\r\n<p align=\"center\">Works cited:</p>\r\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\r\n\r\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\r\n\r\n&nbsp;\r\n\r\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\r\n\r\n&nbsp;\r\n\r\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\r\n\r\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\r\n\r\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\r\n\r\n&nbsp;\r\n\r\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\r\n\r\n“This website has a brief history of composers. I used it to learn about some of the composers.”\r\n\r\n&nbsp;\r\n\r\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\r\n\r\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\r\n\r\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\r\n\r\n&nbsp;\r\n\r\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\r\n\r\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','publish','open','open','','der-ring-der-nibelungen','','','2012-11-05 14:04:07','2012-11-05 20:04:07','',0,'http://jeanatacc.com/2011/?p=2846',0,'post','',10),(2847,66,'2012-11-05 13:11:31','2012-11-05 19:11:31','<div>\r\n\r\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\r\n\r\n</div>\r\n<div>\r\n\r\nJanuary 9, 1894\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\r\n\r\n<!--more-->\r\n\r\n</div>\r\n<div>\r\n\r\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\r\n\r\n</div>\r\n<div>\r\n\r\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\r\n\r\n</div>\r\n<div>\r\n\r\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\r\n\r\n</div>\r\n<div>\r\n\r\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\r\n\r\n</div>\r\n<div>\r\n\r\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\r\n\r\n</div>\r\n<div>\r\n\r\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edison\'s time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\r\n\r\n</div>\r\n<div>\r\n\r\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','publish','open','open','','edison-kinetoscopic-record-of-a-sneeze-also-known-as-fred-otts-sneeze','','','2012-11-05 14:04:26','2012-11-05 20:04:26','',0,'http://jeanatacc.com/2011/?p=2847',0,'post','',16),(2848,66,'2012-11-05 12:21:43','2012-11-05 18:21:43','','fredott_animation_small','','inherit','open','open','','fredott_animation_small','','','2012-11-05 12:21:43','2012-11-05 18:21:43','',2847,'http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif',0,'attachment','image/gif',0),(2849,66,'2012-11-05 12:21:09','2012-11-05 18:21:09','<div>\n\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\n\n</div>\n<div>\n\nThomas Edison\n\n</div>\n<div>\n\nJanuary 9, 1894\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\n\n<!--more-->\n\n</div>\n<div>\n\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\n\n</div>\n<div>\n\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\n\n</div>\n<div>\n\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant butt hat is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\n\n</div>\n<div>\n\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\n\n</div>\n<div>\n\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\n\n</div>\n<div>\n\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been dreamt up in Edisons time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\n\n</div>\n<div>\n\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n&nbsp;\n\n&nbsp;\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision','','','2012-11-05 12:21:09','2012-11-05 18:21:09','',2847,'http://jeanatacc.com/2011/?p=2849',0,'revision','',0),(2853,66,'2012-11-05 12:30:37','2012-11-05 18:30:37','<div>\n\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\n\n</div>\n<div>\n\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\n\n</div>\n<div>\n\nJanuary 9, 1894\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\n\n<!--more-->\n\n</div>\n<div>\n\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\n\n</div>\n<div>\n\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\n\n</div>\n<div>\n\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\n\n</div>\n<div>\n\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\n\n</div>\n<div>\n\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\n\n</div>\n<div>\n\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edisons time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\n\n</div>\n<div>\n\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n&nbsp;\n\n&nbsp;\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-4','','','2012-11-05 12:30:37','2012-11-05 18:30:37','',2847,'http://jeanatacc.com/2011/?p=2853',0,'revision','',0),(2850,66,'2012-11-05 12:22:00','2012-11-05 18:22:00','<div>\r\n\r\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\r\n\r\n</div>\r\n<div>\r\n\r\nJanuary 9, 1894\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\r\n\r\n<!--more-->\r\n\r\n</div>\r\n<div>\r\n\r\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\r\n\r\n</div>\r\n<div>\r\n\r\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\r\n\r\n</div>\r\n<div>\r\n\r\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant butt hat is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\r\n\r\n</div>\r\n<div>\r\n\r\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\r\n\r\n</div>\r\n<div>\r\n\r\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\r\n\r\n</div>\r\n<div>\r\n\r\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been dreamt up in Edisons time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\r\n\r\n</div>\r\n<div>\r\n\r\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-2','','','2012-11-05 12:22:00','2012-11-05 18:22:00','',2847,'http://jeanatacc.com/2011/?p=2850',0,'revision','',0),(2851,67,'2012-11-05 11:54:32','2012-11-05 17:54:32','<p align=\"center\">Der Ring der Nibelungen</p>\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\n\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\n\n            Around the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\n\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\n\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\n\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\n\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\n\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\n\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\n\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\n\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\n\n Being as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\n\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Works cited:</p>\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\n\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\n\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\n\n&nbsp;\n\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\n\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\n\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\n\n&nbsp;\n\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\n\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\n\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\n\n&nbsp;\n\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\n\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\n\n“This website has a brief history of composers. I used it to learn about some of the composers.”\n\n&nbsp;\n\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\n\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\n\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\n\n&nbsp;\n\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\n\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\n\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','inherit','open','open','','2846-revision','','','2012-11-05 11:54:32','2012-11-05 17:54:32','',2846,'http://jeanatacc.com/2011/?p=2851',0,'revision','',0),(2852,66,'2012-11-05 12:22:05','2012-11-05 18:22:05','<div>\r\n\r\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\r\n\r\n</div>\r\n<div>\r\n\r\nJanuary 9, 1894\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\r\n\r\n<!--more-->\r\n\r\n</div>\r\n<div>\r\n\r\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\r\n\r\n</div>\r\n<div>\r\n\r\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\r\n\r\n</div>\r\n<div>\r\n\r\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant butt hat is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\r\n\r\n</div>\r\n<div>\r\n\r\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\r\n\r\n</div>\r\n<div>\r\n\r\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\r\n\r\n</div>\r\n<div>\r\n\r\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been dreamt up in Edisons time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\r\n\r\n</div>\r\n<div>\r\n\r\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-3','','','2012-11-05 12:22:05','2012-11-05 18:22:05','',2847,'http://jeanatacc.com/2011/?p=2852',0,'revision','',0),(2855,56,'2012-11-05 13:44:27','2012-11-05 19:44:27','[caption id=\"attachment_2911\" align=\"alignleft\" width=\"300\"]<a href=\"http://arcweb.archives.gov/arc/action/ShowFullRecord?%24searchId=3&amp;%24showFullDescriptionTabs.selectedPaneId=&amp;%24digiDetailPageModel.currentPage=0&amp;%24resultsPartitionPageModel.targetModel=true&amp;%24resultsSummaryPageModel.pageSize=10&amp;%24partitionIndex=0&amp;%24digiSummaryPageModel.targetModel=true&amp;%24submitId=1&amp;%24resultsDetailPageModel.search=true&amp;%24digiDetailPageModel.resultPageModel=true&amp;%24resultsDetailPageModel.currentPage=0&amp;%24showArchivalDescriptionsTabs.selectedPaneId=&amp;%24resultsDetailPageModel.pageSize=1&amp;%24resultsSummaryPageModel.targetModel=true&amp;%24sort=RELEVANCE_ASC&amp;%24resultsPartitionPageModel.search=true&amp;%24highlight=false\"><img class=\"size-medium wp-image-2911\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Photograph-of-President-Abraham-Lincoln-and-His-Generals-After-Antietam-300x247.jpg\" alt=\"\" width=\"300\" height=\"247\" /></a> This copy, from The National Archives includes Brady\'s handwritten notes recording the names of those in the photograph.[/caption]\r\n\r\nHistorically, leaders have used painted portraits of themselves to emphasize their authority over their people.  In them, they surround themselves with emblems of their power.  For example, Hyacinthe Rigaud placed props around Louis XIV that personified his position as the absolute monarch of France; a column signifying fortitude, the fleur-de-lis (the traditional symbol of the French Monarchy) and scepters indicating his position as \"the hand of justice\" (Fiero).  Over one hundred years later, a new technology emerged that would eventually replace the painted portrait in this role.  “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting” (\"Winterthur Portfolio\").  The \"Photograph of President Abraham Lincoln and His Generals After Antietam\" should be preserved because it was the first time in history that a photograph shaped public opinion about a sitting head of state.\r\n\r\n<!--more-->Abraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\r\n\r\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\r\n\r\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\r\n\r\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\r\n\r\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\r\n\r\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\r\n\r\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\r\n\r\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\r\n\r\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\r\n\r\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\r\n\r\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\r\n\r\n[caption id=\"attachment_2914\" align=\"alignleft\" width=\"294\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/A-Harvest-of-Death.jpg\"><img class=\"size-full wp-image-2914\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/A-Harvest-of-Death.jpg\" alt=\"\" width=\"294\" height=\"240\" /></a> A Harvest of Death[/caption]\r\n\r\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\r\n\r\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\r\n\r\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\r\n\r\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\r\n\r\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\r\n\r\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\r\n\r\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\r\n\r\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\r\n<p style=\"text-align: center\">Image Sources</p>\r\n\"Photograph of President Abraham Lincoln and His Generals After Antietam\"  The National Archives only allows links to the main page.  - http://www.archives.gov/research/arc/ - Search for ARC Identifier 527118\r\n\r\n\"A Harvest of Death\" - http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=64592\r\n<p style=\"text-align: center\"> Works Cited</p>\r\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\r\n\r\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.  This is an example of the confusion surrounding Brady, O\'Sullivan and Gardner\'s work.\r\n\r\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 Oct 1997: n. p. Web. 3 Nov. 2012. http://www.unz.org/Pub/Slate-1997oct-00126.\r\n\r\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\r\n\r\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012. http://www.nytimes.com/1862/10/20/news/brady-s-photographs-pictures-of-the-dead-at-antietam.html.\r\n\r\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\r\n\r\nFiero, Gloria K.. Trans. Array The Humanistic Tradition. 6th ed. New York: McGraw-Hill, 2011. Print.\r\n\r\nThis is the humanities text for this course. It provides a good general overview of general history.  I used it to get information about King Louis XIV state portrait.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012. https://www.nytimes.com/1992/08/16/arts/photography-view-a-deliberate-unflinching-witness-to-history.html?src=pm.\r\n\r\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.  It also talked about how Gardner viewed photography as a medium.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\r\n\r\nThis article reviews a museum exhibit entitled \"Reporting the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\r\n\r\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\r\n\r\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.  It gave general background about Lincoln and his use of photography.\r\n\r\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\r\n\r\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\r\n\r\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\r\n\r\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\r\n\r\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\r\n\r\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\r\n\r\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\r\n\r\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\r\n\r\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\r\n\r\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\r\n\r\nRev. of Mathew Brady and the Image of History, by Mary Panzer; Jeana K. Foley.  Winterthur Portfolio, Vol. 34, No. 1 (Spring 1999): 83-84. JSTOR. Web. 5 Nov. 2012.\r\n\r\nThis is a review of the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\r\n\r\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\r\n\r\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.  I used this source to verify Gardner\'s description of \"A Harvest of War\".\r\n\r\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\r\n\r\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\r\n<p style=\"text-align: center\">Further Reading</p>\r\n <a title=\"&quot;All the Ladies Like Whiskers&quot;\" href=\"http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.htm\" target=\"_blank\">“All the ladies like whiskers”</a> shows a copy of the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.  I always thought this story was a myth, but it turns out to be true.','Photograph of President Abraham Lincoln and His Generals After Antietam','','publish','open','open','','photograph-of-president-abraham-lincoln-and-his-generals-after-antietam','','','2012-12-02 13:55:30','2012-12-02 19:55:30','',0,'http://jeanatacc.com/2011/?p=2855',0,'post','',12),(2854,67,'2012-11-05 12:31:54','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-11-05 12:31:54','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2854',0,'post','',0),(2856,66,'2012-11-05 12:32:24','2012-11-05 18:32:24','<div>\n\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\n\n</div>\n<div>\n\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\n\n</div>\n<div>\n\nJanuary 9, 1894\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\n\n<!--more-->\n\n</div>\n<div>\n\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\n\n</div>\n<div>\n\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\n\n</div>\n<div>\n\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\n\n</div>\n<div>\n\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\n\n</div>\n<div>\n\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\n\n</div>\n<div>\n\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edisons time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\n\n</div>\n<div>\n\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n&nbsp;\n\n&nbsp;\n\n</div>\n<div>\n\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\n\n&nbsp;\n\n</div>\n<div>\n\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-5','','','2012-11-05 12:32:24','2012-11-05 18:32:24','',2847,'http://jeanatacc.com/2011/?p=2856',0,'revision','',0),(2857,67,'2012-11-05 12:47:19','2012-11-05 18:47:19','','der ring','','inherit','open','open','','der-ring','','','2012-11-05 12:47:19','2012-11-05 18:47:19','',2846,'http://jeanatacc.com/2011/wp-content/uploads/2012/11/der-ring.jpg',0,'attachment','image/jpeg',0),(2858,67,'2012-11-05 12:48:12','2012-11-05 18:48:12','<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\"><img class=\"alignnone size-full wp-image-2857\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/der-ring.jpg\" alt=\"\" width=\"330\" height=\"300\" /></a></p>\n<p align=\"center\"> </p>\n<p align=\"center\"> </p>\n<p align=\"center\">Der Ring der Nibelungen</p>\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\n\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\n\n            Around the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\n\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\n\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\n\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\n\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\n\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\n\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\n\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\n\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\n\n Being as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\n\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Works cited:</p>\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\n\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\n\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\n\n&nbsp;\n\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\n\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\n\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\n\n&nbsp;\n\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\n\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\n\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\n\n&nbsp;\n\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\n\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\n\n“This website has a brief history of composers. I used it to learn about some of the composers.”\n\n&nbsp;\n\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\n\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\n\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\n\n&nbsp;\n\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\n\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\n\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','inherit','open','open','','2846-revision-2','','','2012-11-05 12:48:12','2012-11-05 18:48:12','',2846,'http://jeanatacc.com/2011/?p=2858',0,'revision','',0),(2899,1,'2012-11-05 13:11:31','2012-11-05 19:11:31','<div>\r\n\r\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\r\n\r\n</div>\r\n<div>\r\n\r\nJanuary 9, 1894\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\r\n\r\n<!--more-->\r\n\r\n</div>\r\n<div>\r\n\r\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\r\n\r\n</div>\r\n<div>\r\n\r\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\r\n\r\n</div>\r\n<div>\r\n\r\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\r\n\r\n</div>\r\n<div>\r\n\r\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\r\n\r\n</div>\r\n<div>\r\n\r\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\r\n\r\n</div>\r\n<div>\r\n\r\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edison\'s time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\r\n\r\n</div>\r\n<div>\r\n\r\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-10','','','2012-11-05 13:11:31','2012-11-05 19:11:31','',2847,'http://jeanatacc.com/2011/?p=2899',0,'revision','',0),(2859,67,'2012-11-05 12:48:41','2012-11-05 18:48:41','<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\"><img class=\"alignnone size-full wp-image-2857\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/der-ring.jpg\" alt=\"\" width=\"330\" height=\"300\" /></a></p>\r\n<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\">http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg</a></p>\r\n<p align=\"center\">Der Ring der Nibelungen</p>\r\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\r\n\r\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\r\n\r\n            Around the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\r\n\r\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\r\n\r\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\r\n\r\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\r\n\r\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\r\n\r\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\r\n\r\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\r\n\r\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\r\n\r\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\r\n\r\n Being as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\r\n\r\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works cited:</p>\r\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\r\n\r\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\r\n\r\n&nbsp;\r\n\r\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\r\n\r\n&nbsp;\r\n\r\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\r\n\r\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\r\n\r\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\r\n\r\n&nbsp;\r\n\r\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\r\n\r\n“This website has a brief history of composers. I used it to learn about some of the composers.”\r\n\r\n&nbsp;\r\n\r\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\r\n\r\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\r\n\r\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\r\n\r\n&nbsp;\r\n\r\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\r\n\r\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','inherit','open','open','','2846-revision-3','','','2012-11-05 12:48:41','2012-11-05 18:48:41','',2846,'http://jeanatacc.com/2011/?p=2859',0,'revision','',0),(2878,66,'2012-11-05 12:58:49','2012-11-05 18:58:49','<div>\r\n\r\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\r\n\r\n</div>\r\n<div>\r\n\r\nJanuary 9, 1894\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\r\n\r\n<!--more-->\r\n\r\n</div>\r\n<div>\r\n\r\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\r\n\r\n</div>\r\n<div>\r\n\r\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\r\n\r\n</div>\r\n<div>\r\n\r\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\r\n\r\n</div>\r\n<div>\r\n\r\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\r\n\r\n</div>\r\n<div>\r\n\r\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\r\n\r\n</div>\r\n<div>\r\n\r\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edisons time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\r\n\r\n</div>\r\n<div>\r\n\r\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-7','','','2012-11-05 12:58:49','2012-11-05 18:58:49','',2847,'http://jeanatacc.com/2011/?p=2878',0,'revision','',0),(2860,64,'2012-10-15 11:33:18','2012-10-15 17:33:18','','Auto Draft','','inherit','open','open','','2694-revision','','','2012-10-15 11:33:18','2012-10-15 17:33:18','',2694,'http://jeanatacc.com/2011/?p=2860',0,'revision','',0),(2861,64,'2012-11-26 12:23:36','2012-11-26 18:23:36','&nbsp;\r\n\r\n[youtube]http://www.youtube.com/watch?v=l8wmyCcbnX0[/youtube]\r\n\r\n[http://www.youtube.com/watch?v=l8wmyCcbnX0]\r\n\r\nHoward Hughes revolutionized the movie industry, he elevated and pushed film to new and higher extremes and went beyond the limits of film making. Howard Hughes was a pioneer to the film industry. Martin Scorsese said that “One of the most interesting attributes about Howard Hughes was his courage and innovation and how he was willing to just break all the rules.” Howard Hughes was the quintessential tycoon of the last century. Howard Hughes had many different facades, and revolutionized all fields, whether it was building the biggest airplane ever or being the first man to fly around the world in one single flight or breaking the world record for becoming the fastest man on the planet. Howard excelled at everything he was engaged in. When Howard Hughes dove into film he directed, produced and partially wrote “Hell’s Angels” which became Hollywood’s first million dollar blockbuster movie ever. On his unprecedented work of “Hells Angels” Howard introduced the world to a newer perspective type of action, a type of action that is seen from the cock pit of an airplane that views the aerial battles from all possible angles during the memorable dog fight scenes in the movie. Howard Hughes recreated what war was like in the air from a pilot’s perspective and pushed the pilots to go beyond all levels of safety to recapture the reality of battle on film. Hells Angels had amazing special effects and ground breaking footage that achieved graphic realism from a whole new different perspective, for all these reasons this film should be preserved for future generations.<!--more-->\r\n\r\nTechnology was definitely progressing in many ways during the mid to late 1920’s. Many changes were going on at the time and new inventions and new discoveries were being found. In film, movies were just starting to implement the use of sound and color in films which was a major breakthrough for the industry and created a much bigger interest of audience. The invention of the radio changed many lives in America, which defiantly help expand not just the news but Hollywood and entertainment which lead to a growing interest in entertainment and the movie industry. World War One ended a couple of years earlier; this had also helped the movie industry at the time. American’s could go and watch a movie and for a brief moment and forget about what was going on in the real world for a hour or two and enjoy themselves while lifting their morale or spirits. The movie industry definitely helped American’s get through some tough times. In 1919 a law was passed for the Prohibition of the consumption and possession of alcohol making it illegal, this as well helped the movie industry during the times, bringing more consumers towards the movies. Jazz was the music of popular choice at the time and some of the more popular artists were Duke Ellington and Al Jolson. A popular composer at the time was George Gershwin. These years were considered the roaring twenties, because everything was happening in huge proportions, people were captivated by new ideas and new breakthroughs. Howard Hughes was definitely a man in his time. Everything that Howard Hughes engaged in was a breakthrough for society and everything he did was in a huge way. Howard Hughes was a multi millionaire at a young age. Howard Hughes didn’t just change the film industry he also revolutionized aviation, aerospace and technology. Howard created his own airline company at a young age, broke speed records to become the fastest man in the world in an airplane, and was the first man ever to fly around the world in one single flight. Howard Hughes was the reason when we fly today we fly above the stratosphere. Howard had many contributions to electronics as well. Hughes aircraft became a leader in avionics developing radar, guided missiles and missile and weapon guidance systems and also the synchronous orbit communications satellite. In a book Howard Hughes the untold story Brown writes “ His legacy in the skies and in Las Vegas and on the screen, To Hughes the skies were there to conquer, and the desert was a frontier, not a wasteland, and the censorship codes were something to fight, not fear. He also left a stunning medical bequest The Howard Hughes Medical Institute. ”(Brown)Howard was always fascinated by aviation as a child and he wanted to bring that fascination to the big screen. In Hells Angels Howard shows his love for aviation through the film. Howard Hughes invested four million dollars of is own money in the making of Hells Angels and used 137 pilots, 87 airplanes, 35 camera men and 2,000 extra’s which helped him make Hollywood’s first multi million dollar film.\r\nThe movie was originally shot as silent film and was a movie that depicted World War One. The movie is centered on two brothers who are studying at Oxford together during the time of World War One. The two brothers are very different in many ways, they both end up falling for the same girl, played by Jean Harlow. The two brothers end up signing up for the Royal Flying Corps (RFC), both for different reasons. While flying a dangerous bombing mission the two brothers end up getting shot down behind enemy lines. The climax and true genius of the film are shown in the dog fight scenes. This is what catapults the film to iconic status. From a technical standpoint the dog fight scenes contained amazing aerial footage. Hells Angles created unpretentious grandeur for its aerial performance. Pilots took the planes past what was known as safe, they zoomed from beyond dangerous levels and perform stunts that cost one pilot and one mechanic their lives while shooting the film. When a pilot refused to due a risky stunt that was two dangerous Howard would get in the plane and perform the stunt himself just to get the realization of the pilots view on film. There is an aerial fight seen that involves a German zeppelin that is shot in a dual Technicolor with a purple backdrop, this complimented certain scenes that involved explosions and captured fire in its real form and changed special effects and made it more visual and real. Every detail in the film with aviation was stellar, from the take off’s to the flying v formation. The realism of the planes tale spinning out of control was epic, and was recreated to perfection and is seen throughout the dog fights. “The monumental dog fight scenes were incorporated in dozens of other films and are still stolen today.”(Historynet)\r\nToday many people are still captivated by Hells Angels and what it did for film. The movie Hells Angels was redubbed for conversion to DVD and the film and story behind the director were brought to life by Martin Scorsese in the “Aviator” which was released in 2004, which the numbers box office movie data projected worldwide total box office growth of over 214 million dollars. During the time of the original release of Hells Angels 500,000 people waited for hours in line to see the movie and were captivated by its concept. Many people were unaware or had never seen such breath taking footage of dynamic realistic action brought to screen; the release of Hells Angles produced America’s first ever million dollar action blockbuster. Hells Angels is still viewed as a prestigious film as it was during its original release, in terms of technicality of the production many people view the film as iconic. People today are still captivated by the idea of flight and from when Howard Hughes brought it to the big screen. The movie Hells Angels gave people a glimpse of a newer standard of the way film can be shot. Hells Angels was typical of its time in terms of innovation and from its original release in 1930 and still is typical of our time today, for these reasons Hells Angels should be preserved for future generations.\r\nDuring the release of Hells Angels was a time when sound was first becoming part of a movie. Inventor Lee de Forest successfully demonstrated his sound on film process called the Phonofilm. A popular film at the time was Demile’s “Ten Commandments, which was a great American silent film classic released by Paramount Pictures which also used the Technicolor film process. In 1925 the Great Charlie Chaplin wrote, produced, directed and starred in the classic silent comedy “The Gold Rush.” (hollywoodmovies) Hells Angels broke away from the modern classic films of the time, people were just not used to in you’re face action and mind blowing stunts that dazzled audiences. Hells Angels revolutionized film to a new category of action with flight through dog fight scenes. Hells Angles was innovative of its time and took film to a whole new level.\r\nHells Angels shares some similarities with a movie known as Pearl Harbor, both of these two films have very similar story lines. Pearl Harbor also portrays the beginning of World War 2. “Pearl Harbor also had a huge budget that was 145 million making it the biggest budget ever to get a green light.” (about movies) In Hells Angels and in Pearl Harbor there are two pilots who are very close to each other, Hells angels has two brothers and Pearl Harbor has two best friends who are like brothers but both go to war and end up falling for the same girl and get caught in a love triangle. In both movies there is a drastic ending on who actually ends up with the girl or who does not. In the two films both have a climatic ending where it is the two come face to face with who lives or who dies. The two films have a substantial amount of aerial footage as well as great special effects that are in the films, and both films used a lot of money to make and both actually came out at about even at the box office. Surprisingly the main characters in both movies are both pilots in London’s Royal Air Force and both get shot down by the Germans. In contrast, although both of the films are portraying a war, Hells Angels is about World War One and the battle is between London and Germany, and in Pearl Harbor is about World War 2 and is the United States against Japan. In Hells Angels there is an aerial battle that involves a zeppelin and in Pearl Harbor there is not. Pearl Harbor does not have a long aerial battle like Hells Angels which is about 30 minutes of footage of aerial footage. In Hells Angels in the dog fight scene with the zeppelin the film is shot with a dual Technicolor backdrop of purple or blue, which helped the special effects out a lot. Pearl Harbor had aerial dog fight scenes filmed over water and of course Jerry Bruckheimer wasn’t getting in the actual planes himself and performing the stunts in air. In Pearl Harbor there are many explosions with the help of Computer Graphics unlike Hells Angels. Although both films do contain some bad acting, not to blame Hells Angels who had actors who were used to silent acting and Jean Harlow was only 18 years old, I think Pearl Harbor is a little to wishy-washy for me.\r\nI was stunned when I finally saw Hells Angels; the aerial footage was phenomenal and was blown away by the stunts that were actually performed by the pilots of the time. The special effects were before its time and set the bar of what could be done to make a blockbuster film. I was blown away because aviation back in the late 1920’s was still in its early progressive stages there was a lot that pilots were unaware of in terms of aviation. It was the pilots back then that took planes beyond their limits to see what could actually be done while in flight and it is shown in the movie Hells Angels during the aerial scenes. The pilots risked their lives flying into the unknown setting the standard of what a plane can and cannot do during flight, that’s what intrigues me the most about Howard Hughes was the fact that he took huge risks that revolutionized all things that he participated in. He lived to go beyond what was considered normal in every single way which eventually changed the world. Hell’s Angels is proof of that, on film Hells Angels broke through what was considered normal of the time and was considered revolutionary to the film industry. Many of our movies today are filled with action and glamour and a lot of that we owe to Howard Hughes and Hells Angels; this is the reason why I chose the film and why Hells Angels should be preserved for future generations.\r\n\r\nWorks Cited\r\n\r\n1. Brown, Harry. The Untold Story, Da Capo Press 1996.\r\nA book about Howard Hughes life.\r\n\r\n2. www.historynet.com\r\nI found this website online looking for technical information on Hells Angels\r\n\r\n3. www.hollywoodmovies.com\r\nI found this website online and got information for Charlie Chaplin films and the Ten Commandments','Howard Hughes\'s Hells Angels should be preserved for future generations because it revolutionized the film industry.','','publish','open','open','','howard-hughess-hells-angels-should-be-preserved-for-future-generations-because-it-revolutionized-the-film-industry','','','2012-11-26 12:57:53','2012-11-26 18:57:53','',0,'http://jeanatacc.com/2011/?p=2861',0,'post','',14),(2862,67,'2012-11-05 12:48:56','2012-11-05 18:48:56','<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\"><img class=\"alignnone size-full wp-image-2857\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/der-ring.jpg\" alt=\"\" width=\"330\" height=\"300\" /></a></p>\r\n<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\">http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg</a></p>\r\n<p align=\"center\">Der Ring der Nibelungen</p>\r\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\r\n\r\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\r\n\r\n            Around the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\r\n\r\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\r\n\r\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\r\n\r\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\r\n\r\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\r\n\r\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\r\n\r\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\r\n\r\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\r\n\r\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\r\n\r\n Being as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\r\n\r\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works cited:</p>\r\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\r\n\r\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\r\n\r\n&nbsp;\r\n\r\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\r\n\r\n&nbsp;\r\n\r\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\r\n\r\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\r\n\r\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\r\n\r\n&nbsp;\r\n\r\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\r\n\r\n“This website has a brief history of composers. I used it to learn about some of the composers.”\r\n\r\n&nbsp;\r\n\r\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\r\n\r\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\r\n\r\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\r\n\r\n&nbsp;\r\n\r\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\r\n\r\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','inherit','open','open','','2846-revision-4','','','2012-11-05 12:48:56','2012-11-05 18:48:56','',2846,'http://jeanatacc.com/2011/?p=2862',0,'revision','',0),(2863,67,'2012-11-05 12:50:42','2012-11-05 18:50:42','<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\"><img class=\"alignnone size-full wp-image-2857\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/der-ring.jpg\" alt=\"\" width=\"330\" height=\"300\" /></a></p>\r\n<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\">http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg</a></p>\r\n<p align=\"center\">Der Ring der Nibelungen</p>\r\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\r\n\r\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\r\n\r\n            Around the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\r\n\r\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\r\n\r\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\r\n\r\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\r\n\r\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\r\n\r\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\r\n\r\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\r\n\r\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\r\n\r\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\r\n\r\n Being as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\r\n\r\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works cited:</p>\r\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\r\n\r\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\r\n\r\n&nbsp;\r\n\r\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\r\n\r\n&nbsp;\r\n\r\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\r\n\r\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\r\n\r\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\r\n\r\n&nbsp;\r\n\r\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\r\n\r\n“This website has a brief history of composers. I used it to learn about some of the composers.”\r\n\r\n&nbsp;\r\n\r\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\r\n\r\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\r\n\r\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\r\n\r\n&nbsp;\r\n\r\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\r\n\r\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','inherit','open','open','','2846-revision-5','','','2012-11-05 12:50:42','2012-11-05 18:50:42','',2846,'http://jeanatacc.com/2011/?p=2863',0,'revision','',0),(2864,64,'2012-11-05 12:52:11','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-11-05 12:52:11','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2864',0,'post','',0),(2866,64,'2012-11-05 12:54:22','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-11-05 12:54:22','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2866',0,'post','',0),(2867,64,'2012-11-05 12:49:53','2012-11-05 18:49:53','\r\nThe Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. Eiffel introduced a new form of design that was innovative, structurally sound and at the same time possessed an amazing unique brilliance to his work. Eiffel changed the world of design and architecture. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future. \r\nThe Statue of Liberty was completed in 1886, in the New York harbor, from the site of the viewer the monument is 300 feet high in feet, it is an amazing sight to witness. The Statue is not just amazing for its looks but it is amazing for the way in which it was built. The Statue of Liberty is an example and a product of its innovative and progressive timeframe. Technology was on the rise in the late 1800’s and steel and iron were being used in innovative ways that no one thought could ever be used. The United States Navy was producing and constructing warships that were made of iron and steel in huge quantities. In the 1870’s the prototype telephone was invented by Alexander Gram Bell. Thomas Edison just invented the light bulb as well as the phonograph. This innovative and progressive timeframe crossed into Architecture and design and was being utilized throughout the country. During the time in which the Statue of liberty was built the scheme on how it was built was a progressive scheme and was being used in many different ways during that period according to Marvin Trachtenburg. He goes on to say that in that progressive time frame there was a combination of new and traditional structures that were also built with the same unit masonry shell and a visible internal structure entirely or partly iron. This mode was employed in a variety of new building types, including early factories, commercial buildings, markets, galleries, and stores, the railway stations were the most widespread example of such combinations. (Marvin 446) \r\n The Statue of Liberty was definitely typical of its time. The statue was given as a gift from France and was to represent a token of friendship between France and America as they fought together for independence from Brittan in the American Revolutionary war. The statue carries a torch of light in her right hand which is a beacon of light and holds a tablet in her left hand with the inscription July 4, 1776 which was to commemorate the 100th anniversary of the United States as a nation the day the declaration of independence was signed. The sculptor Fredric Auguste Bartholdi choose to sculpt after the roman goddess Libertas, who was the roman goddess of freedom. (History ch.) The Statue of Liberty as a symbol had huge significance not just on France and America but to the world as well. The Statue of Liberty is not just a symbol of friendship it is a symbol of modern technology being conveyed thru the art of architecture and sculpture on the highest stage. The French choose to honor the United States in the highest way and form and the Statue of Liberty had to be flawless, in terms of design and construction to commemorate the friendship between the two countries. The Statue of Liberty was also typical of its time in terms of technology and innovation on initial construction and design of the statue. The boom and wave of technology had just hit the United States and was being seen in through newer inventions and innovative ways of thinking, from Edison’s invention of the light bulb to Alexander Gram Bell’s invention of the telephone, these newer technical ways of thinking were being transformed into the arts like the Statue of Liberty. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(Marvin 446) The genius behind the design of Statue of Liberty is by far an intricate systematic new way of design that was progressive in its design and was only seen in other works that were also designed by Gusave Eiffel that were as well typical of the progressive timeframe. One of the most famous towers in the world today, the Eiffel Tower, this was also built around same time frame in 1887, one year after the Statue of Liberty, and was very similar in design to the Statue of Liberty. Both the Eiffel tower and the Statue of Liberty had a systematic intricate design to them, the Eiffel tower had 18,000 pieces to its construction that all served a detailed constructive and aesthetic purpose which was also known for its grandeur, not just for its design but size as well. The Eiffel Tower is almost 1,000 feet tall and is also constructed of iron, and can with stand the worst nautical winds based on the way it was designed, both the Eiffel tower and the Statue of Liberty were progressive monumental feats in how they were constructed and were both considered High-Technology architecture that made them typical of its progressive and technical timeframe. The Statue of Liberty sets itself apart from most of the architecture in the modern world because before the construction of the Statue of Liberty, the modern world of architecture had a Victorian gothic theme that was considered the traditional norm. This was seen in the Houses of Parliament in London constructed in the mid 1800s by Sir Charles Barry, most churches and houses had the same style and theme around Europe of the time. With the help of technology the Statue of Liberty broke away from those traditional norms and in its style and design progressed forward and elevated a shift towards a high technology based architectural movement that was seen in the late 1800’s. The Statue of Liberty also contrasted with the Eiffel tower in many ways, the most noticeable examples is the Eiffel tower is built of iron with iron as its exterior, the iron is puddled iron and is arched that serves a design and supporting purpose. The ornamental arches at the bottom of the base of Eiffel tower serve more of an aesthetic purpose and do not serve a structural purpose at all. The base at the bottom of the Statue of Liberty is a foundation piece that supports the weight of the Statue which is 450,000 pounds. The Statue of Liberty was built of hammered sheets of copper and has an iron interior that is used for support. The Statue of Liberty received a lot of acclaim from the time it was built to commemorate the 100 years of the United States as a Nation and represent the relations between two nations and serve as a symbol that resembled freedom and rebellion today it still receives high acclaim. \r\nThe Statue of Liberty has been seen on stamps that have been minted, the 15 cent, the 3 cent, 8 cent and 11 cent stamp all have the Statue of Liberty on them also the New York quarter was minted with Lady Liberty’s picture on it. The Statue of Liberty receives millions of tourist each year all captivated by its beauty and design it is one of the most popular places to visit in America. The Statue of Liberty has been seen in television ads and was also seen in the movie “The Planet of The Apes” and has also been in the popular television show “fringe”. Every fourth of July, the United States day of independence hundreds of people flock to the Statue of Liberty to see a firework show that is on display with Lady Liberty there standing tall and proud representing freedom and hope for a country. People today are very captivated by the Statue and it has become not just a national landmark but a symbol of the spirit of freedom. The Statue of Liberty is an icon to the United States and is a national landmark but it is more than that, It has become a symbol that is American, the Statue of Liberty was the first sight immigrants saw while coming to America, it was not just a symbol of freedom to Americans back then till now but to other nations as well who were fleeing a country or wanting to flee a country.  \r\n	My personal reactions to the work of the Statue of Liberty were good on discovering the actual architecture of the statue, it is hard to get past all the popularity, build up and hype that the Statue of Liberty is surrounded in. The Statue is designed very intricately and has a unique hidden design that goes unnoticed, I didn’t know it was such a breakthrough in architecture in terms of High Technology architecture and had such an amazing hidden interior. I think that is what I like about the Statue the most is most people including me do not know of the hidden science or genius underneath the surface, if they can get past through all the glamour and hype they can find an amazingly sound systematic engineering marvel that goes unnoticed for its engineering and actual design. In closing I think the Statue of Liberty should be preserved for its architecture and its design not its story and hype behind the statue of liberty. The Statue of Liberty created a wave of Technology and science integrated through architecture, the world we live in today we are faced with technology growing in extremely fast measures. The Statue of Liberty was a statue that made the leap and changed architecture based on its systematic design, interior and exterior. Its design catapulted a new wave and style that was high tech architecture in an innovative time period. The Statue of Liberty was a statue that shifted with times and changed the world as we know it, for these reason the Statue of Liberty should be preserved for future generations.\r\n	\r\n\r\n\r\n\r\n\r\n\r\nWorks Cited\r\n\r\n\r\n\r\nMarvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\r\nWebsite, http://statueofliberty.org/Statue_History.html\r\nWebsite: http://www.history.com/topics/statue-of-liberty\r\n','The Statue of Liberty should be preserved because it transformed Architecture in a huge way','','inherit','open','open','','2694-revision-2','','','2012-11-05 12:49:53','2012-11-05 18:49:53','',2694,'http://jeanatacc.com/2011/?p=2867',0,'revision','',0),(2868,56,'2012-11-05 12:55:42','2012-11-05 18:55:42','&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\nThesis - Should be preserved because it was the first time that photography shaped public opinion about a leader. “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting.” (Panzer, Foley and et. al)\n\n-----------------\n\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\n\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\n\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\n\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\n\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\n\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\n\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\n\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\n\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\n\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\n\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\n\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\n\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\n\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\n\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\n\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\n\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\n\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\n\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\n\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\n\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\n\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\n\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\n\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\n\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\n\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\n\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\n\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\n\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\n\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\n\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\n\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\n\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\n\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\n\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\n\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\n\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\n\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\n\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\n\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\n\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\n\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\n\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\n\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\n\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\n\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\n\n&nbsp;\n\n&nbsp;\n\nInteresting Reading - http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision','','','2012-11-05 12:55:42','2012-11-05 18:55:42','',2855,'http://jeanatacc.com/2011/?p=2868',0,'revision','',0),(2875,67,'2012-11-05 13:06:12','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-11-05 13:06:12','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2875',0,'post','',0),(2869,56,'2012-11-05 12:55:43','2012-11-05 18:55:43','&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThesis - Should be preserved because it was the first time that photography shaped public opinion about a leader. “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting.” (Panzer, Foley and et. al)\r\n\r\n-----------------\r\n\r\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\r\n\r\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\r\n\r\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\r\n\r\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\r\n\r\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\r\n\r\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\r\n\r\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\r\n\r\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\r\n\r\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\r\n\r\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\r\n\r\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\r\n\r\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\r\n\r\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\r\n\r\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\r\n\r\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\r\n\r\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\r\n\r\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\r\n\r\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\r\n\r\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\r\n\r\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\r\n\r\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\r\n\r\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\r\n\r\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\r\n\r\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\r\n\r\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\r\n\r\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\r\n\r\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\r\n\r\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\r\n\r\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\r\n\r\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\r\n\r\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\r\n\r\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\r\n\r\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\r\n\r\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\r\n\r\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\r\n\r\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\r\n\r\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\r\n\r\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\r\n\r\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\r\n\r\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\r\n\r\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\r\n\r\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\r\n\r\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\r\n\r\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nInteresting Reading - http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-2','','','2012-11-05 12:55:43','2012-11-05 18:55:43','',2855,'http://jeanatacc.com/2011/?p=2869',0,'revision','',0),(2870,64,'2012-11-05 12:54:55','2012-11-05 18:54:55','The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. Eiffel introduced a new form of design that was innovative, structurally sound and at the same time possessed an amazing unique brilliance to his work. Eiffel changed the world of design and architecture. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future.\r\nThe Statue of Liberty was completed in 1886, in the New York harbor, from the site of the viewer the monument is 300 feet high in feet, it is an amazing sight to witness. The Statue is not just amazing for its looks but it is amazing for the way in which it was built. The Statue of Liberty is an example and a product of its innovative and progressive timeframe. Technology was on the rise in the late 1800’s and steel and iron were being used in innovative ways that no one thought could ever be used. The United States Navy was producing and constructing warships that were made of iron and steel in huge quantities. In the 1870’s the prototype telephone was invented by Alexander Gram Bell. Thomas Edison just invented the light bulb as well as the phonograph. This innovative and progressive timeframe crossed into Architecture and design and was being utilized throughout the country. During the time in which the Statue of liberty was built the scheme on how it was built was a progressive scheme and was being used in many different ways during that period according to Marvin Trachtenburg. He goes on to say that in that progressive time frame there was a combination of new and traditional structures that were also built with the same unit masonry shell and a visible internal structure entirely or partly iron. This mode was employed in a variety of new building types, including early factories, commercial buildings, markets, galleries, and stores, the railway stations were the most widespread example of such combinations. (Marvin 446)\r\nThe Statue of Liberty was definitely typical of its time. The statue was given as a gift from France and was to represent a token of friendship between France and America as they fought together for independence from Brittan in the American Revolutionary war. The statue carries a torch of light in her right hand which is a beacon of light and holds a tablet in her left hand with the inscription July 4, 1776 which was to commemorate the 100th anniversary of the United States as a nation the day the declaration of independence was signed. The sculptor Fredric Auguste Bartholdi choose to sculpt after the roman goddess Libertas, who was the roman goddess of freedom. (History ch.) The Statue of Liberty as a symbol had huge significance not just on France and America but to the world as well. The Statue of Liberty is not just a symbol of friendship it is a symbol of modern technology being conveyed thru the art of architecture and sculpture on the highest stage. The French choose to honor the United States in the highest way and form and the Statue of Liberty had to be flawless, in terms of design and construction to commemorate the friendship between the two countries. The Statue of Liberty was also typical of its time in terms of technology and innovation on initial construction and design of the statue. The boom and wave of technology had just hit the United States and was being seen in through newer inventions and innovative ways of thinking, from Edison’s invention of the light bulb to Alexander Gram Bell’s invention of the telephone, these newer technical ways of thinking were being transformed into the arts like the Statue of Liberty. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(Marvin 446) The genius behind the design of Statue of Liberty is by far an intricate systematic new way of design that was progressive in its design and was only seen in other works that were also designed by Gusave Eiffel that were as well typical of the progressive timeframe. One of the most famous towers in the world today, the Eiffel Tower, this was also built around same time frame in 1887, one year after the Statue of Liberty, and was very similar in design to the Statue of Liberty. Both the Eiffel tower and the Statue of Liberty had a systematic intricate design to them, the Eiffel tower had 18,000 pieces to its construction that all served a detailed constructive and aesthetic purpose which was also known for its grandeur, not just for its design but size as well. The Eiffel Tower is almost 1,000 feet tall and is also constructed of iron, and can with stand the worst nautical winds based on the way it was designed, both the Eiffel tower and the Statue of Liberty were progressive monumental feats in how they were constructed and were both considered High-Technology architecture that made them typical of its progressive and technical timeframe. The Statue of Liberty sets itself apart from most of the architecture in the modern world because before the construction of the Statue of Liberty, the modern world of architecture had a Victorian gothic theme that was considered the traditional norm. This was seen in the Houses of Parliament in London constructed in the mid 1800s by Sir Charles Barry, most churches and houses had the same style and theme around Europe of the time. With the help of technology the Statue of Liberty broke away from those traditional norms and in its style and design progressed forward and elevated a shift towards a high technology based architectural movement that was seen in the late 1800’s. The Statue of Liberty also contrasted with the Eiffel tower in many ways, the most noticeable examples is the Eiffel tower is built of iron with iron as its exterior, the iron is puddled iron and is arched that serves a design and supporting purpose. The ornamental arches at the bottom of the base of Eiffel tower serve more of an aesthetic purpose and do not serve a structural purpose at all. The base at the bottom of the Statue of Liberty is a foundation piece that supports the weight of the Statue which is 450,000 pounds. The Statue of Liberty was built of hammered sheets of copper and has an iron interior that is used for support. The Statue of Liberty received a lot of acclaim from the time it was built to commemorate the 100 years of the United States as a Nation and represent the relations between two nations and serve as a symbol that resembled freedom and rebellion today it still receives high acclaim.\r\nThe Statue of Liberty has been seen on stamps that have been minted, the 15 cent, the 3 cent, 8 cent and 11 cent stamp all have the Statue of Liberty on them also the New York quarter was minted with Lady Liberty’s picture on it. The Statue of Liberty receives millions of tourist each year all captivated by its beauty and design it is one of the most popular places to visit in America. The Statue of Liberty has been seen in television ads and was also seen in the movie “The Planet of The Apes” and has also been in the popular television show “fringe”. Every fourth of July, the United States day of independence hundreds of people flock to the Statue of Liberty to see a firework show that is on display with Lady Liberty there standing tall and proud representing freedom and hope for a country. People today are very captivated by the Statue and it has become not just a national landmark but a symbol of the spirit of freedom. The Statue of Liberty is an icon to the United States and is a national landmark but it is more than that, It has become a symbol that is American, the Statue of Liberty was the first sight immigrants saw while coming to America, it was not just a symbol of freedom to Americans back then till now but to other nations as well who were fleeing a country or wanting to flee a country.\r\nMy personal reactions to the work of the Statue of Liberty were good on discovering the actual architecture of the statue, it is hard to get past all the popularity, build up and hype that the Statue of Liberty is surrounded in. The Statue is designed very intricately and has a unique hidden design that goes unnoticed, I didn’t know it was such a breakthrough in architecture in terms of High Technology architecture and had such an amazing hidden interior. I think that is what I like about the Statue the most is most people including me do not know of the hidden science or genius underneath the surface, if they can get past through all the glamour and hype they can find an amazingly sound systematic engineering marvel that goes unnoticed for its engineering and actual design. In closing I think the Statue of Liberty should be preserved for its architecture and its design not its story and hype behind the statue of liberty. The Statue of Liberty created a wave of Technology and science integrated through architecture, the world we live in today we are faced with technology growing in extremely fast measures. The Statue of Liberty was a statue that made the leap and changed architecture based on its systematic design, interior and exterior. Its design catapulted a new wave and style that was high tech architecture in an innovative time period. The Statue of Liberty was a statue that shifted with times and changed the world as we know it, for these reason the Statue of Liberty should be preserved for future generations.\r\n\r\nWorks Cited\r\n\r\nMarvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\r\nWebsite, http://statueofliberty.org/Statue_History.html\r\nWebsite: http://www.history.com/topics/statue-of-liberty','The Statue of Liberty should be preserved because it transformed Architecture ','','inherit','open','open','','2694-revision-3','','','2012-11-05 12:54:55','2012-11-05 18:54:55','',2694,'http://jeanatacc.com/2011/?p=2870',0,'revision','',0),(2871,64,'2012-11-05 12:56:35','2012-11-05 18:56:35','<img class=\"alignnone\" src=\"http://img.ezinemark.com/imagemanager2/files/2010_re/2010-08-28-19-16-27-10-statue-of-liberty.jpeg\" alt=\"\" width=\"450\" height=\"299\" />The Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. Eiffel introduced a new form of design that was innovative, structurally sound and at the same time possessed an amazing unique brilliance to his work. Eiffel changed the world of design and architecture. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future.\r\nThe Statue of Liberty was completed in 1886, in the New York harbor, from the site of the viewer the monument is 300 feet high in feet, it is an amazing sight to witness. The Statue is not just amazing for its looks but it is amazing for the way in which it was built. The Statue of Liberty is an example and a product of its innovative and progressive timeframe. Technology was on the rise in the late 1800’s and steel and iron were being used in innovative ways that no one thought could ever be used. The United States Navy was producing and constructing warships that were made of iron and steel in huge quantities. In the 1870’s the prototype telephone was invented by Alexander Gram Bell. Thomas Edison just invented the light bulb as well as the phonograph. This innovative and progressive timeframe crossed into Architecture and design and was being utilized throughout the country. During the time in which the Statue of liberty was built the scheme on how it was built was a progressive scheme and was being used in many different ways during that period according to Marvin Trachtenburg. He goes on to say that in that progressive time frame there was a combination of new and traditional structures that were also built with the same unit masonry shell and a visible internal structure entirely or partly iron. This mode was employed in a variety of new building types, including early factories, commercial buildings, markets, galleries, and stores, the railway stations were the most widespread example of such combinations. (Marvin 446)\r\nThe Statue of Liberty was definitely typical of its time. The statue was given as a gift from France and was to represent a token of friendship between France and America as they fought together for independence from Brittan in the American Revolutionary war. The statue carries a torch of light in her right hand which is a beacon of light and holds a tablet in her left hand with the inscription July 4, 1776 which was to commemorate the 100th anniversary of the United States as a nation the day the declaration of independence was signed. The sculptor Fredric Auguste Bartholdi choose to sculpt after the roman goddess Libertas, who was the roman goddess of freedom. (History ch.) The Statue of Liberty as a symbol had huge significance not just on France and America but to the world as well. The Statue of Liberty is not just a symbol of friendship it is a symbol of modern technology being conveyed thru the art of architecture and sculpture on the highest stage. The French choose to honor the United States in the highest way and form and the Statue of Liberty had to be flawless, in terms of design and construction to commemorate the friendship between the two countries. The Statue of Liberty was also typical of its time in terms of technology and innovation on initial construction and design of the statue. The boom and wave of technology had just hit the United States and was being seen in through newer inventions and innovative ways of thinking, from Edison’s invention of the light bulb to Alexander Gram Bell’s invention of the telephone, these newer technical ways of thinking were being transformed into the arts like the Statue of Liberty. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm. The copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(Marvin 446) The genius behind the design of Statue of Liberty is by far an intricate systematic new way of design that was progressive in its design and was only seen in other works that were also designed by Gusave Eiffel that were as well typical of the progressive timeframe. One of the most famous towers in the world today, the Eiffel Tower, this was also built around same time frame in 1887, one year after the Statue of Liberty, and was very similar in design to the Statue of Liberty. Both the Eiffel tower and the Statue of Liberty had a systematic intricate design to them, the Eiffel tower had 18,000 pieces to its construction that all served a detailed constructive and aesthetic purpose which was also known for its grandeur, not just for its design but size as well. The Eiffel Tower is almost 1,000 feet tall and is also constructed of iron, and can with stand the worst nautical winds based on the way it was designed, both the Eiffel tower and the Statue of Liberty were progressive monumental feats in how they were constructed and were both considered High-Technology architecture that made them typical of its progressive and technical timeframe. The Statue of Liberty sets itself apart from most of the architecture in the modern world because before the construction of the Statue of Liberty, the modern world of architecture had a Victorian gothic theme that was considered the traditional norm. This was seen in the Houses of Parliament in London constructed in the mid 1800s by Sir Charles Barry, most churches and houses had the same style and theme around Europe of the time. With the help of technology the Statue of Liberty broke away from those traditional norms and in its style and design progressed forward and elevated a shift towards a high technology based architectural movement that was seen in the late 1800’s. The Statue of Liberty also contrasted with the Eiffel tower in many ways, the most noticeable examples is the Eiffel tower is built of iron with iron as its exterior, the iron is puddled iron and is arched that serves a design and supporting purpose. The ornamental arches at the bottom of the base of Eiffel tower serve more of an aesthetic purpose and do not serve a structural purpose at all. The base at the bottom of the Statue of Liberty is a foundation piece that supports the weight of the Statue which is 450,000 pounds. The Statue of Liberty was built of hammered sheets of copper and has an iron interior that is used for support. The Statue of Liberty received a lot of acclaim from the time it was built to commemorate the 100 years of the United States as a Nation and represent the relations between two nations and serve as a symbol that resembled freedom and rebellion today it still receives high acclaim.\r\nThe Statue of Liberty has been seen on stamps that have been minted, the 15 cent, the 3 cent, 8 cent and 11 cent stamp all have the Statue of Liberty on them also the New York quarter was minted with Lady Liberty’s picture on it. The Statue of Liberty receives millions of tourist each year all captivated by its beauty and design it is one of the most popular places to visit in America. The Statue of Liberty has been seen in television ads and was also seen in the movie “The Planet of The Apes” and has also been in the popular television show “fringe”. Every fourth of July, the United States day of independence hundreds of people flock to the Statue of Liberty to see a firework show that is on display with Lady Liberty there standing tall and proud representing freedom and hope for a country. People today are very captivated by the Statue and it has become not just a national landmark but a symbol of the spirit of freedom. The Statue of Liberty is an icon to the United States and is a national landmark but it is more than that, It has become a symbol that is American, the Statue of Liberty was the first sight immigrants saw while coming to America, it was not just a symbol of freedom to Americans back then till now but to other nations as well who were fleeing a country or wanting to flee a country.\r\nMy personal reactions to the work of the Statue of Liberty were good on discovering the actual architecture of the statue, it is hard to get past all the popularity, build up and hype that the Statue of Liberty is surrounded in. The Statue is designed very intricately and has a unique hidden design that goes unnoticed, I didn’t know it was such a breakthrough in architecture in terms of High Technology architecture and had such an amazing hidden interior. I think that is what I like about the Statue the most is most people including me do not know of the hidden science or genius underneath the surface, if they can get past through all the glamour and hype they can find an amazingly sound systematic engineering marvel that goes unnoticed for its engineering and actual design. In closing I think the Statue of Liberty should be preserved for its architecture and its design not its story and hype behind the statue of liberty. The Statue of Liberty created a wave of Technology and science integrated through architecture, the world we live in today we are faced with technology growing in extremely fast measures. The Statue of Liberty was a statue that made the leap and changed architecture based on its systematic design, interior and exterior. Its design catapulted a new wave and style that was high tech architecture in an innovative time period. The Statue of Liberty was a statue that shifted with times and changed the world as we know it, for these reason the Statue of Liberty should be preserved for future generations.\r\n\r\nWorks Cited\r\n\r\nMarvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\r\nWebsite, http://statueofliberty.org/Statue_History.html\r\nWebsite: http://www.history.com/topics/statue-of-liberty','The Statue of Liberty should be preserved because it transformed Architecture ','','inherit','open','open','','2694-revision-4','','','2012-11-05 12:56:35','2012-11-05 18:56:35','',2694,'http://jeanatacc.com/2011/?p=2871',0,'revision','',0),(2872,1,'2012-11-05 14:02:46','2012-11-05 20:02:46','<img class=\"aligncenter\" src=\"http://img.ezinemark.com/imagemanager2/files/2010_re/2010-08-28-19-16-27-10-statue-of-liberty.jpeg\" alt=\"\" width=\"402\" height=\"267\" />\nThe Statue of Liberty is one of the greatest sculpture monuments of its time. One of the most popular tourist attractions in the world and is one of the most progressive and innovative statues of its time, its design and architecture surpass all feats in its construction and how it was built. Gustave Eiffel was the genius behind the design of the Statue of Liberty, who was a world renowned known engineer best known for his famous Eiffel tower that is still to this day one of the most captivating towers in the world. Eiffel introduced a new form of design that was innovative, structurally sound and at the same time possessed an amazing unique brilliance to his work. Eiffel changed the world of design and architecture. The Statue of Liberty is a timeless masterpiece and is a representation of technology and innovation in a progressive era, for these reasons the Statue of Liberty should be preserved for the future.\n\nThe Statue of Liberty was completed in 1886, in the New York harbor, from the site of the viewer the monument is 300 feet high in feet, it is an amazing sight to witness. The Statue is not just amazing for its looks but it is amazing for the way in which it was built. The Statue of Liberty is an example and a product of its innovative and progressive timeframe. Technology was on the rise in the late 1800’s and steel and iron were being used in innovative ways that no one thought could ever be used. The United States Navy was producing and constructing warships that were made of iron and steel in huge quantities. In the 1870’s the prototype telephone was invented by Alexander Gram Bell. Thomas Edison just invented the light bulb as well as the phonograph. This innovative and progressive timeframe crossed into Architecture and design and was being utilized throughout the country. During the time in which the Statue of liberty was built the scheme on how it was built was a progressive scheme and was being used in many different ways during that period according to Marvin Trachtenburg. He goes on to say that in that progressive time frame there was a combination of new and traditional structures that were also built with the same unit masonry shell and a visible internal structure entirely or partly iron. This mode was employed in a variety of new building types, including early factories, commercial buildings, markets, galleries, and stores, the railway stations were the most widespread example of such combinations. (Marvin 446)\n\nThe Statue of Liberty was definitely typical of its time. The statue was given as a gift from France and was to represent a token of friendship between France and America as they fought together for independence from Brittan in the American Revolutionary war. The statue carries a torch of light in her right hand which is a beacon of light and holds a tablet in her left hand with the inscription July 4, 1776 which was to commemorate the 100th anniversary of the United States as a nation the day the declaration of independence was signed. The sculptor Fredric Auguste Bartholdi choose to sculpt after the roman goddess Libertas, who was the roman goddess of freedom. (History ch.) The Statue of Liberty as a symbol had huge significance not just on France and America but to the world as well. The Statue of Liberty is not just a symbol of friendship it is a symbol of modern technology being conveyed thru the art of architecture and sculpture on the highest stage. The French choose to honor the United States in the highest way and form and the Statue of Liberty had to be flawless, in terms of design and construction to commemorate the friendship between the two countries. The Statue of Liberty was also typical of its time in terms of technology and innovation on initial construction and design of the statue. The boom and wave of technology had just hit the United States and was being seen in through newer inventions and innovative ways of thinking, from Edison’s invention of the light bulb to Alexander Gram Bell’s invention of the telephone, these newer technical ways of thinking were being transformed into the arts like the Statue of Liberty. Marvin describes the masterpiece as a “granite pedestal surmounted by a Neo classical colossus fabricated of hammered copper. Completely hidden within is the extraordinary structural program that supports the visible forms. The foundation block constitutes the largest concrete mass of its day. The concrete core of the pedestal walls is reinforced by ferrous elements that are run along the inner surface in the form of heavy iron straps bolted to massive cross yokes of steel girders anchored in the masonry at the top and bottom. But the armature of the statue itself-connected by huge bolts of the above mentioned cross girders-is the most remarkable of the monuments supports. The core of his wrought-iron structure is a tapering pylon of massive angle grinders cross-laced into a rigid unit, from which secondary, much lighter trust work reaches toward the interior skin of the statue. The actual connection of the skin is effected by a system of flexible, springlike iron bars (that allow for thermal expansion of the statue), while a powerful, cantilevered beam rises to carry the asymmetrical load of the torch arm.\n\nThe copper shell of Frederic Auguste Bartholdi’s statue is entirely hung from his multilayered skeleton, like a modern curtain wall, being nowhere self supporting at only 2.5 mm in thickness.”(Marvin 446) The genius behind the design of Statue of Liberty is by far an intricate systematic new way of design that was progressive in its design and was only seen in other works that were also designed by Gusave Eiffel that were as well typical of the progressive timeframe. One of the most famous towers in the world today, the Eiffel Tower, this was also built around same time frame in 1887, one year after the Statue of Liberty, and was very similar in design to the Statue of Liberty. Both the Eiffel tower and the Statue of Liberty had a systematic intricate design to them, the Eiffel tower had 18,000 pieces to its construction that all served a detailed constructive and aesthetic purpose which was also known for its grandeur, not just for its design but size as well. The Eiffel Tower is almost 1,000 feet tall and is also constructed of iron, and can with stand the worst nautical winds based on the way it was designed, both the Eiffel tower and the Statue of Liberty were progressive monumental feats in how they were constructed and were both considered High-Technology architecture that made them typical of its progressive and technical timeframe. The Statue of Liberty sets itself apart from most of the architecture in the modern world because before the construction of the Statue of Liberty, the modern world of architecture had a Victorian gothic theme that was considered the traditional norm. This was seen in the Houses of Parliament in London constructed in the mid 1800s by Sir Charles Barry, most churches and houses had the same style and theme around Europe of the time. With the help of technology the Statue of Liberty broke away from those traditional norms and in its style and design progressed forward and elevated a shift towards a high technology based architectural movement that was seen in the late 1800’s.\n\nThe Statue of Liberty also contrasted with the Eiffel tower in many ways, the most noticeable examples is the Eiffel tower is built of iron with iron as its exterior, the iron is puddled iron and is arched that serves a design and supporting purpose. The ornamental arches at the bottom of the base of Eiffel tower serve more of an aesthetic purpose and do not serve a structural purpose at all. The base at the bottom of the Statue of Liberty is a foundation piece that supports the weight of the Statue which is 450,000 pounds. The Statue of Liberty was built of hammered sheets of copper and has an iron interior that is used for support. The Statue of Liberty received a lot of acclaim from the time it was built to commemorate the 100 years of the United States as a Nation and represent the relations between two nations and serve as a symbol that resembled freedom and rebellion today it still receives high acclaim.\n\nThe Statue of Liberty has been seen on stamps that have been minted, the 15 cent, the 3 cent, 8 cent and 11 cent stamp all have the Statue of Liberty on them also the New York quarter was minted with Lady Liberty’s picture on it. The Statue of Liberty receives millions of tourist each year all captivated by its beauty and design it is one of the most popular places to visit in America. The Statue of Liberty has been seen in television ads and was also seen in the movie “The Planet of The Apes” and has also been in the popular television show “fringe”. Every fourth of July, the United States day of independence hundreds of people flock to the Statue of Liberty to see a firework show that is on display with Lady Liberty there standing tall and proud representing freedom and hope for a country. People today are very captivated by the Statue and it has become not just a national landmark but a symbol of the spirit of freedom. The Statue of Liberty is an icon to the United States and is a national landmark but it is more than that, It has become a symbol that is American, the Statue of Liberty was the first sight immigrants saw while coming to America, it was not just a symbol of freedom to Americans back then till now but to other nations as well who were fleeing a country or wanting to flee a country.\n\nMy personal reactions to the work of the Statue of Liberty were good on discovering the actual architecture of the statue, it is hard to get past all the popularity, build up and hype that the Statue of Liberty is surrounded in. The Statue is designed very intricately and has a unique hidden design that goes unnoticed, I didn’t know it was such a breakthrough in architecture in terms of High Technology architecture and had such an amazing hidden interior. I think that is what I like about the Statue the most is most people including me do not know of the hidden science or genius underneath the surface, if they can get past through all the glamour and hype they can find an amazingly sound systematic engineering marvel that goes unnoticed for its engineering and actual design. In closing I think the Statue of Liberty should be preserved for its architecture and its design not its story and hype behind the statue of liberty. The Statue of Liberty created a wave of Technology and science integrated through architecture, the world we live in today we are faced with technology growing in extremely fast measures. The Statue of Liberty was a statue that made the leap and changed architecture based on its systematic design, interior and exterior. Its design catapulted a new wave and style that was high tech architecture in an innovative time period. The Statue of Liberty was a statue that shifted with times and changed the world as we know it, for these reason the Statue of Liberty should be preserved for future generations.\n\nWorks Cited\n\nMarvin Trachtenburg, Architecture. From pre history to post modernity, N.Y. 2006.\nWebsite, http://statueofliberty.org/Statue_History.html\nWebsite: http://www.history.com/topics/statue-of-liberty\n\nImage:http://img.ezinemark.com/imagemanager2/files/2010_re/2010-08-28-19-16-27-10-statue-of-liberty.jpeg','The Statue of Liberty should be preserved because it transformed Architecture ','','inherit','open','open','','2694-autosave','','','2012-11-05 14:02:46','2012-11-05 20:02:46','',2694,'http://jeanatacc.com/2011/?p=2872',0,'revision','',0),(2873,66,'2012-11-05 12:38:58','2012-11-05 18:38:58','<div>\n\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\n\n</div>\n<div>\n\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\n\n</div>\n<div>\n\nJanuary 9, 1894\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\n\n<!--more-->\n\n</div>\n<div>\n\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\n\n</div>\n<div>\n\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\n\n</div>\n<div>\n\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\n\n</div>\n<div>\n\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\n\n</div>\n<div>\n\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\n\n</div>\n<div>\n\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edisons time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\n\n</div>\n<div>\n\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n&nbsp;\n\n&nbsp;\n\n</div>\n<div>\n\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\n\n&nbsp;\n\n</div>\n<div>\n\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-6','','','2012-11-05 12:38:58','2012-11-05 18:38:58','',2847,'http://jeanatacc.com/2011/?p=2873',0,'revision','',0),(2874,56,'2012-11-05 12:55:52','2012-11-05 18:55:52','&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThesis - Should be preserved because it was the first time that photography shaped public opinion about a leader. “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting.” (Panzer, Foley and et. al)\r\n\r\n-----------------\r\n\r\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\r\n\r\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\r\n\r\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\r\n\r\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\r\n\r\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\r\n\r\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\r\n\r\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\r\n\r\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\r\n\r\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\r\n\r\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\r\n\r\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\r\n\r\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\r\n\r\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\r\n\r\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\r\n\r\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\r\n\r\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\r\n\r\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\r\n\r\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\r\n\r\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\r\n\r\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\r\n\r\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\r\n\r\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\r\n\r\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\r\n\r\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\r\n\r\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\r\n\r\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\r\n\r\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\r\n\r\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\r\n\r\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\r\n\r\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\r\n\r\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\r\n\r\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\r\n\r\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\r\n\r\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\r\n\r\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\r\n\r\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\r\n\r\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\r\n\r\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\r\n\r\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\r\n\r\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\r\n\r\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\r\n\r\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\r\n\r\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\r\n\r\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nInteresting Reading - http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-3','','','2012-11-05 12:55:52','2012-11-05 18:55:52','',2855,'http://jeanatacc.com/2011/?p=2874',0,'revision','',0),(2876,67,'2012-11-05 13:09:57','2012-11-05 19:09:57','<p align=\"center\"><img src=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\" alt=\"\" width=\"330\" height=\"300\" /></p>\r\n<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\">http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg</a></p>\r\n<p align=\"center\">Der Ring der Nibelungen</p>\r\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\r\n\r\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\r\n\r\n            Around the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\r\n\r\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\r\n\r\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\r\n\r\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\r\n\r\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\r\n\r\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\r\n\r\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\r\n\r\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\r\n\r\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\r\n\r\n Being as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\r\n\r\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works cited:</p>\r\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\r\n\r\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\r\n\r\n&nbsp;\r\n\r\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\r\n\r\n&nbsp;\r\n\r\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\r\n\r\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\r\n\r\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\r\n\r\n&nbsp;\r\n\r\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\r\n\r\n“This website has a brief history of composers. I used it to learn about some of the composers.”\r\n\r\n&nbsp;\r\n\r\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\r\n\r\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\r\n\r\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\r\n\r\n&nbsp;\r\n\r\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\r\n\r\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','inherit','open','open','','2846-autosave','','','2012-11-05 13:09:57','2012-11-05 19:09:57','',2846,'http://jeanatacc.com/2011/?p=2876',0,'revision','',0),(2877,67,'2012-11-05 12:51:01','2012-11-05 18:51:01','<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\"><img class=\"alignnone size-full wp-image-2857\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/der-ring.jpg\" alt=\"\" width=\"330\" height=\"300\" /></a></p>\r\n<p align=\"center\"><a href=\"http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg\">http://pixhost.me/avaxhome/e3/43/001843e3_medium.jpeg</a></p>\r\n<p align=\"center\">Der Ring der Nibelungen</p>\r\n            <em>Der Ring des Nibelungen</em> (<em>The Ring of the Nibelung</em>) is a cycle of four brobdingnagian operas (one being a prelude) written by the German composer Richard Wagner. Wagner wrote the opera over the course of about twenty-six years, from 1848 to 1874. Wagner’s <em>Ring</em> tells a concupiscent story about the conflict in a human’s soul.  The Ring primarily portrays humanity’s lust and greed for money and power: the root of all humanity’s evil (Fisher29). Wagner was outraged by society’s political, social, and economic values and <em>The Ring</em> represented his sapient solution for the world’s ills, a vision in which the world of evil would become redeemed through love (Fisher “Ring of the Nibelung” 9). This opera should be preserved in the time capsule because the opera art form is the sum of many artistic expressions; this opera is a sublime fusion of words and music that is integrated with all the theatrical arts that can reach into the depths of the human soul.<!--more-->\r\n\r\n<em>The Ring</em> is a well thought out, intricately detailed, emotional rollercoaster ride through the human psyche. It takes us through all of man’s major emotions.  Love…lust…betrayal…greed….desire… etc. etc. Wagner based this opera off of German and Norse myths that ultimately represented universal human themes. <em>The Ring</em> starts off with a wasteland that is dominated by water. This portrays the beginning of creation with the water being the primal element from which life evolved (Fisher “Ring of the Nibelung” 35).This tetralogy revolves around a ring that wields ultimate power and wealth. Fisher states that “In the sagas, three villainous forces, Gods, Giants, and Dwarfs, are locked in eternal combat, rivals striving for mastery over the others and ultimately world domination. The Gods, Giants, and Dwarfs are decadent and corrupt, and in <em>The Ring</em>, they are symbolic representation of classes within Wagner’s 19th century contemporary society.”\r\n\r\n            Around the time Wagner wrote this opera, Europe’s industrial revolution and the political unrest following the French revolution helped nurture a viciously competitive struggle for the political and economic power of the region. The old way of obtaining power through inherited title and property came up against new forces that allowed people to benefit from the industrial-capitalist system. In the industrial-capitalist system, an individual could become quite wealthy from their investments or owning’s and through that obtains a political position. Through these means, persons of power and influence came to be that otherwise would not have received the chance.  It was the beginning and end of era, the beginning of an era where anyone could obtain power and prestige, and the end of an era where one obtained power and prestige through their birthright (Fisher6).\r\n\r\nDuring this time Wagner became consumed with the concept of nationalism as well the utopian dreams for social and political progress. Unfortunately, the new political powers of these times were just as corrupt as the old ones. Making promises of freedom, only to take those same freedoms away. Wagner became skeptical of the democratic process, of the unfulfilled promises and disappointed with the new political powers, that he reacted with much skepticism and despair, ultimately leading him to become and active and impetuous revolutionary. The final nail in the coffin that pushed Wagner over the edge into outright revolt against the political powers happened in 1851 while he in exile in Zurich.  Louis Napoleon (nephew to Napoleon Bonaparte) became the elected President of France.  Who came to power on the promises of liberty and democracy, only to turn around and create a dictatorship; He became Napoleon III, the totalitarian dictator of the Second Empire (Fisher4).\r\n\r\nWagner’s pessimism and skepticism coincided with the same ideas of the Romantic Movement in art, literature, and music. Romanticism represented a pessimistic backlash against the optimistic 18th century Enlightenment and the Age of Reason (Fisher8). Romanticists had a wistful yearning for the past and sought ways to represent the vanished glories; writers such as Sir Walter Scott, and Victor Hugo provided tributes to values of heroism and virtue that seemed to have vanished in their own industrial age. Wagner expressed his synonymous ideas through each act of <em>The Ring</em>. Wagner’s opera appealed to the masses by ultimately making people realize that the spiritual path to God and salvation was achieved through human love and freedom.\r\n\r\nWagner used leitmotifs in his opera. Leitmotifs are fairly simple musical phrases that describe certain ideologies, characters, objects or thoughts in that piece of work. Using the tempo of the music helped listeners to create a combined emotional response to relay a particular psychological insight (Fisher21). Operas at the time were commonplace for the masses, because of the added leisure time gained from the Industrial Revolution. Some of the other popular composers of this time were: Carl Maria von Webe, Giuseppe Verdi, and Gaetano Donizetti (Opera).  Wagner kept with the same style and composition of German composers of the 19th century which used classical music and the less sophisticated romanticisms.  All the while, he included an underlining tone to his works expressing his passions, views, and hatred which mirrored the majority of the peoples.\r\n\r\nWhile Wagner was creating operatic works that dramatize the legends and mythology of Nordic and Germanic culture (Opera), others such as: Franz Shubert and Hugo Wolf’s works were firmly rooted in the Classical opera form. Franz Shubert and Hugo Wolf’s pieces were somewhat the same as Wagner’s because their motivic accompaniments contrapuntally interacted with the vocal parts (Fisher22). The Ring is different from Shubert and Wolf’s work because Wagner was striving for a new music drama style with the ideal of “sung drama”. He wanted his opera to be a perfect expression of “speech-song” or Sprechgesang that would become balanced with the orchestral accompaniment. Wagner’s fusion and skillful harmonic interweaving and variation of leitmotifs convey powerful emotions; he ingeniously achieved the full embodiment of the leitmotif technique in <em>The Ring</em> (Fisher 22).\r\n\r\nThere were very many important political figures of the time at the very first public performance of <em>The Ring of the Nibelung. </em> Those present included: The Emperor of Germany; Emperor of Brazil; the people of France, England, and America had sent musicians and litterateurs to view this opera; these were some major figures to impress. The auditorium was filled with an audience that was more representative and critical than had ever been brought together before. With sixteen or seventeen hundred attendees to the first performance, the ONLY complaint they had was about the heat and lack of ventilation in the auditorium. The persons that portrayed the characters were thought to have somewhat lackluster voices but had outstanding acting skills. The orchestra was thought to be beautifully written and magnificent (New York Times, 1876).\r\n\r\nAlthough Richard Wagner\'s Ring is undoubtedly the peak of musical romanticism, and by many praised as the greatest work of art ever produced, many critics today do not have the same thoughts of people in the 19<sup>th</sup> century concerning <em>The Ring</em>. The modern takes on <em>The </em><em>Ring </em>are not adding up to the original version. For Will Robert Lepage’s version, which is the most recent version of the opera,<em> </em>Alex Ross went on to declare that “pound for pound, ton for ton, it is the most witless and wasteful production in modern operatic history.” Anthony Tommasini, in the Times, called it “the most frustrating opera production I have ever had to grapple with” (Ross). There are many other bad reviews such as these. I account for any differences on how <em>The Ring</em> was viewed today and then by believing it to be the production of the work. Nobody can seem to live up to Richard Wagner’s genius.\r\n\r\nNot having seen <em>The Ring of the Nibelung</em>, I can’t really say what I think about the production. However, I can tell how I feel about the story behind the production. I would love to see Robert Lepage’s version of <em>The Ring</em>.  Not knowing anything about music or operas, I’m sure I would enjoy it because of the story. The story sounds intriguing because of the moral lesson it is conveying and because of the use of mythology. I like how Wagner’s mythological creatures portray the people’s values of the 19<sup>th</sup> century. I believe Wagner hit the nail on the head when speaking of people’s values and beliefs. The majority of people of the 19<sup>th</sup> century, and throughout time, seemed to be very narcissistic. Wagner’s production, I believe was trying to get people to understand that their frame of thought was biased and unfair. People need to think of everyone, not only themselves.\r\n\r\n<em>Star Wars</em> is a very well-known production that can be compared to<em> The Ring</em>. The similarities between the two are not only the characters but of the music as well. Richard Wagner perfected leitmotivs used in <em>The Ring</em>; they can be heard all throughout the opera, <em>Star Wars</em> creators, George Lucas and John Williams, use leitmotivs as well.  The leitmotivs are used to identify the person, place, things, and ideas of the productions. Both pieces of work also had similar timelines; both were times of past with characters that represented new and old conflicts, societies and environment, and new and old hopes (Evenson). There is conflict between power and love and familial conflict between father and son which is the conflict of life and death, and there is also the conflict between father and daughter which is a conflict of will.  The works have a central symbol of power. <em>Star Wars</em> symbol is the “death star” and <em>The Ring’s </em>being “the ring forged out of the Rhinegold” both wielding the ultimate power (Evenson).\r\n\r\n Being as there are many similarities between <em>Star Wars </em>and <em>The Ring</em>, there are actually not that many differences other than the obvious. Those being the difference of both being set in completely different locations and epochs and completely different characters, but, the characters seem to have the same attributes. In <em>Star Wars</em>, the power seems to come from within oneself, and in <em>The Ring</em>, the power source comes from an outside force. <em>Star Wars</em> was close to being the same length of time as <em>The Ring</em>, while <em>The Ring </em>rang in at fifteen hours and had to been seen in four nights, <em>Star Wars</em> was only 13 hours long. The time in creating the productions was different as well. It took Wagner twenty-six years to complete his work and it took Lucas twenty-eight years for his work to be complete. Even though the music was similar in both works, it was also different. Wagner had a symphonic opera background whereas Lucas had more of a symphonic film. As said before, there are more similarities between the two pieces of work than differences (Evenson).\r\n\r\nFuture generations should be aware that egotistical beliefs are still prevalent today. The main point of <em>The Ring</em> was to reprimand the people of the 19<sup>th</sup> century for their vain ways. People need to be made aware of their thoughtlessness and vainglorious actions. Future generations should be aware that regardless of the era this piece of work was written so well that even one hundred and so many years later, the story still rings true of our current people’s self-absorption and will ring true for many generations to come. This opera is one that every child should be aware of to prevent future egotistical ways. To forget the past is to repeat the past.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works cited:</p>\r\nFisher, Burton D. Exploring Wagner\'s The Ring Of The Nibelung : Der Ring Des Nibelungen. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_72589_AN?sid=299cd252-708e-4562-87f1-ecc012f94bb1@sessionmgr12&amp;vid=1.\r\n\r\n“This eBook was the main book I went to for information about <em>The Ring</em>. It has information about the music in the opera, the story development of the opera, the historical references, and information about Wagner.”\r\n\r\n&nbsp;\r\n\r\nWagner, Richard, and Burton D. Fisher. Wagner\'s The Ring Of The Nibelung. n.p.: Opera Journeys, 2002. eBook Collection (EBSCOhost). Web. 2 Nov. 2012.\r\n\r\n“This eBook was an additional book I used for information about <em>The Ring.</em> It is a simplified format of the opera.”\r\n\r\nhttp://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/ebookviewer/ebook/nlebk_65926_AN?sid=7e6ba862-a2d3-4f7b-8255-50d7bad29bf7@sessionmgr13&amp;vid=1&amp;lpid=lp_7.\r\n\r\n&nbsp;\r\n\r\nSpecial, Correspondent. “PROLOGUE TO THE TRILOGY.” Editorial. PROLOGUE TO THE TRILOGY [Bayreuth] 1876: 1-2. PROLOGUE TO THE TRILOGY. The Wagnerian, 06 Oct. 2012. Web. 02 Nov. 2012.\r\n\r\n&lt;http://query.nytimes.com/mem/archivefree/pdf?res=9502E3DB123AE63BBC4F51DFBE66838D669FDE&gt;.\r\n\r\n“This is a copy of an old letter written to NY Times about the first night <em>The Ring</em> opened in Bayreuth, Bavaria. I used this letter to see what the reaction to <em>The Ring</em> was in the 19<sup>th</sup> century.”\r\n\r\n&nbsp;\r\n\r\n\"Introduction to Opera.\" Introduction to Opera. OPERA America, n.d. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.operaamerica.org/content/education/learningCenter/intro.aspx&gt;.\r\n\r\n“This website has a brief history of composers. I used it to learn about some of the composers.”\r\n\r\n&nbsp;\r\n\r\nEvenson, Kristian. \"The Star Wars Series and Wagner\'s RingStructural, Thematic and Musical Connections.\" Star Wars and Wagner\'s Ring. Richard Wagner Website, 11 Sept. 2004. Web. 04 Nov. 2012.\r\n\r\n&lt;http://www.trell.org/wagner/starwars.html&gt;.\r\n\r\n“I used this website to compare <em>The Ring</em> and <em>Star Wars</em>. This website has a large amount of info. about both.”\r\n\r\n&nbsp;\r\n\r\nRoss, Alex. \"Encircling the \"Ring\"\" The New Yorker. Conde Nast, 7 May 2012. Web. 03 Nov. 2012.\r\n\r\n&lt;http://www.newyorker.com/online/blogs/culture/2012/05/the-met-ring-cycle-critics.html&gt;.\r\n\r\n“This is a website I found that has critics opinions of Wagner’s work. I used it to tell how the opera is being perceived in our time.”','Der Ring der Nibelungen','','inherit','open','open','','2846-revision-6','','','2012-11-05 12:51:01','2012-11-05 18:51:01','',2846,'http://jeanatacc.com/2011/?p=2877',0,'revision','',0),(2879,66,'2012-11-05 13:10:43','2012-11-05 19:10:43','<div>\r\n\r\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\r\n\r\n</div>\r\n<div>\r\n\r\nJanuary 9, 1894\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\r\n\r\n<!--more-->\r\n\r\n</div>\r\n<div>\r\n\r\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\r\n\r\n</div>\r\n<div>\r\n\r\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\r\n\r\n</div>\r\n<div>\r\n\r\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\r\n\r\n</div>\r\n<div>\r\n\r\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\r\n\r\n</div>\r\n<div>\r\n\r\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\r\n\r\n</div>\r\n<div>\r\n\r\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edison\'s time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\r\n\r\n</div>\r\n<div>\r\n\r\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-8','','','2012-11-05 13:10:43','2012-11-05 19:10:43','',2847,'http://jeanatacc.com/2011/?p=2879',0,'revision','',0),(2880,66,'2012-11-05 13:10:57','2012-11-05 19:10:57','<div>\r\n\r\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\r\n\r\n</div>\r\n<div>\r\n\r\nJanuary 9, 1894\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\r\n\r\n<!--more-->\r\n\r\n</div>\r\n<div>\r\n\r\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\r\n\r\n</div>\r\n<div>\r\n\r\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\r\n\r\n</div>\r\n<div>\r\n\r\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\r\n\r\n</div>\r\n<div>\r\n\r\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\r\n\r\n</div>\r\n<div>\r\n\r\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\r\n\r\n</div>\r\n<div>\r\n\r\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edison\'s time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\r\n\r\n</div>\r\n<div>\r\n\r\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div>\r\n\r\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\r\n\r\n</div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-revision-9','','','2012-11-05 13:10:57','2012-11-05 19:10:57','',2847,'http://jeanatacc.com/2011/?p=2880',0,'revision','',0),(2881,1,'2012-11-05 13:11:54','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-11-05 13:11:54','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2881',0,'post','',0),(2882,66,'2012-11-05 13:12:32','2012-11-05 19:12:32','<div>\n\nEdison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)\n\n</div>\n<div>\n\nThomas Edison <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\"><img class=\"alignright size-full wp-image-2848\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/fredott_animation_small.gif\" alt=\"\" width=\"250\" height=\"180\" /></a>\n\n</div>\n<div>\n\nJanuary 9, 1894\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\nThomas Edison\'s Kinetoscopic Record of a Sneeze, also known as Fred Ott\'s sneeze, is a five second long clip of Edison\'s assistant taking a pinch of snuff and sneezing. This should be preserved because it is arguable the greatest achievement of the 19th century, and has no doubt been one of the most significant technological leaps in human history. From recording short silent clips with a Kinetoscope, to taking hour long, color films with hand-held devices, our recording technology has undeniably grown greatly from Edison\'s simple idea of capturing and viewing moments in time.\n\n<!--more-->\n\n</div>\n<div>\n\nOne of the first ever recorded motion pictures, Fred Ott\'s sneeze recorded by Edison was a five second long clip of one of Edison\'s assistants taking a pinch of snuff and sneezing. Essentially this was a monumental achievement to not only record a moment in time, but moments. It was considered one of the most remarkable things to be able to see a person or thing in action. After viewing  still photographic experiments of Eadweard Muybridge and Étienne-Jules Marey, Edison started conducting his own experiments in 1888. Edison sought out to do \"for the eye what the phonograph does for the ear.\" as quoted by the Library of Congress.  And so he and a young Englishman named W. K. L. Dickson, whom he tasked with filming, worked on a way to bring motion to pictures\n\n</div>\n<div>\n\nWith the creation of still photography, of capturing a single moment in time, the next step in technological innovation was to capture multiple moments in time. In a sense this was beyond typical, to go from seeing a single image captured in time, to viewing moments of time passing. It was the next step, and what we consider today to be entertainment, this was science, discovery, and one of the greatest inventions of mankind. We\'ve come a long way from this to say the least. The work itself was received with awe. To see Fred\'s sneeze in motion, though not exciting, it\'s implications were well understood. It had become a feat of human creativity and a monument on which to grow and develop upon.\n\n</div>\n<div>\n\nNot surprisingly, many people today don\'t even know about Fred Ott\'s sneeze, though they use the technology that came from it every day. And the few that do would usually credit Edison for the invention but it was he and Dickson that should both be credited for the development. Interestingly enough, even IMDB.net has given it a page and some people have even written reviews for it!  Most upon viewing it would pass it off as insignificant but that is mainly because the technology that has come from it is in every aspect of out daily lives, so it comes natural to take it for granted.\n\n</div>\n<div>\n\nI, personally, find it to be a huge stepping stone to one of the greatest technological achievements of all time. Everyday whenever I get on Youtube, or look at my cell phone, or play a video game, I know who to credit in my ability to do so. Though one of the least exciting short clips to watch, I understand it\'s significance, and in doing so I can disregard to fact that it\'s of someone sneezing.\n\n</div>\n<div>\n\nMost inventors were not working on such inventions  at the time other than the work done by Étienne-Jules Marey, there wasn\'t much to compare this invention to. Étienne-Jules Marey worked on things such as his Chronophotographe, which was able to capture multiple images on the same photograph. His main focus on photography and of anatomy and physiology. This is stated via http://www.body-pixel.com.\n\n</div>\n<div>\n\nWe have come a very, very long way from what is considered today as a flip book. We capture color images in milliseconds, of which we don\'t even have to be still. We can take hours worth of video from a hand held device, and we watch movies for entertainment. This kind of technology could not even have been imagined in Edison\'s time, yet we\'re constantly on the verge of the next technological breakthrough. We have clear screens that we can view images on, and cameras almost microscopically  small, so what will be next?\n\n</div>\n<div>\n\nThis five second sneeze of Fred Ott\'s by Thomas Edison and W.L. Dickson using a kinetograph is one of the greatest achievements and inventions of mankind. And from it I have been able to not only view it in real time from whatever source I choose, but I am also able to get every detail and information about it from the inventions created from it.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n&nbsp;\n\n&nbsp;\n\n</div>\n<div>\n\n .Gif from http://www.precinemahistory.net/images/fredott_animation_small.gif\n\n&nbsp;\n\n</div>\n<div>\n\n \"for the eye what the phonograph does for the ear.\"  \"A Sneeze Caught On Film.\" Loc.gov. N.p., n.d. Web. &lt;http://www.loc.gov/exhibits/treasures/trr018.html&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\n<div>\n\n\"Edison Kinetoscopic Record of a Sneeze.\" IMDb. IMDb.com, 14 Apr. 2009. Web. 05 Nov. 2012. &lt;http://www.imdb.com/title/tt0000008/&gt;.\n\n</div>\n<div>\n\n&nbsp;\n\n</div>\nPondar, Ivana. \"Body Cinema: Films by Etienne-Jules Marey – Vintage Motion Capturing.\" Body Cinema: Films by Etienne-Jules Marey. Ivana Podnar, n.d. Web. 05 Nov. 2012. &lt;http://www.body-pixel.com/2011/02/01/body-cinema-films-by-etienne-jules-marey/&gt;.','Edison Kinetoscopic Record of a Sneeze (Also known as Fred Ott\'s sneeze)','','inherit','open','open','','2847-autosave','','','2012-11-05 13:12:32','2012-11-05 19:12:32','',2847,'http://jeanatacc.com/2011/?p=2882',0,'revision','',0),(2883,71,'2012-09-24 13:48:15','2012-09-24 19:48:15','&nbsp;\r\n\r\nSir Thomas More was born in 1478, in the city of London.  After his earlier education at St. Anthony’s School, he was placed, as a boy, in the household of Cardinal John Morton. Cardinal Morton had been in earlier days that Bishop of Ely whom Richard III sent to the Tower and was a chief adviser of Henry VII, who in 1486 made him Archbishop of Canterbury, and nine months afterwards Lord Chancellor. In his late teens, Thomas More was sent to Canterbury College, Oxford, where he learned Greek from the first men who brought Greek studies from Italy to England—William Grocyn and Thomas Linacre. At the age of twenty-one he entered Parliament, and soon after he was made Under-Sheriff of London.<!--more-->  In the first years of the reign of Henry VIII, he rose to large practice in the law courts, where it is said he refused to plead in cases which he thought unjust, and took no fees from widows, orphans, or the poor. In 1513 Thomas More, still Under-Sheriff of London, is said to have written his “History of the Life and Death of King Edward V, and of the Usurpation of Richard III”  The book, which seems to contain the knowledge and opinions of More’s mentor, Morton. In the year 1515 Wolsey, Archbishop of York, was made Cardinal by Leo X, Henry VIII made him Lord Chancellor, and from that year until 1523 the King and the Cardinal ruled England with absolute authority, calling no parliament.  In May of the year 1515, Thomas More was joined in a commission to the Low Countries with Cuthbert Tunstal and others to confer with the ambassadors of Charles V, then Archduke of Austria, upon a renewal of alliance.  On that embassy More was absent from England for six months, and while at Antwerp he established friendship with Peter Giles who was secretary to the municipality of Antwerp. While away from home, More was inspired by long and thought provoking conversations with friends and acquaintances. The product of these thoughts was possibly his best known work, <span style=\"text-decoration: underline\">Utopia</span>. More’s <span style=\"text-decoration: underline\">Utopia</span> was written in Latin, and is in two parts. The second, which describes the place Nusquama, as he called it sometimes in his letters—“Nowhere”, was probably written towards the end of 1515. The first part was most likely written in early in 1516.  The book was first printed at Louvain, in late 1516, under the editorship of Erasmus, Peter Giles, and other of More’s friends.\r\n\r\nUtopia is a work of fiction by Thomas More published in 1516. The work reflects More’s political philosophies through the description of a fictional society’s social and political customs. The Renaissance brought forth many new concepts and ideas. In much of Europe where there had once been the strict control of Medieval monarchs and the constraining grip of the Roman Catholic church, innovations such as the printing press were making the the proliferation of new ways of thinking much harder to suppress. These innovations also brought old texts to newly literate masses whom prior to that time had been dependent upon religious leaders and government officials to bestow knowledge upon them. The masses now had access to prints of public records, the Bible, and other literature. This allowed them to take in what they read and form there own ideas about what was happening around them and what was in their best interest.\r\n\r\nThat time was also marked by the fact that most learned men (women were largely unable to participate in government or clergy) were of a religious background and men of the clergy in many cases were responsible for shaping legislation and counseling the rulers of respective nations. More was part of this reality and used it as best he could to change the status quo for the better of the nation he served. He was unpopular with the authority due to his propensity to be very outspoken and demonstrative about his displeasure with how certain aspects of the governing of England. He did not believe that even a king’s power should go unchecked, especially since the king has the future of his subjects to protect. In 1505 he opposed Henry VII’s proposal for a subsidy on account on the marriage portion of his daughter Margaret. More’s argument in the House of Commons was so persuasive that it is believed that the proposal were likely to have gone through if not for his vehement opposition. When the news of this reached the king, More life was made to be somewhat more difficult. So much so that he considered leaving England (More 4). Our county in particular based our foundation on principles similar to those of Sir Thomas More. For that reason I nominate that this important work should be preserved in our time capsule.\r\n\r\n<span style=\"text-decoration: underline\">Utopia</span> begins with his being assigned by Henry VIII to confer with the the ambassadors of a foreign nation in Antwerp to renew an alliance. While there he meets with friends to keep himself occupied and lift his spirits while away from his family. This is unique in that it mirrors his real life so closely. Up to this point of the story, these events closely resemble things that took place around this time in his real life. One of his close friends, Peter Giles, eventually introduces him to a man named Raphael Hythloday who is a well traveled man and considers himself a philosopher. Raphael is obliged to discuss with Peter and Thomas, his travels to distant lands and the governance of those places he has visited. Raphael speaks of an island by the name of Utopia, which he considers the greatest commonwealth he has ever seen. So much in fact that he comes to the conclusion that it may be the only place that deserves to be called a commonwealth.\r\n\r\nIn the next eight chapters, Raphael relates the specifics of Utopia’s constitution and culture. The composition of their governing bodies, the make up of their economy, their justice system, military, and religious beliefs are disseminated well if not in great detail. Generally, one could perceive the government of Utopia as communist, but upon closer analysis, the Utopian government would be closer to what we know as socialist. Quentin Skinner writes, “More is fiercely insistent, however, that the rich are usually the least rather than the most deserving of our respect, since their anxiety to protect and add to their possessions generally means that they worry only about their own self-interest, not about the interest of society as a whole.”\r\n\r\nMore’s idea of a perfect society appears to be one in which the citizens are concerned by the success of the society as a whole as opposed to being preoccupied with their personal well being. More writes:\r\n\r\n“[...] in which all things if a sort are laid by themselves; and thither every father goes, and takes whatsoever he or his family stand in need of, without paying for it or leaving anything in exchange. There is no reason for giving a denial to any person, since there is such plenty of everything among them; and there is no danger of a man’s asking for more than he needs; they have no inducements to do this, since they are sure they shall always be supplied: it is the fear of want that makes any of the whole race of animals either greedy or ravenous; but, besides the fear, there is in man a pride that makes him fancy it a particular glory to excel others in pomp and excess; but by the laws of the Utopians. there is no room for this. (More 69)\r\n\r\nThe ideal of operating as a collective and admonishing greed and materialism is reinforced throughout the work. This aspect of the book is important for our society to keep in mind. While I do subscribe to the idea of capitalism, there is something to be said for having a system that holds everyone that reaps the benefits of our society, accountable for contributing selflessly to ensure the future prosperity of our nation.\r\n\r\nRaphael states, “There are several sorts of religions, not only in different parts of the island, but even in every town.” In Utopia, religious freedom is paramount just as it is in our society. With recent outbreaks of violence in the Middle East, which are largely charged by the interpretation of religion, Utopia hold a particular belief that would ensure that the same would not like occur within their domain. Raphael speaks of taking some of the teachings of Christianity to Utopia, and those principles being well received by many of the locals. So much so that one man had so much zeal about his newfound faith that he began to condemn the beliefs of others with a violent tone. Though one of their most ancient laws prohibits a man from being punished for his religion, the man was sentenced to banishment because his inflammatory behavior could potentially incite sedition within the society (More 127). He was removed from the society, not because of the religion he practiced, but because the way he practiced it could have endangered someone within the society.\r\n\r\nMore and Desiderius Erasmus among colleagues created the Republic of letters, an imagined community that held at its center the ideal of humanism. “As we have seen, More’s Latin text functioned as part of the infrastructure of an imaginary Republic of Letter, and the book’s content represented, in some ways, a version of that ideal Republic. The extensive paratext that surrounds <span style=\"text-decoration: underline\">Utopia</span> helped to bind that community together and also to signal that Thomas More belonged there, as a citizen of that Republic,” wrote Joshua Phillips, a Literary and Cultural Studies Professor at the University of Memphis.\r\n\r\nIn 1535, More was removed from the world for standing on the same principles that he is praised for now. His conscientiousness and integrity would not allow him to recognize Henry VIII’s divorce from his wife, Catherine of Aragon, and his marriage to his new wife, Anne Boleyn. This was viewed as a crime by the authority. He was then called to recognized Henry VIII as the head of the Church rather than the Pope, and would not. He was then accused of high treason and eventually beheaded (Stephanie Forward). Though he died more than four centuries ago, his legacy lives on in the many thinkers that he inspired. In hopes that we can help his legacy live on, I suggest that we include his work in our time capsule, so that it may inspire the great thinkers of the future.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n Forward, Stephanie. “A Taste of Paradise: Thomas More’s Utopia.” <em>The English Review</em> Apr. 2001; 24. <em>Literature Resource Center</em>. Web. 8 Sep. 2012.\r\n\r\nMore, Thomas. <span style=\"text-decoration: underline\">Utopia</span>. Project Gutenberg, 2005.\r\n\r\nPhillips, Joshua. \"Staking Claims to <em>Utopia</em>: Thomas More, Fiction, and Intellectual         Property.\" <em>Material Culture and Cultural Materialisms in the Middle Ages and             Renaissance</em>. Ed. Curtis Perry. Turnhout, Belgium: Brepols, 2001. 111-138. Rpt.       in         <em>Literature Criticism from 1400 to 1800</em>. Ed. Thomas J. Schoenberg. Vol. 140.             Detroit: Gale, 2008. <em>Literature Resource Center</em>. Web. 4 Sep. 2012.\r\n\r\nSkinner, Quentin. \"The Lesson of Thomas More.\" <em>New York Review</em>. 12 10 1978: n. page. Web. 4 Sep. 2012. &lt;<a href=\"http://www.nybooks.com/articles/archives/1978/oct/12/the-lesson-of-thomas-more/\">http://www.nybooks.com/articles/archives/1978/oct/12/the-lesson-of-thomas-more/</a>&gt;.','Thomas More\'s Utopia','','inherit','open','open','','2451-revision-8','','','2012-09-24 13:48:15','2012-09-24 19:48:15','',2451,'http://jeanatacc.com/2011/?p=2883',0,'revision','',0),(2884,71,'2012-11-05 13:19:47','2012-11-05 19:19:47','http://en.wikipedia.org/wiki/Utopia_(book)','Utopia_Moro','','inherit','open','open','','utopia_moro','','','2012-11-05 13:19:47','2012-11-05 19:19:47','',2451,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/Utopia_Moro.jpg',0,'attachment','image/jpeg',0),(2885,71,'2012-11-05 13:17:54','2012-11-05 19:17:54','&nbsp;\r\n\r\nSir Thomas More was born in 1478, in the city of London.  After his earlier education at St. Anthony’s School, he was placed, as a boy, in the household of Cardinal John Morton. Cardinal Morton had been in earlier days that Bishop of Ely whom Richard III sent to the Tower and was a chief adviser of Henry VII, who in 1486 made him Archbishop of Canterbury, and nine months afterwards Lord Chancellor. In his late teens, Thomas More was sent to Canterbury College, Oxford, where he learned Greek from the first men who brought Greek studies from Italy to England—William Grocyn and Thomas Linacre (“Introduction” 3). At the age of twenty-one he entered Parliament, and soon after he was made Under-Sheriff of London.<!--more-->  In 1503 he opposed Henry VII’s proposal for a subsidy on account of the marriage portion of his daughter Margaret (“Introduction” 4). During the last years of Henry VII, More had drawn the ire of the king, and had begun to have thoughts of leaving the country. Henry VII died in 1509, when More was around the age of thirty.  In the first years of the reign of Henry VIII, he rose to large practice in the law courts, where it is said he refused to plead in cases which he thought unjust, and took no fees from widows, orphans, or the poor. In 1513 Thomas More, still Under-Sheriff of London, is said to have written his “History of the Life and Death of King Edward V, and of the Usurpation of Richard III”, the book, which seems to contain the knowledge and opinions of More’s mentor, Morton. In the year 1515 Wolsey, Archbishop of York, was made Cardinal by Leo X, Henry VIII made him Lord Chancellor, and from that year until 1523 the King and the Cardinal ruled England with absolute authority, calling no parliament.  In May of the year 1515, Thomas More was joined in a commission to the Low Countries with Cuthbert Tunstal and others to confer with the ambassadors of Charles V, then Archduke of Austria, upon a renewal of alliance.  On that embassy More was absent from England for six months, and while at Antwerp he established friendship with Peter Giles who was secretary to the municipality of Antwerp (“Inrtoduction” 5). While away from home, More was inspired by long and thought provoking conversations with friends and acquaintances. The product of these thoughts was possibly his best known work, <span style=\"text-decoration: underline\">Utopia</span>. More’s <span style=\"text-decoration: underline\">Utopia</span> was written in Latin, and is in two parts. The second, which describes the place Nusquama, as he called it sometimes in his letters—“Nowhere”, was probably written towards the end of 1515. The first part was most likely written in early in 1516.  The book was first printed at Louvain, in late 1516, under the editorship of Erasmus, Peter Giles, and other of More’s friends (“Introduction” 6).\r\n\r\n            Utopia is a work of fiction by Thomas More published in 1516. The work reflects More’s political philosophies through the description of a fictional society’s social and political customs. The Renaissance brought forth many new concepts and ideas. In much of Europe where there had once been the strict control of Medieval monarchs and the constraining grip of the Roman Catholic church, innovations such as the printing press were making the the proliferation of new ways of thinking much harder to suppress. These innovations also brought old texts to newly literate masses whom prior to that time had been dependent upon religious leaders and government officials to bestow knowledge upon them. The masses now had access to prints of public records, the Bible, and other literature. This allowed them to take in what they read and form their own ideas about what was happening around them and what was in their best interest.\r\n\r\n            That time was also marked by the fact that most learned men (women were largely unable to participate in government or clergy) were of a religious background and men of the clergy in many cases were responsible for shaping legislation and counseling the rulers of respective nations. More was part of this reality and used it as best he could to change the status quo for the better of the nation he served. He was unpopular with the authority due to his propensity to be very outspoken and demonstrative about his displeasure with how certain aspects of the governing of England. He did not believe that even a king’s power should go unchecked, especially since the king has the future of his subjects to protect. In 1505 he opposed Henry VII’s proposal for a subsidy on account on the marriage portion of his daughter Margaret (‘Introduction” 4). More’s argument in the House of Commons was so persuasive that it is believed that the proposal were likely to have gone through if not for his vehement opposition. When the news of this reached the king, More life was made to be somewhat more difficult. So much so that he considered leaving England (More 4). Our county in particular based our foundation on principles similar to those of Sir Thomas More. For that reason I nominate that this important work should be preserved in our time capsule.\r\n\r\n            <span style=\"text-decoration: underline\">Utopia</span> begins with his being assigned by Henry VIII to confer with the ambassadors of a foreign nation in Antwerp to renew an alliance. While there he meets with friends to keep himself occupied and lift his spirits while away from his family. This is unique in that it mirrors his real life so closely. Up to this point of the story, these events closely resemble things that took place around this time in his real life. One of his close friends, Peter Giles, eventually introduces him to a man named Raphael Hythloday who is a well traveled man and considers himself a philosopher. Raphael is obliged to discuss with Peter and Thomas, his travels to distant lands and the governance of those places he has visited. Raphael speaks of an island by the name of Utopia, which he considers the greatest commonwealth he has ever seen. So much in fact that he comes to the conclusion that it may be the only place that deserves to be called a commonwealth.\r\n\r\n            In the next eight chapters, Raphael relates the specifics of Utopia’s constitution and culture. The composition of their governing bodies, the make up of their economy, their justice system, military, and religious beliefs are disseminated well if not in great detail. Generally, one could perceive the government of Utopia as communist, but upon closer analysis, the Utopian government would be closer to what we know as socialist. Quentin Skinner writes, “More is fiercely insistent, however, that the rich are usually the least rather than the most deserving of our respect, since their anxiety to protect and add to their possessions generally means that they worry only about their own self-interest, not about the interest of society as a whole.”\r\n\r\nMore’s idea of a perfect society appears to be one in which the citizens are concerned by the success of the society as a whole as opposed to being preoccupied with their personal well being. More writes:\r\n<blockquote>[...] in which all things if a sort are laid by themselves; and thither every father goes, and takes whatsoever he or his family stand in need of, without paying for it or leaving anything in exchange. There is no reason for giving a denial to any person, since there is such plenty of everything among them; and there is no danger of a man’s asking for more than he needs; they have no inducements to do this, since they are sure they shall always be supplied: it is the fear of want that makes any of the whole race of animals either greedy or ravenous; but, besides the fear, there is in man a pride that makes him fancy it a particular glory to excel others in pomp and excess; but by the laws of the Utopians. there is no room for this.</blockquote>\r\nThe ideal of operating as a collective and admonishing greed and materialism is reinforced throughout the work. This aspect of the book is important for our society to keep in mind. While I do subscribe to the idea of capitalism, there is something to be said for having a system that holds everyone that reaps the benefits of our society, accountable for contributing selflessly to ensure the future prosperity of our nation.\r\n\r\n            Raphael states, “There are several sorts of religions, not only in different parts of the island, but even in every town.” In Utopia, religious freedom is paramount just as it is in our society. With recent outbreaks of violence in the Middle East, which are largely charged by the interpretation of religion, Utopia hold a particular belief that would ensure that the same would not like occur within their domain. Raphael speaks of taking some of the teachings of Christianity to Utopia, and those principles being well received by many of the locals. So much so that one man had so much zeal about his newfound faith that he began to condemn the beliefs of others with a violent tone. Though one of their most ancient laws prohibits a man from being punished for his religion, the man was sentenced to banishment because his inflammatory behavior could potentially incite sedition within the society (More 127). He was removed from the society, not because of the religion he practiced, but because the way he practiced it could have endangered someone within the society.\r\n\r\n            More and Desiderius Erasmus among colleagues created the Republic of letters, an imagined community that held at its center the ideal of humanism. “As we have seen, More’s Latin text functioned as part of the infrastructure of an imaginary Republic of Letter, and the book’s content represented, in some ways, a version of that ideal Republic. The extensive paratext that surrounds <span style=\"text-decoration: underline\">Utopia</span> helped to bind that community together and also to signal that Thomas More belonged there, as a citizen of that Republic,” wrote Joshua Phillips, a Literary and Cultural Studies Professor at the University of Memphis.\r\n\r\n            In 1535, More was removed from the world for standing on the same principles that he is praised for now. His conscientiousness and integrity would not allow him to recognize Henry VIII’s divorce from his wife, Catherine of Aragon, and his marriage to his new wife, Anne Boleyn. This was viewed as a crime by the authority. He was then called to recognized Henry VIII as the head of the Church rather than the Pope, and would not. He was then accused of high treason and eventually beheaded (Stephanie Forward). Though he died more than four centuries ago, his legacy lives on in the many thinkers that he inspired. In hopes that we can help his legacy live on, I suggest that we include his work in our time capsule, so that it may inspire the great thinkers of the future.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\n  Forward, Stephanie. “A Taste of Paradise: Thomas More’s Utopia.” <em>The English Review</em> Apr. 2001; 24. <em>Literature Resource Center</em>. Web. 8 Sep. 2012.\r\n\r\n “Introduction” . <span style=\"text-decoration: underline\">Utopia</span>. More, Thomas. Project Gutenberg, 2005.\r\n\r\n More, Thomas. Utopia. Project Gutenberg, 2005.\r\n\r\n Phillips, Joshua. \"Staking Claims to <em>Utopia</em>: Thomas More, Fiction, and Intellectual         Property.\" <em>Material Culture and Cultural Materialisms in the Middle Ages and             Renaissance</em>. Ed. Curtis Perry. Turnhout, Belgium: Brepols, 2001. 111-138. Rpt.       in         <em>Literature Criticism from 1400 to 1800</em>. Ed. Thomas J. Schoenberg. Vol. 140.             Detroit: Gale, 2008. <em>Literature Resource Center</em>. Web. 4 Sep. 2012.\r\n\r\n Skinner, Quentin. \"The Lesson of Thomas More.\" <em>New York Review</em>. 12 10 1978: n. page. Web. 4 Sep. 2012. &lt;<a href=\"http://www.nybooks.com/articles/archives/1978/oct/12/the-lesson-of-thomas-more/\">http://www.nybooks.com/articles/archives/1978/oct/12/the-lesson-of-thomas-more/</a>&gt;.\r\n\r\n&nbsp;','Thomas More\'s Utopia','','inherit','open','open','','2451-revision-9','','','2012-11-05 13:17:54','2012-11-05 19:17:54','',2451,'http://jeanatacc.com/2011/?p=2885',0,'revision','',0),(2905,1,'2012-11-05 14:07:48','2012-11-05 20:07:48','<p style=\"text-align: center;\">  <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Utopia_Moro.jpg\"><img class=\"size-full wp-image-2884\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Utopia_Moro.jpg\" alt=\"\" width=\"200\" height=\"282\" /></a></p>\r\n<p style=\"text-align: center;\"><a href=\"http://en.wikipedia.org/wiki/Utopia_(book\">http://en.wikipedia.org/wiki/Utopia_(book</a>)</p>\r\n&nbsp;\r\n\r\nSir Thomas More was born in 1478, in the city of London.  After his earlier education at St. Anthony’s School, he was placed, as a boy, in the household of Cardinal John Morton. Cardinal Morton had been in earlier days that Bishop of Ely whom Richard III sent to the Tower and was a chief adviser of Henry VII, who in 1486 made him Archbishop of Canterbury, and nine months afterwards Lord Chancellor. In his late teens, Thomas More was sent to Canterbury College, Oxford, where he learned Greek from the first men who brought Greek studies from Italy to England—William Grocyn and Thomas Linacre (“Introduction” 3). At the age of twenty-one he entered Parliament, and soon after he was made Under-Sheriff of London.<!--more-->  In 1503 he opposed Henry VII’s proposal for a subsidy on account of the marriage portion of his daughter Margaret (“Introduction” 4). During the last years of Henry VII, More had drawn the ire of the king, and had begun to have thoughts of leaving the country. Henry VII died in 1509, when More was around the age of thirty.  In the first years of the reign of Henry VIII, he rose to large practice in the law courts, where it is said he refused to plead in cases which he thought unjust, and took no fees from widows, orphans, or the poor. In 1513 Thomas More, still Under-Sheriff of London, is said to have written his “History of the Life and Death of King Edward V, and of the Usurpation of Richard III”, the book, which seems to contain the knowledge and opinions of More’s mentor, Morton. In the year 1515 Wolsey, Archbishop of York, was made Cardinal by Leo X, Henry VIII made him Lord Chancellor, and from that year until 1523 the King and the Cardinal ruled England with absolute authority, calling no parliament.  In May of the year 1515, Thomas More was joined in a commission to the Low Countries with Cuthbert Tunstal and others to confer with the ambassadors of Charles V, then Archduke of Austria, upon a renewal of alliance.  On that embassy More was absent from England for six months, and while at Antwerp he established friendship with Peter Giles who was secretary to the municipality of Antwerp (“Inrtoduction” 5). While away from home, More was inspired by long and thought provoking conversations with friends and acquaintances. The product of these thoughts was possibly his best known work, <span style=\"text-decoration: underline;\">Utopia</span>. More’s <span style=\"text-decoration: underline;\">Utopia</span> was written in Latin, and is in two parts. The second, which describes the place Nusquama, as he called it sometimes in his letters—“Nowhere”, was probably written towards the end of 1515. The first part was most likely written in early in 1516.  The book was first printed at Louvain, in late 1516, under the editorship of Erasmus, Peter Giles, and other of More’s friends (“Introduction” 6).\r\n\r\nUtopia is a work of fiction by Thomas More published in 1516. The work reflects More’s political philosophies through the description of a fictional society’s social and political customs. The Renaissance brought forth many new concepts and ideas. In much of Europe where there had once been the strict control of Medieval monarchs and the constraining grip of the Roman Catholic church, innovations such as the printing press were making the the proliferation of new ways of thinking much harder to suppress. These innovations also brought old texts to newly literate masses whom prior to that time had been dependent upon religious leaders and government officials to bestow knowledge upon them. The masses now had access to prints of public records, the Bible, and other literature. This allowed them to take in what they read and form their own ideas about what was happening around them and what was in their best interest.\r\n\r\nThat time was also marked by the fact that most learned men (women were largely unable to participate in government or clergy) were of a religious background and men of the clergy in many cases were responsible for shaping legislation and counseling the rulers of respective nations. More was part of this reality and used it as best he could to change the status quo for the better of the nation he served. He was unpopular with the authority due to his propensity to be very outspoken and demonstrative about his displeasure with how certain aspects of the governing of England. He did not believe that even a king’s power should go unchecked, especially since the king has the future of his subjects to protect. In 1505 he opposed Henry VII’s proposal for a subsidy on account on the marriage portion of his daughter Margaret (‘Introduction” 4). More’s argument in the House of Commons was so persuasive that it is believed that the proposal were likely to have gone through if not for his vehement opposition. When the news of this reached the king, More life was made to be somewhat more difficult. So much so that he considered leaving England (More 4). Our county in particular based our foundation on principles similar to those of Sir Thomas More. For that reason I nominate that this important work should be preserved in our time capsule.\r\n\r\n<span style=\"text-decoration: underline;\">Utopia</span> begins with his being assigned by Henry VIII to confer with the ambassadors of a foreign nation in Antwerp to renew an alliance. While there he meets with friends to keep himself occupied and lift his spirits while away from his family. This is unique in that it mirrors his real life so closely. Up to this point of the story, these events closely resemble things that took place around this time in his real life. One of his close friends, Peter Giles, eventually introduces him to a man named Raphael Hythloday who is a well traveled man and considers himself a philosopher. Raphael is obliged to discuss with Peter and Thomas, his travels to distant lands and the governance of those places he has visited. Raphael speaks of an island by the name of Utopia, which he considers the greatest commonwealth he has ever seen. So much in fact that he comes to the conclusion that it may be the only place that deserves to be called a commonwealth.\r\n\r\nIn the next eight chapters, Raphael relates the specifics of Utopia’s constitution and culture. The composition of their governing bodies, the make up of their economy, their justice system, military, and religious beliefs are disseminated well if not in great detail. Generally, one could perceive the government of Utopia as communist, but upon closer analysis, the Utopian government would be closer to what we know as socialist. Quentin Skinner writes, “More is fiercely insistent, however, that the rich are usually the least rather than the most deserving of our respect, since their anxiety to protect and add to their possessions generally means that they worry only about their own self-interest, not about the interest of society as a whole.”\r\n\r\nMore’s idea of a perfect society appears to be one in which the citizens are concerned by the success of the society as a whole as opposed to being preoccupied with their personal well being. More writes:\r\n<blockquote>[...] in which all things if a sort are laid by themselves; and thither every father goes, and takes whatsoever he or his family stand in need of, without paying for it or leaving anything in exchange. There is no reason for giving a denial to any person, since there is such plenty of everything among them; and there is no danger of a man’s asking for more than he needs; they have no inducements to do this, since they are sure they shall always be supplied: it is the fear of want that makes any of the whole race of animals either greedy or ravenous; but, besides the fear, there is in man a pride that makes him fancy it a particular glory to excel others in pomp and excess; but by the laws of the Utopians. there is no room for this.</blockquote>\r\nThe ideal of operating as a collective and admonishing greed and materialism is reinforced throughout the work. This aspect of the book is important for our society to keep in mind. While I do subscribe to the idea of capitalism, there is something to be said for having a system that holds everyone that reaps the benefits of our society, accountable for contributing selflessly to ensure the future prosperity of our nation.\r\n\r\nRaphael states, “There are several sorts of religions, not only in different parts of the island, but even in every town.” In Utopia, religious freedom is paramount just as it is in our society. With recent outbreaks of violence in the Middle East, which are largely charged by the interpretation of religion, Utopia hold a particular belief that would ensure that the same would not like occur within their domain. Raphael speaks of taking some of the teachings of Christianity to Utopia, and those principles being well received by many of the locals. So much so that one man had so much zeal about his newfound faith that he began to condemn the beliefs of others with a violent tone. Though one of their most ancient laws prohibits a man from being punished for his religion, the man was sentenced to banishment because his inflammatory behavior could potentially incite sedition within the society (More 127). He was removed from the society, not because of the religion he practiced, but because the way he practiced it could have endangered someone within the society.\r\n\r\nMore and Desiderius Erasmus among colleagues created the Republic of letters, an imagined community that held at its center the ideal of humanism. “As we have seen, More’s Latin text functioned as part of the infrastructure of an imaginary Republic of Letter, and the book’s content represented, in some ways, a version of that ideal Republic. The extensive paratext that surrounds <span style=\"text-decoration: underline;\">Utopia</span> helped to bind that community together and also to signal that Thomas More belonged there, as a citizen of that Republic,” wrote Joshua Phillips, a Literary and Cultural Studies Professor at the University of Memphis.\r\n\r\nIn 1535, More was removed from the world for standing on the same principles that he is praised for now. His conscientiousness and integrity would not allow him to recognize Henry VIII’s divorce from his wife, Catherine of Aragon, and his marriage to his new wife, Anne Boleyn. This was viewed as a crime by the authority. He was then called to recognized Henry VIII as the head of the Church rather than the Pope, and would not. He was then accused of high treason and eventually beheaded (Stephanie Forward). Though he died more than four centuries ago, his legacy lives on in the many thinkers that he inspired. In hopes that we can help his legacy live on, I suggest that we include his work in our time capsule, so that it may inspire the great thinkers of the future.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\">Works Cited</p>\r\n  Forward, Stephanie. “A Taste of Paradise: Thomas More’s Utopia.” <em>The English Review</em> Apr. 2001; 24. <em>Literature Resource Center</em>. Web. 8 Sep. 2012.\r\n\r\n“Introduction” . <span style=\"text-decoration: underline;\">Utopia</span>. More, Thomas. Project Gutenberg, 2005.\r\n\r\nMore, Thomas. Utopia. Project Gutenberg, 2005.\r\n\r\nPhillips, Joshua. \"Staking Claims to <em>Utopia</em>: Thomas More, Fiction, and Intellectual         Property.\" <em>Material Culture and Cultural Materialisms in the Middle Ages and             Renaissance</em>. Ed. Curtis Perry. Turnhout, Belgium: Brepols, 2001. 111-138. Rpt.       in         <em>Literature Criticism from 1400 to 1800</em>. Ed. Thomas J. Schoenberg. Vol. 140.             Detroit: Gale, 2008. <em>Literature Resource Center</em>. Web. 4 Sep. 2012.\r\n\r\nSkinner, Quentin. \"The Lesson of Thomas More.\" <em>New York Review</em>. 12 10 1978: n. page. Web. 4 Sep. 2012. &lt;<a href=\"http://www.nybooks.com/articles/archives/1978/oct/12/the-lesson-of-thomas-more/\">http://www.nybooks.com/articles/archives/1978/oct/12/the-lesson-of-thomas-more/</a>&gt;.\r\n\r\n&nbsp;','Thomas More\'s Utopia','','inherit','open','open','','2451-revision-12','','','2012-11-05 14:07:48','2012-11-05 20:07:48','',2451,'http://jeanatacc.com/2011/?p=2905',0,'revision','',0),(2903,56,'2012-11-05 14:06:03','2012-11-05 20:06:03','[caption id=\"attachment_2893\" align=\"aligncenter\" width=\"300\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Photograph-of-President-Abraham-Lincoln-and-His-Generals-After-Antietam.jpg\" target=\"_blank\"><img class=\"size-medium wp-image-2893 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/11/Photograph-of-President-Abraham-Lincoln-and-His-Generals-After-Antietam-300x247.jpg\" alt=\"\" width=\"300\" height=\"247\" /></a> This copy of the image includes Brady\'s handwritten recording of those in the photograph.[/caption]\r\n\r\nHistorically, leaders have used painted portraits of themselves to emphasize their authority over their people.  They surrounded themselves with emblems of their power.  For example, Hyacinthe Rigaud placed props around Louis XIV that personified his position as the absolute monarch of France; a column signifying fortitude, the fleur-de-lis (the traditional symbol of the French Monarchy) and scepters indicating his position as \"the hand of justice\" (Fiero)  Over one hundred years later, a new technology emerged that would eventually replace the painted portrait in this role.  “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting” (Panzer, Foley and et. al).  The \"Photograph of President Abraham Lincoln and His Generals After Antietam\" should be preserved because it was the first time in history that a photograph shaped public opinion about a country\'s head of state.\r\n\r\n<!--more-->\r\n\r\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\r\n\r\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\r\n\r\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\r\n\r\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\r\n\r\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\r\n\r\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\r\n\r\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\r\n\r\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\r\n\r\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\r\n\r\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\r\n\r\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\r\n\r\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\r\n\r\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\r\n\r\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\r\n\r\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\r\n\r\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\r\n\r\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\r\n\r\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\r\n\r\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\r\n<p style=\"text-align: center\"> Works Cited</p>\r\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\r\n\r\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\r\n\r\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\r\n\r\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\r\n\r\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\r\n\r\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\r\n\r\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\r\n\r\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\r\n\r\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\r\n\r\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\r\n\r\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\r\n\r\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\r\n\r\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\r\n\r\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\r\n\r\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\r\n\r\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\r\n\r\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\r\n\r\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\r\n\r\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\r\n\r\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\r\n\r\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\r\n\r\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\r\n\r\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\r\n\r\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\r\n\r\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\r\n\r\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\r\n<p style=\"text-align: center\"> Interesting Reading</p>\r\nhttp://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-13','','','2012-11-05 14:06:03','2012-11-05 20:06:03','',2855,'http://jeanatacc.com/2011/?p=2903',0,'revision','',0),(2886,56,'2012-11-05 13:40:21','2012-11-05 19:40:21','Historically, leaders have used painted portraits of themselves to emphasize their authority over their people.  They surrounded themselves with emblems of their power.  For example, Hyacinthe Rigaud placed props around Louis XIV that personified his position as the absolute monarch of France; a column signifying fortitude, the fleur-de-lis (the traditional symbol of the French Monarchy) and scepters indicating his position as \"the hand of justice\" (Fiero)  Over one hundred years later, a new technology emerged that would eventually replace the painted portrait in this role.  “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting” (Panzer, Foley and et. al).  The \"Photograph of President Abraham Lincoln and His Generals After Antietam\" should be preserved because it was the first time in history that a photograph shaped public opinion about a country\'s head of state.\n\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\n\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\n\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\n\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\n\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\n\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\n\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\n\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\n\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\n\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\n\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\n\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\n\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\n\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\n\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\n\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\n\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\n\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\n\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\n\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\n\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\n\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\n\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\n\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\n\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\n\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\n\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\n\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\n\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\n\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\n\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\n\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\n\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\n\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\n\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\n\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\n\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\n\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\n\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\n\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\n\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\n\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\n\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\n\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\n\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\n\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\n\n&nbsp;\n\n&nbsp;\n\nInteresting Reading - http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-4','','','2012-11-05 13:40:21','2012-11-05 19:40:21','',2855,'http://jeanatacc.com/2011/?p=2886',0,'revision','',0),(2887,56,'2012-11-05 13:41:21','2012-11-05 19:41:21','Historically, leaders have used painted portraits of themselves to emphasize their authority over their people.  They surrounded themselves with emblems of their power.  For example, Hyacinthe Rigaud placed props around Louis XIV that personified his position as the absolute monarch of France; a column signifying fortitude, the fleur-de-lis (the traditional symbol of the French Monarchy) and scepters indicating his position as \"the hand of justice\" (Fiero)  Over one hundred years later, a new technology emerged that would eventually replace the painted portrait in this role.  “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting” (Panzer, Foley and et. al).  The \"Photograph of President Abraham Lincoln and His Generals After Antietam\" should be preserved because it was the first time in history that a photograph shaped public opinion about a country\'s head of state.\n\n<!--more-->\n\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\n\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\n\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\n\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\n\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\n\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\n\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\n\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\n\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\n\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\n\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\n\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\n\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\n\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\n\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\n\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\n\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\n\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\n\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\n<p style=\"text-align: center\"> Works Cited</p>\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\n\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\n\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\n\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\n\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\n\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\n\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\n\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\n\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\n\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\n\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\n\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\n\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\n\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\n\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\n\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\n\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\n\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\n\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\n\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\n\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\n\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\n\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\n\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\n\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\n\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\n\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\n\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\n\n&nbsp;\n\n&nbsp;\n\nInteresting Reading - http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-5','','','2012-11-05 13:41:21','2012-11-05 19:41:21','',2855,'http://jeanatacc.com/2011/?p=2887',0,'revision','',0),(2888,56,'2012-11-05 13:42:33','2012-11-05 19:42:33','Historically, leaders have used painted portraits of themselves to emphasize their authority over their people.  They surrounded themselves with emblems of their power.  For example, Hyacinthe Rigaud placed props around Louis XIV that personified his position as the absolute monarch of France; a column signifying fortitude, the fleur-de-lis (the traditional symbol of the French Monarchy) and scepters indicating his position as \"the hand of justice\" (Fiero)  Over one hundred years later, a new technology emerged that would eventually replace the painted portrait in this role.  “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting” (Panzer, Foley and et. al).  The \"Photograph of President Abraham Lincoln and His Generals After Antietam\" should be preserved because it was the first time in history that a photograph shaped public opinion about a country\'s head of state.\r\n\r\n<!--more-->\r\n\r\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\r\n\r\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\r\n\r\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\r\n\r\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\r\n\r\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\r\n\r\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\r\n\r\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\r\n\r\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\r\n\r\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\r\n\r\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\r\n\r\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\r\n\r\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\r\n\r\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\r\n\r\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\r\n\r\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\r\n\r\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\r\n\r\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\r\n\r\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\r\n\r\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\r\n<p style=\"text-align: center\"> Works Cited</p>\r\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\r\n\r\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\r\n\r\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\r\n\r\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\r\n\r\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\r\n\r\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\r\n\r\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\r\n\r\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\r\n\r\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\r\n\r\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\r\n\r\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\r\n\r\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\r\n\r\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\r\n\r\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\r\n\r\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\r\n\r\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\r\n\r\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\r\n\r\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\r\n\r\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\r\n\r\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\r\n\r\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\r\n\r\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\r\n\r\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\r\n\r\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\r\n\r\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\r\n\r\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nInteresting Reading - http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-6','','','2012-11-05 13:42:33','2012-11-05 19:42:33','',2855,'http://jeanatacc.com/2011/?p=2888',0,'revision','',0),(2889,56,'2012-11-05 13:42:36','2012-11-05 19:42:36','Historically, leaders have used painted portraits of themselves to emphasize their authority over their people.  They surrounded themselves with emblems of their power.  For example, Hyacinthe Rigaud placed props around Louis XIV that personified his position as the absolute monarch of France; a column signifying fortitude, the fleur-de-lis (the traditional symbol of the French Monarchy) and scepters indicating his position as \"the hand of justice\" (Fiero)  Over one hundred years later, a new technology emerged that would eventually replace the painted portrait in this role.  “Brady used the documentary medium of photography to portray a stable, purposeful, patriotic republic during the decades when the national identity was fragmenting” (Panzer, Foley and et. al).  The \"Photograph of President Abraham Lincoln and His Generals After Antietam\" should be preserved because it was the first time in history that a photograph shaped public opinion about a country\'s head of state.\r\n\r\n<!--more-->\r\n\r\nAbraham Lincoln became President of the United States in 1861. A mere six weeks later, the Civil War officially began when Confederate soldiers fired upon the Union garrison located in Fort Sumter. Early in the war, President Lincoln deferred to his general’s experience and advice because he was inexperienced in matters of war and he knew it. He was a quick learner though, and by September 1862, he was urging General McClellan to be more aggressive toward the Confederacy. On September 17, 1862, Confederate General Robert E. Lee crossed the Potomac River, intending to advance toward Washington DC (McPherson).\r\n\r\nUnion troops engaged General Lee’s army at Antietam and turned the Confederates back to Virginia. It was a bloody battle with over 23,000 casualties. Technically the Union won, but General McClellan failed to pursue the retreating army and instead remained at Antietam. A disappointed Lincoln visited Antietam to confer with McClellan. Mathew Brady took the “Photograph of President Abraham Lincoln and His Generals After Antietam” to commemorate the meeting.\r\n\r\nThe first permanent photographic image was produced in 1826 by Nicéphore Niépce, but the process was long and tedious; the subject had to be still for up to several minutes which limited its usefulness. In 1851, Frederick Scott Archer invented the “wet plate negative” which created a more stable negative than paper and also required a considerably shorter exposure time; from minutes down to seconds and it was easy to produce several prints from one negative.\r\n\r\nThe wet collodion photographic process, as the wet plate negative was commonly known, revolutionized photography. Even though the equipment was expensive, bulky and the glass negatives were delicate and cracked easily either destroying the picture completely or creating a flawed image, the relative simplicity and reliable process made photography more popular and set the standard until about 1880 as the technology continued to evolve (“J. Paul Getty Museum”).\r\n\r\nSince the rapid technological developments in photography were coming to fruition when the Civil War began, it was only logical for photographers to venture out of their studios and into the battlefield. “Accounts and images of the Crimean War and the American Civil War in the 1850\'s and 60\'s reached a large public within months or weeks or sometimes even within days of battle. In the 1870\'s, a writer remarked: \"No record of previous wars can surpass those of the years between 1861 and ’71” (Goldberg).\r\n\r\n“Physically [Lincoln] was a cartoonist’s dream; critics might have called him a living caricature” and political cartoonists exploited that image as much as possible. Photographers did nothing to counter this image and actually backed up the unflattering caricatures (Thompson). On February 27, 1860, Mathew Brady took a photograph that “transformed a country lawyer into a national icon” (Holzer). Brady decided to emphasize, rather than hide Lincoln’s height. He adjusted Lincoln’s clothes; opening his coat to make him look broader and pulling up his collar to, as Lincoln observed, “shorten my neck.” Brady chose background props so that “Lincoln would be surrounded by symbols of learning and public service. Abraham Lincoln later said that the Cooper Union Portrait made him “into a man of human aspect and dignified bearing” which ultimately made him president. As a result, Mathew Brady became Lincoln’s favorite photographer.\r\n\r\nBrady built on that success after the Battle at Antietam. Even though the Cooper Union Portrait dispelled many misconceptions about Lincoln’s failings, “Northern civilians had for three long years been inundated with popular prints - pictures made to be displayed in family homes - that suggested in the strongest graphic terms that Abraham Lincoln was in fact the quintessential civilian” not someone capable of leading a country during a war” (Holzer and Hubbard 51).\r\n\r\n“[In] a society anxious about its very survival, portraits of statesmen and generals provided reassuring testimony of steadfast character; Lincoln used photography to assert his leadership over a fractious polity” (Goodyear). Lincoln was shrewdly aware of that fact and capitalized on photography as a medium. In spite of his untimely death in 1865, Lincoln was the most photographed man in the Nineteenth Century.\r\n\r\nJust as the “Cooper Union Portrait” changed the public’s perception of Lincoln as unelectable because of his “hideous” looks, the carefully composed “Photograph of President Abraham Lincoln and His Generals After Antietam” reassured and began to cultivate his image as Commander-in-Chief. In the photo, Lincoln stands facing his generals. His height, enhanced by his iconic top hat, shows him towering over his generals which emphasized his position as the head of state and served as “a reminder of the dominance of civilian authority” (Holzer and Hubbard 51).\r\n\r\nBy composing the photograph in this manner, Brady also focused attention on “Lincoln’s presence among his troops... [which comforted] during the darker days of the Union war effort - not only to the troops he visited, but to those on the home front who saw the pictorial reports” (Holzer and Hubbard 50). In stark contrast to the propagandic and encouraging purpose of the “Photograph of President Abraham Lincoln and His Generals After Antietam”, Brady’s assistants were assiduously documenting the macabre carnage of the battlefield. Photos of skulls, rotting corpses and mass graves fascinated the public and they flocked to Brady’s New York gallery to see them. The images shocked the public out of their complacency by bringing “home to us the terrible reality and earnestness of the war” (“New York Times”).\r\n\r\nThe aftermath of the Battle of Gettysburg, a battle that cost over 50,000 men their lives, was immortalized by two of Brady’s assistants in “A Harvest of Death”. Timothy O’Sullivan and Alexander Gardner arrived a day or so after the battle to photograph the grisly scene. While O’Sullivan was credited with the photo, it was Gardner who published it in his “Gardner’s Photographic Sketch Book of the War” in 1865. Gardner named the photo and part of his caption reads, “Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to its pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation” (\"Civil War in Art: Teaching &amp; Learning Through Chicago Collections”).\r\n\r\nGardner believed that photographs would serve as a true and accurate witness in history and “be accepted by posterity with an undoubting faith” (Goldberg A.2). The caption for “A Harvest of Death” was full of poetic imagery, lamenting the terrific loss of life and a “deliberate and unflinching” look at the cost of war.\r\n\r\nIn spite of his belief that photography was a medium of truth, Gardner was not immune to propagandizing. For example, the bodies in “A Harvest of War” were likely Union soldiers, but he memorialized them as a part of the defeated army; presumably to spare the northern audiences from the stark reality that most of the dead were left exposed to the elements (“American Memory from the Library of Congress”).\r\n\r\nIn the mid twentieth century, scholars began to seriously pay attention to the fact that Brady did not take most of the photographs attributed to him. “Brady was put off by corpses. The stunning images of the Antietam dead, lying in ditches where they fell are the work (published under Brady’s name) of his brilliant assistants Alexander Gardner and Timothy O’Sullivan... [Brady] preferred to visit the battlefield after the corpses had been cleared” (Benfey). All of his assistants’ photos were stamped with “Photo by Brady” (LaGesse).\r\n\r\nIn fact, that practice has contributed to confusion as to who took what picture and when. There are some historians who believe there is a chance that Brady never took any of the photographs traditionally attributed to him. Most scholars believe that Brady is the man who captured the image, “President Abraham Lincoln and His Generals at Antietam,” yet The Smithsonian Institute erroneously attributes the photograph to Alexander Gardner. (“Smithsonian Institution, Civil War@Smithsonian Collections”)\r\n\r\nI recognize the universal presence of propaganda ~ all those commercials we are surrounded by is a form of propaganda, after all. We are surrounded by images telling us how we should look, what our houses should have in them (think Ikea) what we should eat and more. Most people will tell a story about themselves that casts them in the most positive light possible; it’s typical human behavior. Studying this photograph uncomfortably drove home how easily our perceptions can be swayed by what is put in front of us.\r\n\r\nIn addition to being an historical record, this work was designed to influence public opinion. Since I believe it is a good thing that the Union won the war, I am tempted to gloss over that fact, but it is something that I need remain aware of. Promoting one’s views is not a bad thing though, so I am forced to consider when advocacy goes too far and becomes harmful.\r\n\r\nTechnological developments in photography changed the way the world looked. In this case, it brought war into the day to day lives of those who were normally sheltered from that type of savagery. “The continuing search for the facts of human history is the basic responsibility of every true scholar, every teacher, and every image-maker as well. The attention currently focused on the visual record of the Civil War should stimulate thinking about how the image of our own times will be projected to people living 100 years hence” (Wagner).\r\n\r\nThis image should be preserved because it can serve two important purposes for future generations. The first is simple; it is a social document providing a visual record of an important meeting during the American Civil War; a conflict that bears witness to the unfortunate fact that human beings are sometimes barbaric creatures who fight wars rather than find peaceful solutions to problems (Fiero). Second, it is a cautionary tale; be aware of propaganda, but also recognize its inevitable presence. By maintaining a conscious respect for the dangers posed by propaganda, they will be able to guard against its potential for abuse.\r\n<p style=\"text-align: center\"> Works Cited</p>\r\n\"Abraham Lincoln and George McClellan at Antietam.\" The Smithsonian Institution, Civil War@Smithsonian Collections. National Portrait Gallery. Web. 4 Nov 2012.\r\n\r\nA web page that shows an image of “President Abraham Lincoln and His Generals After Antietam” that incorrectly titles it, “Abraham Lincoln and George McClellan at Antietam” and also credits Alexander Gardner as the photographer.\r\n\r\nBenfey, Christopher. \"Theater of War: The real story behind Mathew Brady’s Civil War photographs.\" Slate. 30 1997: n. page. Web. 3 Nov. 2012.\r\n\r\nAn online review of a museum exhibit titled, “Mathew Brady’s Portraits: Images as History, Photography as Art.” It discussed how many of the images attributed to Brady were not actually taken by him. Many of them, especially the gruesome ones, were taken by his assistants. He was able to take credit for them because the assistants worked for him.\r\n\r\n\"BRADY\'S PHOTOGRAPHS: Pictures of the Dead at Antietam.\" New York Times 20 Oct 1862, n. pag. Web. 3 Nov. 2012.\r\n\r\nA review written in 1862 about Brady’s exhibit in his New York gallery. It talked about how interested in the photographs people were and reports that “crowds of people are constantly going up the stairs”. Even as the author accurately describes the gruesomeness of the photos, he also waxes poetic about the “poetry in the scene that no green holds or smiling landscapes can posses. Here lie men who have not hesitated to seal and lamp their convictions with their blood\".\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; A Deliberate, Unflinching Witness to History.\" New York Times 16 Aug 1992, A.2. Web. 4 Nov. 2012.\r\n\r\nThis article compared the difficulties photographers faced at various points in history, from the Civil War to the present.\r\n\r\nGoldberg, Vicki. \"PHOTOGRAPHY VIEW; Setting the Standards For War Pictures:.\" New York Times 05 Jun 1994, n. pag. Web. 3 Nov. 2012.\r\n\r\nThis article reviews a museum exhibit entitled \"REPORTING the War: The Journalistic Coverage of World War II\" at the National Portrait Gallery in Washington DC. Although the exhibit was about a war almost a hundred years after the Civil War, it still had some useful background information about the history of war photography.\r\n\r\nGoodyear, Frank H. \"Photography and War.\" The Atlantic Feb. 2012. Gale Opposing Viewpoints In Context. Web. 22 Oct. 2012.\r\n\r\nA brief article introducing a series of writings from “The Atlantic” and photographs from the National Portrait Gallery in Washington DC.\r\n\r\nHolzer, Harold. “That Attractive Rainbow: The Image of Abraham Lincoln as Commander-in-Chief” Lincoln and His Contemporaries. Ed. Charles Hubbard. Macon: Mercer University Press, 1999. 39-67. Google Books. Web 3 November, 2012.\r\n\r\nThis is an essay in an anthology that discussed how the Brady’s photographs changed Lincoln’s public image from weak and ineffective into a capable leader.\r\n\r\nHolzer, Harold. \"THE PHOTOGRAPH THAT MADE LINCOLN PRESIDENT. (Cover Story).\" Civil War Times 45.9 (2006): 24-33. Academic Search Complete. Web. 3 Nov. 2012.\r\n\r\nThis article recounts the first time Lincoln and Brady met on the day Brady took the “Cooper Union Portrait”. It detailed the staging of the photo and how Brady groomed Lincoln, by brushing his hair and adjusting his collar to “shorten his neck”.\r\n\r\nMcPherson, James M. \"Commander In Chief.\" Smithsonian 39.10 (2009): 38. Middle Search Plus. Web. 4 Nov. 2012.\r\n\r\nAn article providing a brief history of President Lincoln’s progression from a leader uneducated in military strategy to one who shaped the strategy of the war.\r\n\r\nO’Connor, Edward. “History of Photography”. Online Museum Educators. Web. 3 Nov, 2012.\r\n\r\nA website for students that concentrated on teaching motion photography to high school students, but also had some background on the history of photography.\r\n\r\nPanzer, M. and Foley, Jeana and et al. Mathew Brady and the Image of History. Smithsonian Institution Press for the National Portrait Gallery, 1997. Print.\r\n\r\nThis is the catalog for an exhibit of Brady’s photography at the National Portrait Gallery and discussed some of the technical aspects of his work and his motivations.\r\n\r\n\"Photography: The Wet Collodion Process.\" The J. Paul Getty Museum. n.p.. Web. 3 Nov 2012.\r\n\r\nThis page contains a six minute video that explains and demonstrates the wet collodion process; from the educational portion of the web site for The J. Paul Getty Museum in Los Angeles, CA.\r\n\r\n\"The Case of Confused Identity.\" American Memory from the Library of Congress. The Library of Congress. Web. 2 Nov 2012.\r\n\r\nText for Plate 36 also known as “A Harvest of Death” from Alexander Gardner’s “Gardner\'s Photographic Sketch Book of the War”.\r\n\r\nWagner, Robert W. \"Media: The Image of the Civil War.” Audio Visual Communication Review. 9.1 (1961): 56-59. Web. 3 Nov. 2012.\r\n\r\nA journal article that discussed how the modern views of war have changed over time starting with the photographic record of Brady and his assistants. It explains one of the ways photography changed the view of war - the fact that the images were not only of leaders and statesmen, but also of the uncelebrated fighters who fought in that conflict.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nInteresting Reading - http://www.lettersofnote.com/2010/12/all-ladies-like-whiskers.html - “All the ladies like whiskers” shows the letter written by 11 year old Grace Bedell advising the presidential candidate, Abraham Lincoln, to grow a beard.','Photograph of President Abraham Lincoln and His Generals After Antietam','','inherit','open','open','','2855-revision-7','','','2012-11-05 13:42:36','2012-11-05 19:42:36','',2855,'http://jeanatacc.com/2011/?p=2889',0,'revision','',0),