REMINDER
-There is no lecture or discussion on Monday, which is Martin Luther King day.
-Extra credit if you watch Obama's inaugural address and give at least two instances (with brief analysis) of ethos, logos, and pathos... extra credit means I will let you skip a future homework assignment
REMINDER:
-post your group's answers to the Shakespeare motives exercise in reply to this post
-you can also read Ankita's summary of today's Lupton forum if you click on the replies
REMINDER:
-Read Alberti 89-98
-Answer the last discussion question (about Alberti & Aristotle) here and post it in reply to this post
-Find one painting Alberti would love and one he would hate... I think it would work best if you posted those as web links in reply to this post... then I could use them in class
REMINDER:
-Sign up for Wednesday conferences here
-Working draft #4 due Monday 9pm to EEE dropbox
TIPS FOR WORKING DRAFT:
-Be selective... there's no way you can include all your ideas in each section... there is no need to be complete or comprehensive... better a couple of ideas in each section, developed in detail
-Be sure to pay attention to the detail of Shakespeare's language/word choice, especially in task A & B
-Your organizational scheme (intro, transitions, conclusion) should reflect your own ideas and your understanding of the assignment... in other words, your paper needs to justify its purpose... you need to write as if you have something important to say rather than you're just doing it because it was assigned
-You can put tasks A, B, C in whatever order makes sense to you, and you can give them slightly different proportions in length if necessary
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My posts were accidentally put under the previous blog, so you can see my answers there. sry.
ReplyDeletePhilosophy on Love in MND
ReplyDeleteSatire - Shakespeare is making fun of love, he puts a wedding in the play and a play is performed in the wedding. He also shows the inconstancy of love.
Shakespeare would side with Egeus, Hermia's father, and we see this because when the children make their own choices in selected marriage partners, they are indecisive (via the love potion).
The metatheater, or the play-within-the-play is also about love.
The mouthpieces for Shakespeare's philosophy on love would be Egeus, and the anti-mouthpieces would be Lysander and Demetrius because those changed their minds about the girl they loved.
My group was Aidin, Loraina, and Scarlett, sorry if I spelled your names wrong.
http://i.dailymail.co.uk/i/pix/2008/05/28/article-1022483-000B50B900000258-863_468x473_popup.jpg
ReplyDeletehttp://www.soulsofdistortion.nl/images/last_supper.jpg
ReplyDeleteAlyssa K.
ReplyDeleteAmanda H.
Amanda S.
Political
1. This play is a representation of all different social classes. It's something for everyone. A specific instance in AMND displaying politics is in the beginning and end when Theseus sides with Egeus and Demetrius regarding who Hermia is allowed to marry. Hippolyta does not approve of this. At the end of the play, Theseus' character has become more soft, and he opens his mind to Hippolyta's views. This is an important aspect of AMND because Shakespeare wrote this play for the upper class; this includes Queen Elizabeth. It shows that women can and do have some influence.
2. In the past, the lower class worked for the upper class. By performing for the private parties consisting of the upper class, it compares to the play within the play: the lower class workers performed in honor of Theseus and Hippolyta's wedding.
3. Mouthpiece character: the Queen along with the upper class
Anti-mouthpiece character: Puritanitst
Group Members: Teresa, Rante, and Yen
ReplyDeleteMotive: aesthetic (legitimizing art as a whole, ie. not just theater)
1. AMND demonstrates that art has real effects and functions regardless of the aesthetic view to which one subscribes. For example, if art is seen as "emotional vomiting", AMND can be seen as Shakespeare's attempts to live vicariously through his characters. Although Shakespeare did indeed get married, perhaps it was not a marriage of true love and through writing AMND, Shakespeare is trying to experience a love that ends happily. If art is seen as nonsense and pure entertainment, then AMND would serve its purpose in that people of many social classes could watch it and enjoy it. If art is understood to be evil, AMND could be interpreted to encourage the existence of fairies and supernatural events. It could also be seen as encouraging indecency during festival times, as no one is really surprised to see the four lovers in the middle of the forest, asleep in the same clearing. Following are the remaining aesthetic views we talked about in discussion (the ones I remember at least) and how AMND fulfills an aesthetic motive through such a view:
a.“mirror defense”/realism: AMND demonstrates that love is fickle and shows the rude mechanicals’ abilities for what they are (supposedly)
b.Philosophy for dummies: AMND is a sort of exploration of love and its effects in a social setting; AMND explores the natural order of things (ex. Workers [rude mechanicals] are not meant to or capable of producing quality art)
c.Experimental laboratory: AMND revives the acceptance of fairies, which had typically become against accepted thoughts at the time
2. The inclusion of metatheater in AMND accomplishes an aesthetic motive because it legitimizes art for all classes. The fact that characters from differing classes come together for the performance of the play-within-a-play, either as actors or as audience members, implies that art (specifically theater in this case) can, and possibly should, be accepted by all people. Furthermore, the play-within-a-play seems to suggest that art is a form of social interaction. I think we can safely say that people generally come together for a reason, so in bringing characters together through art, AMND essentially implies that art is worthy of attention and has some kind of value. In addition, during the rehearsal of the play-within-a-play, the rude mechanicals are concerned about a range of problems including the lion frightening the ladies and the fact that the wall may not be understood to be a wall. Such fears imply that art has real effects and therefore can be used towards a purpose or goal if carried out carefully. Finally, although Theseus says that the rude mechanicals are in no way adept at theater and that the play is basically just entertainment, the fact that someone of his standing is willing to see it anyway hints that art has something to offer.
3. In acknowledging that each character (or almost each character) has his/her own aesthetic view, it can be said that all of the characters in AMND are mouthpieces of this motive.
Hey Everyone.
ReplyDeleteI went to Luptons Q & A session at 11 this morning. Here are the notes that I took. Some are just bullet points about what she said that I found of significance. And others are answer to the questions that other people and I asked:
-Theseus is a character that is created to represent the tradition and philosophy of ancient Greeks. He is made to rationalize.
-Shakespeare's writing of Helena's speech tells us about his take on love (philosophical motive?)
-What is the significance of Puck's speech at the end? Is that Shakespeare talking to his audience through Puck?
---Puck's speech emphasizes the difference between the world of theater and the reality.
---Puck is still very in character. He has a sort of double ethos; ethos of Puck and of the actor that plays Puck.
---Shakespeare is emphasizing in the play that fiction is the intermediate between the world of lies/fantasies and the reality
-Shakespeare gives us lots of contrast throughout the play
~presents contrasting views towards love and marriage simultaneously (Theseus and Hippolyta)
~Ask yourself whether Shakespeare agrees with Theseus or Hippolyta's view about imagination?
---Shakespeare can't just disregard the concept of imagination because he himself is a man of theater. But Theseus also says that imagination only "bodies forth shape of things unknown." Shakespeare may agree with a lot of things that Theseus says but might mean the opposite for the play(Hippolyta).
-Shakespeare's portrayal of women
~Ranking the four relationships based on the consent of women in each relationship
~Hermia and Lysander on top, Titania and Oberon at the bottom.
-How does MND play into this quarter's theme of making?
---It is a distinctive, dramatic form of making.
Also, for the first time Artisans are also involved in making something other than their usual work; theatrical making. Shakespeare portrays their intellectual ability and compares it to that of what legitimate theater would be/is.
-What does Bottom's dream signify?
---so there is a lot of Midsummer madness going on without anybody really being aware of the fairyland, except for Bottom. Bottom's POV is distinctive because he has seen more of the parallel fairy world; he has had access to the "higher truth." Through this "bottomless" speech he transforms from a fool to a wise fool. (I compare bottom to Caliban from the Tempest, if you have read it)
-What are the themes associated with Theseus?
---the question of consent (Hippolyta).
---also associated with law
~so his response to his relationship with Hippolyta will serve as a template for young couples of Athens.
---rationality
---Epic hero (goes hunting on the morning of his wedding)
-WHAT IS SHAKESPEARE'S THEORY OF AESTHETICS?
---drama is a collaborative art, which requires patience and faithfulness of audience, actors and the backstage crew to put it together and then to take it apart
---in order to delve further into that focus on places where Shakespeare talks about imagination
-consider that things that unreal dont have to be untrue. In the play he is trying to construct that relationship.
Hope this will help!!!
3. ALBERTI AND ARISTOTLE
ReplyDeleteFind places in the text where Alberti seems to support an Aristotelian ethics of moderation. Consider the following problems: movement (p. 88); copiousness and variety (p. 76); the proper use of color (pp. 83-5); speed and diligence (p. 97).
Alberti considers modesty to be a great virtue. He claims, similarily to Aristotle, “modesty and truth should be used in every istoria.” He finds variety in movement to be acceptable, however he cannot praise copiousness “which is without diginity.”
When it comes to color, Alberti claims it is important but not so vital as the ability to do geometry. To Alberti, color can be used to draw attention to something, so it has it has purposes, but it isn’t necessarily the final word on a painting.
Alberti holds that moderated diligence is required for this profession. He considers intellect and diligence to be related and that both virtues make an excellent painter. As for speed, Alberti says that one should never leave one project unfinished to go on to another. He claims that to create art, one must give it it’s full attention and time, so moderation in speed is necessary for a successful creation.
Alberti would HATE:
ReplyDeletehttp://usimages.easyart.com/i/prints/rw/lg/1/0/Roy-Lichtenstein-Modern-Painting-Of-Sun-Rays--1967-10941.jpg
Alberti would LOVE:
http://www.etss.edu/hts/hts3/millais.gif
Alberti would hate:
ReplyDeletehttp://static.howstuffworks.com/gif/vincent-van-gogh-paintings-from-saint-remy-1.jpg
Alberti would like:
http://www.virtualuffizi.com/uffizi/img/8367.jpg
Alberti would love:
ReplyDeletehttp://chinaposters.org/img/apkung-314-78-318.jpg
and hate:
http://www.orientaloutpost.com/usa/n1645.jpg
Alberti and Aristotle
ReplyDeleteon speed and diligence:
Alberti and Aristotle agree that a balance should be sought out. Alberti says that you should be diligent, but not overly diligent, and you should complete a paintaing in a reasonable amount of time, rather than spending all your time perfecting it.
proper use of colour:
Yes, both agree that extremes should not be used. Alberti says that you should not use the lightest or darkest shade, but rather find a balance and take it down a shade or two.
copiousness and variety:
They also agree here in the sense that they both want a large amount of variety, rather than more of the same thing. However, Aristotle would not agree to copiousness that is overexerted.
movement:
The movement should be varied and not too extreme and or plain, so in some cases Aristotle would disagree with Alberti because Alberti says that every painting has to have appropriate movement and emotion should be represented in movement.
Alberti would love:
ReplyDeletehttp://img.timeinc.net/time/photoessays/2007/phil_murals/phil_mural_01.jpg
Alberti would hate:
http://farm2.static.flickr.com/1426/535018373_862ef11ac8.jpg
alberti would hate:
ReplyDeletehttp://www.paintingsdesign.com/images_art/abstract-art.jpg
alberti would love:
if photography counts...i thought it would be interesting to bring into our discussion why alberti would love pphotography. and esp this picture:
http://n.l.bliss.googlepages.com/Sharbat_Gula.jpg/Sharbat_Gula-full;init:.jpg
Alberti and Aristotle:
ReplyDeleteAlberti appears to be a supporter of the Aristotelian ethics of moderation in that he is most satisfied by paintings that have “dignity”. He argues that when a painting depicts something profound and stirs the hearts of its viewers, it is because it possesses a certain amount of “dignity” in terms of movement, color, variety, etc. In the case of movement, Alberti believes moderation or “dignity” implies natural positions and gestures. He believes that objects and people should appear as nature created them. They should not appear contorted into various shapes and grotesque positions, nor should they be lifeless and dull. Each “member” should strive towards portraying the function of the whole (ex. grief, death, awe, etc.), but only in such a way that is natural and becoming. Similarly, Alberti describes “dignity” in copiousness and variety to be a median between excessiveness and a lack thereof. A painter should be willing to spend time on the details of a painting and should vary the poses, gestures, and expressions of the characters he wishes to depict, but he should be careful of worrying too much over small details and making his picture too busy, for lack of a better word. Color is much the same for Alberti. One should use color to bring life to the painting and to make it speak to the viewer, but it should not be the highlight of the piece. Color is meant to emphasize the istoria and should therefore not have too great nor too little a contrast. Finally, speed and diligence also require moderation. Alberti argues that there is such thing as taking too long or going too fast in creating a painting. To find a proper mean, one should first understand what one undertakes to create through painting and then be prepared to dedicate the amount of time necessary.
Movement: pg. 72, 73-74, 78-80
Copiousness and variety: pg. 75-76, 77
Color: pg. 83, 84-85
Speed and diligence: pg. 96-97
Question 3
ReplyDeleteAlberti and Aristotle
As Aristotle had previously established centuries ago, excellence can truly be sought in moderation. Alberti shares this view of ethics in the process of painting for he stresses that painters must "conform to a certain appropriateness" in which dignity is applied to create the istoria--"the greatest work of a painter" or telos (in a sense)--of their work. A "learned" painter must strive to produce this istoria in his painting otherwise he will not receive the "praise and admiration" for his efforts or happiness thereof. The dignity that is applied refers to the function, kind, size, and color of a work's subjects as well as the diligence in the artist's efforts. Movement, for example, must be represented by the painter in moderation, or as the istoria and nature allows; be the movements affections or of the body and inanimate objects, the painters, they must not be exaggerated or be painted in such a way that becomes unrecognizable to the viewer. In regards to copiousness and variety, Alberti finds that though both are necessary to produce a pleasantness for the viewer, "copiousness [is better] embellished with a certain variety, yet moderate and grave with dignity and truth." Copiousness and variety must be appropriate with the istoria--there may be many bodies in one painting, but only as the istoria permits and these bodies should be in dissimilar poses. As opposed to the untasteful pattern that similar images create, variety gives the painting itself a sense of balance and thus, makes it more pleasing to the eye. No two souls should share the exact same bodily movements even if their affections are similar; paintings must follow the "modesty and truth" that is found in nature. Though Alberti believes that color may not be of the highest importance in a painting, a painter still must be able to use color properly to produce a beautiful work of art--if said painter needs it for his painting's istoria (it certainly would add to the painting's pleasure and fame). He primarily focuses on the significance of the hues and tints of colors; a successful painter uses a moderate amount of contrasts between colors because no one contrast should dominate the other. A moderation is also necessary in the process of painting. According to Aristotelian ethics, making rash decisions is a vice that often leads people into unpleasant consequences and unhappiness. Similarly, Alberti emphasizes that painters who rush through their work produce "bungled" work and those who take too much time have "in their hands the work [that has become] old and squeezed dry before it is finished." It is also important that artists allot time to accept criticism prior to finishing.
Alberti would love:
"The Anatomy Lesson by Dr. Tulp"
Rembrandt van Rijin
http://creatisphere.files.wordpress.com/2008/04/rembrandt.jpg
Alberti would hate:
"Deep Decision #2"
Gayla Myer
http://i77.photobucket.com/albums/j73/blahblahhello/deepdecision2.jpg
Movement: 77-80
Copiousness and variety: 75-77, 82
Proper use of color: 82-85
Speed and diligence: 96-98
3. ALBERTI AND ARISTOTLE
ReplyDeleteFind places in the text where Alberti seems to support an Aristotelian ethics of moderation. Consider the following problems: movement (p. 88); copiousness and variety (p. 76); the proper use of color (pp. 83-5); speed and diligence (p. 97).
Movement 88:”From this we shall clearly understand that [movement] should be used with moderation” (Book II; 79) Albert believes that the body rather than the face should portray the emotions. Expressing movements that are “superfluous” or “violent” make the figures seem more like exaggerated actors without any dignity in the painting. Along with Aristotle’s philosophy of moderation, Alberti believes that the movements (specifically of the body) should not be overly exaggerated and should convey an emotion or end.
Copiousness and variety 76: Alberti believes that copiousness takes away the dignity of a painting. He also believes that there should not be too much of a variety in an istoria. Rather, there should be enough variety to reach a purpose or end in the painting. Thus, there should be a moderation between copiousness and variety to come across an end to any particular painting.
Proper use of color 83-85: The balance of black and white causes a sense of relief in a painting. Where there is light, white should be used. Where there is darkness, black should be used. “Dignity” and “grace” is given to a painting with joining colors. Alberti does not find pleasure in utilizing gold in a painting. Like Aristotle, Alberti believes in the “moderation” of color. Black and white should only be used to cause an effect between darkness and light. Colors should also be used in moderation to cause a certain effect. He does not believe in the overabundance of colors or black and white.
Speed and diligence 97: Alberti remarks that we should exert effort to our best intellectual abilities because it is our diligence that makes things well done. Thus, having a moderated diligence creates a so-called “work of art.”
Alberti would hate:
ReplyDeletehttp://media.photobucket.com/image/van%20gogh/joshuamonster/van_Gogh_Sunflowers.jpg?o=4
Albert would like:
http://www.gallerydirectoilpaintings.com/files/2028820/uploaded/364800086.JPG
3. ALBERTI AND ARISTOTLE
ReplyDeleteFind places in the text where Alberti seems to support an Aristotelian ethics of moderation. Consider the following problems: movement (p. 88); copiousness and variety (p. 76); the proper use of color (pp. 83-5); speed and diligence (p. 97).
Alberti seems to agree with the Aristotelian ethics of moderation. Most of Alberti's view on painting are very moderate. This is seen thoughout his book as he calls for proper use of color, nothing to extravagant that would take away from the istora, the appropriate interpretation of the human body, not one where the limbs are disproportionate or body parts are misplaced. According to Alberti, painting techniques should be not be used in extremes but in a comfortable moderate level.
Alberti would Love:
http://www.freewebs.com/stevendizon/painting-1.jpg
Alberti would Hate:
http://www.seasite.niu.edu/Tagalog/Filipino%20Paintings/harana.francisco.JPG
Alberti and Aristotle both tell us to find mean in every action we take. Just as Aristotle asks her to find our mean in courage, Alberti tells us not to use too dark color or too light colors. Instead we need to find balanced shades of color that we use in our paintings. Also, Alberti believes that movement also be used with moderation or just as much as the "istoria" permits. Also, with regards to copiousness makes the art lose its dignity....so he warns the artist to just enough variety as necessary for the subject. He believe that an artist should never leave his work unfinished.
ReplyDeletehttp://www.csupomona.edu/~plin/ls201/images/michaelangelo_big.jpg
ReplyDeleteLove
http://www.flickr.com/photos/smenzel/1192890612/
hate
3. ALBERTI AND ARISTOTLE
ReplyDeleteFind places in the text where Alberti seems to support an Aristotelian ethics of moderation. Consider the following problems: movement (p. 88); copiousness and variety (p. 76); the proper use of color (pp. 83-5); speed and diligence (p. 97).
Alberti's ways of painting seems as if it is derived from Aristotle's ethics of moderation. Both suggest a mean: Aristotle finds a mean in courage while Alberti finds a mean in painting. Aristotle exclaims that one should not be too rash or too cowardly, but in between it. Similarly, Alberti uses this example on his paintings to describe what it is the best way to pain. According to Alberti, having variety is always pleasant. Colors should always be balanced in order for others to recognize the painting, just as how diligence is an important skill that every painter must have in order to finish a production. Although color is not the most important aspect of a painting, it is important enough for it to be as recognized as an important tool to make the painting more complete and significant. Having an equal distribution of every skill makes up the istoria of the painting, forming the production to be a masterpiece.
Love:
http://www.batguano.com/bgma/DnapoB.jpg
Hate:
http://mocoloco.com/art/archives/trump_no_waver_jul_06.jpg
Love:
ReplyDeletehttp://ibiblio.org/wm/paint/auth/botticelli/botticelli.venus.jpg
Hate:
http://www.artquotes.net/masters/picasso/pablo_guitar1913.htm
Alyssa Kim
ReplyDeletePage 83 (talking about white and black): “”…you will commence to place the white where you need it, and, at the same time, oppose it with black. With this balancing of white and black the amount of relief in objects is clearly recognized.”
Page 90: “…the painter ought to acquire many good habits—principally hamnity and affability. He will thus have a firm aid against poverty in good will, the greatest aid in learning his art well.”
PP 96: “In making the istoria we should have speed of execution joined with diligence; this ought to obviate fastidiousness or tediousness of execution in us. We will avoid the urge to finish things which makes us bungle the work.”
Alberti would love:
http://www.uen.org/utahlink/tours/admin/tour/17720/17720Primavera.jpg
Alberti would dislike:
http://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Claude_Monet,_Impression,_soleil_levant,_1872.jpg/780px-Claude_Monet,_Impression,_soleil_levant,_1872.jpg
3. alberti and aristotle
ReplyDeleteFind places in the text where Alberti seems to support an Aristotelian ethics of moderation. Consider the following problems: movement (p. 88); copiousness and variety (p. 76); the proper use of color (pp. 83-5); speed and diligence (p. 97).
Alberti says that he prefers "copiousness to be embellished with a certain variety yet moderate and grave with dignity and truth." He believes that a painting with an extreme abundance of people, objects, etc. detracts from what should be the focus-- the istoria-- and instead creates a tumultuous atmosphere in which the istoria is not clear. On the other hand he dislikes paintings of a solitary figure because he believes paintings need to have variety to create a "dignified" istoria. In regards to color, he believes that artists should use the colors of black and white sparingly, for "the painter has nothing other than white with which to show the highest lustre of the most highly polished sword, and only black to show the deepest shadow of night." This also shows his belief in Aristotle's ethics of moderation. Alberti also believes movements in the painting should be used with moderation. He states that he likes "to see someone who admonishes and points out to us what is happening there" but dislikes seeing figures "expressing too violent movements" and that "appear hackers and actors without any dignity in the painting." He prefers graceful, dignified movements to overly lively movements. In regards to speed and diligence of painting, he believes that painters need to moderate the time it takes for them to finish a painting. He thinks painters should take their time in finishing their work but also "avoid the vitiating effect of those who wish to eliminate every weekness and make everything too polished."
Alberti would hate:
http://upload.wikimedia.org/wikipedia/commons/f/f2/GardenED_edit1.jpg
Alberti would love:
http://upload.wikimedia.org/wikipedia/en/f/f7/The_Assumption_of_the_Virgin_1577.jpg3.
Albert and Aristotle
ReplyDeleteIn supporting an Aristotelian view of moderation in ethics, Alberti expresses variety in painting. Poses for example, if there were to be many persons in the painting, should vary in some way from one another. No two persons should have the same angle of hair showing or standing at the same time. In moderation, poses aren’t over exaggerated and if appropriate, different areas of skin can be shown on different persons with “use of shame and modesty” (Alberti, 76). With respect of lighting, shading and the use of the intermediate between black and white should be considered. Also, the artist should make use of black and white moderately with knowledge of how best to accent one, the other, or both colors. In movement, the seven described by Alberti is best in that bodily emotions are portrayed realistically and not depicted as “hackers and actors without any dignity” (Alberti, 80). In addition, Alberti expresses his view one an artist’s eagerness to produce pieces and suggests that “when you begin a work make it complete in every part” (Alberti, 97). This means that one should have speed in doing their work but also have a clear mind in completing that task where a previous piece shouldn’t be boggling it.
According to the text, Alberti does seem to support Aristotle’s ethics for moderation with his instructions, or personal guidelines to painting. The main line drawn between the two are balance. Like Aristotle’s ethics for moderation, in which he believes that a balance of two extremities (i.e. rashness and cowardice) will result in a virtue (courage), Alberti believes in balance when it comes to painting. A painting should never take an extreme amount of time, although it should be done with a certain amount of diligence, a painting can actually be given too much diligence in Alberti’s eyes. When it comes to colors, Alberti makes it clear that a balance of colors, light and dark, is essential. For as much light as is presented in the painting, there must be an equal amount of dark to balance. And as we talked about in class, the image of movement is important to Alberti, but only accurate and appropriate movement for what is being depicted in the painting. A balance must be found when dealing with all these aspects of painting.
ReplyDeleteLove:
ReplyDelete/Users/grantramos/Desktop/medieval-wedding-painting.jpg
Hate:
/Users/grantramos/Desktop/Dark Pic.jpg
Love:
ReplyDeletehttp://www.sherryweb.com/wedding/medieval-wedding-painting.jpg
Hate:
http://i16.photobucket.com/albums/b16/eclectixx/Architextpost.jpg