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Artistic Styles of Japan, 2006.
An analysis of the various artistic print making traditions and styles of Japan, focusing on woodblock printing.
2,250 words (approx. 9.0 pages), 8 sources, AU$ 142.95
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Abstract
This paper analyzes the historical background to the origins of Ukiyo-E woodblock printing in Japan. The paper discusses the tradition of woodblock printing and its significance in Japanese culture, particularly how the tradition was the dominant force among the arts within the merchant class, and slowly, over the centuries, rose to prominence within the higher classes of feudal Japanese society.
From the Paper
"Cultural Studies: Analyzing the Various Artistic Print Making Traditions and Styles of Japan Table of Contents I.Introduction II.Understanding the Origins of the Popular Ukiyo-E Style of Japanese Print Making in the Article: "Ukiyo-E" by John Florillo III.The Relevant History and Development of Ukiyo-E Japanese Prints in the Article: "The Floating World Ukiyo-E" by The Library of Congress IV.Revealing the Stages of Creating Japanese Prints in the Article: "Japanese Prints" by Artelino. V.The Social and National Heritage of Japanese Print Making in the Article: "Japanese Woodblock Prints" by Asia-Art.net. VI.Conclusion. I.Introduction This cultural study of Japan will focus on the artistic development of the woodblock print traditions. By researching the methods and artistic process in which these prints are made, one can realize the historical significance of the woodblock tradition over the centuries."
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The Photographer as Artist and the Artist as Photographer, 2006.
A summary of the influences of photographers on art and art on photographers.
3,816 words (approx. 15.3 pages), 10 sources, MLA, AU$ 167.95
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Abstract
In this report the author examines the photographer as an artist and what he can contribute to natural art. From the other point of view the author also examines how art has influenced photography. He cites many opinions of famous artists and photographers. The conclusion of the paper clearly communicates that in society today art and photography cannot be considered mutually exclusive.
From the Paper
"Limitations in photographic technology determined the imagery left from the Civil War. Because exposure took several seconds, Brady heavily favored images that didn't move. For example, full regiments in formation often held still for the camera. Additionally, the gruesome aftermath of battles constituted the other predominant category of Civil War photos. For a country that had been reared on the adventure and glories of war portrayed in paintings, the overall impression of this rupture in the American psyche was depressingly grim, drab and nauseating."
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Multinational Management Styles, 2006.
A discussion of the differences between management styles in Western culture and Japan and Indonesia.
7,575 words (approx. 30.3 pages), 7 sources, MLA, AU$ 267.95
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Abstract
This paper compares management styles between the West and Japan and Indonesia and makes suggestions for avoiding problems that may arise as a result of these differences. The paper first explains that because Indonesian culture is very similar to Japanese culture and because there is limited information on Indonesian culture, a description of Japanese business culture is sufficient for a comparison between Western business culture and the business culture of Japan and Indonesia. The paper then prevents a detailed look at the Japanese way of doing business and contrasts this to the American way of doing business and makes suggestions on how best to minimize and understand these differences so that problems in management can be avoided.
From the Paper
"Indonesian and Japanese culture tends to make their businesses less dynamic and adaptable, and hence less competitive, than those of the Western world. This was perfectly acceptable as long as the two cultures had limited business dealings, but as globalization spreads, the cultural influences that define the Japanese and Indonesian people are beginning to be phased out of business, in order to allow their companies to survive and some cases dominate the global economy as massive multinationals. As cultures collide, the capitalistic approach already partially embraced by the rest is proving to be the method of doing business that is most likely to form the over-culture that links businessmen together."
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Du Bois' Artistic Blueprint, 2001.
This paper looks at Hughes' and Cullen's artistic blueprint set forth by W.E.B. Du Bois in their protest poems
1,550 words (approx. 6.2 pages), 5 sources, AU$ 81.95
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Abstract
This paper shows how Hughes and Cullen follow Du Bois? prescription in their creations of black art. The author focuses on Hughes? poem ?Ballad of the Landlord? and Cullen?s poem ?From the Dark Tower,? and derives his definition of Du Bois? artistic prescription from his essay ?Criteria of Negro Art.?
From the paper:
"Amidst the prevailing racial injustice during the Harlem Renaissance, W.E.B. Du Bois charges black artists to use their art to send a message to society: a message of unity to the blacks, and a message rejecting their so-called inferiority to the whites. Black art, Du Bois insisted, should be used as a weapon against racism, demonstrating blacks? worthiness of American status and their ability to conceive Beauty in their art. Countee Cullen and Langston Hughes, whether intentionally or not, followed the artistic specifications set forth by W.E.B. Du Bois in their respective creations ?From the Dark Tower? and ?Ballad of the Landlord.?
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Artistic Utopias, 2007.
An analysis of various artistic depictions of utopia from the past and present.
2,634 words (approx. 10.5 pages), 10 sources, MLA, AU$ 127.95
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Abstract
This paper discusses the portrayal of utopia in art, whether it be literature, architecture or the fine arts. The paper presents examples of many types of depictions of utopia throughout history. The paper suggests that there is a new utopian revolutionary art where artists collaborate with the people of a community to restate their own history as the surroundings inspire them.
From the Paper
"Cuban artists currently have opened "Contemporary Art from Cuba: Irony and Survival on the Utopian Island" with a range of artists exhibiting from 24 to 39, at the ASA Museum at the University of Arizona, an art museum known for exhibiting work experimental in content, form or presentation. These artists show they are disillusioned with the socialist Revolution, yet they remain loyal Cubans."
"Land artists, who create monumental sculptures, perhaps are those most successful in living out their utopian ideals in large scale, such as Michael Heizer, who has spent three decades creating a huge collection of truncated pyramids in the Nevada desert, Charles Ross, who has a subterranean Stonehenge for the space age in New Mexico and Christo, who has tried to wrap up the world like a present."
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Aristotle on Artistic Imitation, 2005.
This paper discusses Aristotle's positive view of artistic imitation and contrasts it with the scathing Platonic view.
1,635 words (approx. 6.5 pages), 7 sources, MLA, AU$ 86.95
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Abstract
This paper explains that, in Aristotle's "Poetics", the great thinker disagrees with Plato on the inherent value of art especially in regard to the idea of art being a cheap imitation of nature. The author points out that, whereas Plato sees this as a major drawback to any art, Aristotle contends that there is much more involved in the process than the simple act of copying. The paper stresses that this Aristotelian view is the important link between Plato and critics, such as Sir Philip Sidney and Samuel Johnson, who came after him.
From the Paper
"Aristotle further enhances his views on artistic imitation as he introduces the effective imitative form of the Tragedy (which happens to be suitable for literature as well as the stage). In his opinion, Tragedy is the highest form of literary imitation, as "it is, then, an imitation of a noble and complete action, having the proper magnitude." He says a bit later in Poetics that "the pleasure which the poet should afford is that which comes from pity and fear through imitation." This is the function of Tragedy; the pity and fear arise from certain incidents in which a character (neither totally good nor bad, as in reality) suffers a reversal and falls undeservedly into misfortune. The audience can relate to these events and become overtaken with human sympathy. Therefore, the imitation presented is surely true to life."
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Virgin with Child: Medieval and Byzantine Artistic Styles, 2002.
The paper compares and contrasts two versions of Mary with Child mosaics styles. The author pays special attention to historical and cultural influences on their artistic styles.
1,280 words (approx. 5.1 pages), 2 sources, AU$ 70.95
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Abstract
This paper compares and contrasts two mosaics depicting Mary and Jesus-one medieval, the other Byzantine. The author discusses their stylistic differences, the severity and stoicism versus warmness and emotion, and examines Christianity as seen through religious art in both societies.
From the Paper
"The Medieval era produced many important art pieces ? many of which contained reference to religious figures. Because religion did, in fact, play such an important role in everyday life, religious art abounded throughout Europe . However, depending upon the area of the continent and which religion its inhabitants believed in, artists portrayed similar religious scenes in varying ways. In particular, Byzantine and Medieval pieces contained identical figures or scenes portrayed in very different ways due to the respective religion?s influence on the artist. Comparison of two mosaics depicting Virgin and Child will show fundamental stylistic differences between Byzantine and Medieval art."
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The Origins & Essences Of Artistic Creation, 1974.
This paper discusses the origins and essense of artistic reation including imagination and expression: Plato, Aristotle, Immanuel Kant, Jacques Maritain and Benedetto Croce.
2,250 words (approx. 9.0 pages), 8 sources, AU$ 127.95
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From the Paper
"How does a work of art come to be? It might seem necessary to define "work of art" before one proceeds to answer this question, but many thinkers find it necessary to introduce notions of creation when trying to distinguish works of art from other sorts of objects. The situation seems to be this: If one answers the question, "What is a work of art," one will presuppose an answer to "How does a work of art come to be?" And if one answers the question, "How does a work of art come to be," one will presuppose an answer to the question, "What is a work of art?" How can we escape the circle?
It seems sound to say that works of art are differentiated from natural objects because human making (creation) is necessary to the former but not to the latter. But not all artifacts, or ... "
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Artistic Freedom in Europe: 1750-1850, 2001.
This essay discusses whether commercialization caused the artist to move from being the slave of his patron to the slave of the market.
1,690 words (approx. 6.8 pages), 4 sources, MLA, AU$ 87.95
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Abstract
This paper is a study on the changing role of the artist in European society, as seen in its case study of Antonio Canova. It asks whether increased demand for art, and increased commercialization, gave the artist greater freedom as it released him from the grip of his patron; or, whether this only subjugated him to new restrictions, those of a competitive market.
From the Paper
"Before the nineteenth century artists in Europe relied almost entirely upon their patrons to finance their work. It was extremely difficult, and pretty much unheard of, for an artist to finance his own profession, and there was not a large enough market to create a piece without having a specific buyer in mind. Therefore, patrons could, and often did, exert a large influence on the outcome of the work."
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The Artistic Appeal of the French Riviera, 2004.
Explores the attraction of the French Riviera to artists of different types, beginning with prehistoric cave drawings.
2,499 words (approx. 10.0 pages), 6 sources, MLA, AU$ 121.95
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Abstract
This paper examines the climatic, geographic, cultural, and social attraction of the French Riviera to artists. The paper traces the appeal of the Riviera to artists, beginning with prehistoric times and the rock engravings of that era and concluding in the early 20th century, with a look at the film, "And God Made Women".
From the Paper
"It is not difficult to understand the physical allure, and doubtless that is part of what drew the artists, beginning in earnest with the Impressionists. The Impressionists, it must be noted, were the rebellious artists of their day, the avant-garde. They overthrew the classical expectations of realistic art to, as their collective appellation implies, paint their impressions of things. Most of them were devoted to painting in ?plein air,? or outside. That was, needless to say, more easily accomplished where the air was warm and full of sea breezes so that in winter it was at least possible to be outside in the sun, in spring and fall it was extremely pleasant, and even in midsummer it was not too oppressive."
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Artistic and Cultural Movements in the 20th century, 2007.
This paper portrays the trends in art, music and literature that emerged in 20th century France.
1,175 words (approx. 4.7 pages), 5 sources, MLA, AU$ 65.95
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Abstract
The paper discusses how the late 19th and early 20th centuries enjoyed a prolific variety of artistic and cultural movements that forever changed the faces of visual arts, literature and music. The paper describes how the early 20th century in particular seemed to be a time ripe for intellectual and creative innovation. The paper mentions Pablo Picasso, Ernest Hemingway and Josephine Baker as a part of this amazing community of artists. The paper illustrates how Paris of the early 20th century experienced an epidemic of creativity that spilled over and infected countries around the world and started the ripples that would eventually build up to crashing waves of major artistic movements.
From the Paper
"Paris reacted to the end of the war with absolute jubilance. It seems like a logical consequence that after facing half a decade of fear, violence, death and disease the city would explode into an atmosphere that nurtured anything that smacked of life. Drinking, drugs, sex, and the Running of the Bulls lured many up-and-coming and some already established artists to the city (Seigal 18). An unprecedented mingling of great minds and talents created such an artistically charged atmosphere left even the dullest among them inspired and eager to create. The city became an artist's Mecca, drawing in talents of all caliber and envy from those who couldn't make it."
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On Shakespeare and Artistic License, 2002.
A discussion of the historical accuracy of the plays of William Shakespeare.
3,420 words (approx. 13.7 pages), 9 sources, MLA, AU$ 155.95
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Abstract
This paper examines how there are many points of contention between historians and artists when it comes to the subject of artistic liberties versus historical fact. Through a review of "Macbeth" and some of his other plays, it attempts to determine some of these historical inaccuracies and analyze why they occurred. It focuses on the question of whether or not Shakespeare was even concerned with being historically accurate or whether he intentionally took ?liberties? with his plays.
From the Paper
"Many of Shakespeare?s primary sources are now available in their entirety on the Internet. Facsimiles of Holinshed?s history is available, Reginald Scot?s Discoverie of Witchcraft and King James I Daemonologie are available in their entirety. Seneca?s plays are available in their original Latin, as well as some excellent translations. Many others have written on the historical inaccuracies of Shakespeare?s plays long before it was so easily to look at his primary sources and compare them to the play. These authors only focused on whether Shakespeare?s plays were historically accurate, and the consensus of the pool of authors was a unanimous consensus that Shakespeare?s did contain historical inaccuracies. This fact has been reiterated and restated many times, by many authors. There is no reason to restate what is now considered historical fact, as it is now considered common knowledge that Shakespeare?s plays are historically inaccurate when compared to modern historical sources."
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Controversy in Artistic Expression, 2005.
Examines the controversial works of photographers Sally Mann and Andres Serrano.
1,390 words (approx. 5.6 pages), 5 sources, MLA, AU$ 74.95
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Abstract
Art that provokes a passionate response could be considered the "best" art, because whether the emotions it stirs up are positive or negative, their intensity is profoundly connected to the depth of visual expression the artist is able to convey. Unfortunately, those who are offended by certain works of art fail to see the matter from this perspective. The paper argues that, fortunately (and quite ironically) those who attempt to censor "offensive" expressions are generally the ones that bring an artist the greatest attention. This has undoubtedly been the case for controversial photographers such as Sally Mann and Andres Serrano. The paper looks at Serrano's "Piss Christ" and Mann's photographs which depict nude and battered children.
From the Paper
"Mann's most familiar, and controversial imagery focuses on the lives of her three children. They are depictions of innocence about to be shattered by the intrusion of the adult world with its lies, violence, and corruption. They are not intended to arouse the viewer sexually but to arouse thought provoking introspection regarding the pain of growing up."
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Akhnaton: An Artistic Revolutionary, 2005.
Examines the link between religion and art in ancient Egypt.
1,622 words (approx. 6.5 pages), 6 sources, MLA, AU$ 84.95
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Abstract
The author discusses Ancient Egyptian art as an expression of religious devotion and belief, arguing that the monotheistic revolution spearheaded by Akhnaton led to an artistic revolution.
From the Paper
"The civilization of the Ancient Egyptians, encompassing art at its very core, was one borne out of religious and cultural beliefs and values. According to numerous art historians, archeologists and Egyptologists, within the context of Ancient Egyptian culture and religion, art was not a luxury or a pastime but, as Leslie A. White states, part and parcel of Ancient Egypt and its religious framework (91-92). Dietrick E. Thomeson explains this view even further, arguing that the fusion between art and religion was such in Ancient Egypt that it was the first, and one of the very few, if not only, countries in history in which artists and architects were state employees and bureaucrats. In other words, artistic endeavour was in a permanent and ongoing state of activity and the bureaucratic form that it assumed, allowed for the continuation of that activity insofar as it ensures the constant planning of projects and their execution. However, while that bureaucratic form, on the one hand, and the religious nature of art, on the other, kept Ancient Egypt artistically rich, it ensured a static form to art, preventing development, evolution and change."
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Culture Differences in Management Styles, 2006.
This well-researched paper focuses on cultural conflicts in the global business community, as well as strategies and solutions to overcome these same conflicts.
2,686 words (approx. 10.7 pages), 11 sources, MLA, AU$ 129.95
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Abstract
The writer of this paper examines the various cultural differences, as they pertain to business in Germany, the United States and Japan. This paper analyzes how miscommunication between management and employees, due to lack of cultural awareness, leads to or exacerbates problems. This paper cites the views and opinions of various experts who contend that multinational corporations must adapt to a host country's cultural and business practices, in order to meet local needs. While the U.S., Germany and Japan are unlike each other, this paper discusses the fact that each country has aspects in common with its neighbors. This paper delves into the results of various investigations regarding the handling of cultural conflicts in a business setting, while presenting several strategies and solutions for conflict resolution.
Table of Contents:
Introduction
Literature Review
Discussion
Limitations
Conclusion
Works Cited
From the Paper
"In order to identify the major bases of conflicts as well as the major means that can be used to solve them, three cultures were chosen. The United States, Germany and Japan are very unlike each other, but each has aspects in common with its neighbors. The United States, for example, conducts its corporate life similarly to Canada. Germany can be said in many ways to be similar to the Netherlands and Scandinavia in its cultural background. Japan is somewhat representative of most of Asia. Therefore, using those three nations to investigate the best practices in conflict resolution may result in a less limited range of recommendations than, for instance, considering Spain and Venezuela, both of which share some aspects in common with each other, and even with the large Latino population of the United States which has, arguably, influenced American corporate culture at least to a small degree."
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Artistic Ramblings, 1985.
This paper is a stream-of-consciousness essay that discusses various topics in art history: The Kreeger collection, Impressionism, 19th century Paris and Claude Monet.
1,350 words (approx. 5.4 pages), 4 sources, AU$ 76.95
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From the Paper
"The Kreeger Museum features a collection that was a joint effort by Carmen and David Kreeger, a collection started in 1959 and continued over a period of 15 years. The collectors showed a preference for coloristic richness and texture. There are nine Monet paintings in the collection, presented in a show at the museum in Washington, D.C. after the museum opened its doors in 1994. Claude Monet was one of the most important of the artists who developed the Impressionist movement. Monet experimented with the effects of atmosphere and light, and what concerned him more and more were the techniques required to effect a direct transcription of visual sensation to the canvas. His works show a variety in subject matter and technique while also reflecting the deepest concerns of the artist in a consistent fashion: ... "
Neither his choices of subject nor his modes of seeing,
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