The Enlightenment Period of American Literature Unit Test English Honors III Flashcard

The Enlightenment Period of American Literature Unit Test: English Honors III

An Introduction to Visual Anthropology

An Introduction to Visual Anthropology Visual anthropology is an academic subfield of anthropology that has two distinct but intersecting aims. The first involves the addition of images including video and film to ethnographic studies, to enhance the communication of anthropological observations and insights through the use of photography, film, and video. The second one is more or less the anthropology of art,  understanding visual images, including: How far do humans as a species rely on what is seen, and how do they integrate that into their lives?How significant is the visual aspect of life in any particular society or civilization? andHow does a visual image represent (bring into existence, make visible, exhibit or reproduce an action or person, and/or stand as an example for) something Visual anthropology methods include photo elicitation, the use of images to stimulate culturally relevant reflections from informants. The end results are narratives (film, video, photo essays) which communicate typical events of a cultural scene. History Visual Anthropology only became possible with the availability of cameras in the 1860s- arguably the first visual anthropologists were not anthropologists at all but rather photojournalists like the Civil War photographer Matthew Brady;  Jacob Riis, who photographed 19th-century slums of New York;  and  Dorthea Lange, who documented the Great Depression in stunning photographs. In the mid-nineteenth century, academic anthropologists began collecting and making photographs of the people they studied. So-called collecting clubs included the British anthropologists Edward Burnett Tylor, Alfred Cort Haddon, and Henry Balfour, who exchanged and shared photographs as part of an attempt to document and classify ethnographic races. The Victorians concentrated on British colonies such as India, the French focused on Algeria, and the U.S. anthropologists concentrated on Native American communities. Modern scholars now recognize that imperialist scholars classifying the people of subject colonies as others is an important and downright ugly aspect of this early anthropological history. Some scholars have commented that visual representation of cultural activity is, of course, very ancient indeed, including cave art representations of hunting rituals beginning 30,000 years ago or more. Photography and Innovation The development of photography as a part of the scientific ethnographic analysis is usually attributed to Gregory Bateson and Margaret Meads 1942 examination of Balinese culture called Balinese Character: A Photographic Analysis. Bateson and Mead took more than 25,000 photos while conducting research in Bali, and published 759 photographs to support and develop their ethnographic observations. In particular, the photos- arranged in a sequential pattern like stop-motion movie clips- illustrated how the Balinese research subjects performed social rituals or engaged in routine behavior. Film as ethnography is an innovation generally attributed to Robert Flaherty, whose 1922 film Nanook of the North is a silent recording of activities of an Inuit band in the Canadian Arctic. Purpose In the beginning, scholars felt that using imagery was a way to make an objective, accurate, and complete study of social science that had been typically fueled by an extensively detailed description. But there is no doubt about it,  the photo collections were directed and often served a purpose. For example, the photos used by anti-slavery and aborigine protection societies were selected or made to make the natives more human and needier, through poses, framings, and settings. American photographer Edward Curtis made skillful use of aesthetic conventions, framing Native Americans as sad, unresisting victims of an inevitable and indeed divinely ordained manifest destiny. Anthropologists such as Adolphe Bertillon and Arthur Cervin sought to objectify the images by specifying uniform focal lengths, poses, and backdrops to remove the distracting noise of context, culture, and faces. Some photos went so far as to isolate body parts from the individual (like tattoos). Others such as Thomas Huxley planned to produce an orthographic inventory of the races in the British Empire, and that, coupled with a corresponding urgency to collect the last vestiges of disappearing cultures drove much of the 19th and early 20th century efforts. Ethical Considerations All of this came crashing to the forefront in the 1960s and 1970s when the clash between ethical requirements of anthropology and the technical aspects of using photography became untenable. In particular, the use of imagery in academic publication has impacts on the ethical requirements of anonymity, informed consent, and telling the visual truth. Privacy: Ethical anthropology requires that scholar protect the privacy of the subjects that are interviewed: taking their picture makes that nearly impossibleInformed consent: Anthropologists need to explain to their informants that their images may appear in the research and what the implications of those images might mean- and get that consent in writing- before the research beginsTelling the truth: Visual scholars must understand that it is unethical to alter images to change their meaning or present an image that connotes a reality not consistent with the understood reality. University Programs and Job Outlook Visual anthropology is a subset of the larger field of anthropology. According to the Bureau of Labor Statistics, the numbers of jobs projected to grow between 2014 and 2024 is about 4 percent, slower than the average, and competition for those jobs is likely to be fierce given the small number of positions relative to applicants. A handful of university programs specializing in the use of visual and sensory media in anthropology, including: The University of Southern California MA at the Center for Visual AnthropologyHarvard Universitys Ph.D. program at Sensory Ethnography LabThe University of Londons MA and Ph.D. in Visual AnthropologyThe University of Manchesters MA at the Granada Centre for Visual Anthropology Finally, the Society for Visual Anthropology, part of the American Anthropological Association, has a research conference and film and media festival and publishes the journal Visual Anthropology Review. A second academic journal, titled Visual Anthropology, is published by Taylor Francis. Sources: Cant A. 2015. One Image, Two Stories: Ethnographic and Touristic Photography and the Practice of Craft in Mexico. Visual Anthropology 28(4):277-285.Harper D. 2001. Visual Methods in the Social Sciences. In: Baltes PB, editor. International Encyclopedia of the Social Behavioral Sciences. Oxford: Pergamon. p 16266-16269.Loizos P. 2001. Visual Anthropology. In: Baltes PB, editor. International Encyclopedia of the Social Behavioral Sciences. Oxford: Pergamon. p 16246-16250.Ortega-Alczar I. 2012. Visual Research Methods, International Encyclopedia of Housing and Home. San Diego: Elsevier. p 249-254.Pink S. 2014. Digital–visual–sensory-design anthropology: Ethnography, imagination Arts and Humanities in Higher Education 13(4):412-427.and intervention.Poole D. 2005. An excess of description: Ethnography, race, and visual technologies. Annual Review of Anthropology 34(1):159-179.

An Introduction to Visual Anthropology

An Introduction to Visual Anthropology Visual anthropology is an academic subfield of anthropology that has two distinct but intersecting aims. The first involves the addition of images including video and film to ethnographic studies, to enhance the communication of anthropological observations and insights through the use of photography, film, and video. The second one is more or less the anthropology of art,  understanding visual images, including: How far do humans as a species rely on what is seen, and how do they integrate that into their lives?How significant is the visual aspect of life in any particular society or civilization? andHow does a visual image represent (bring into existence, make visible, exhibit or reproduce an action or person, and/or stand as an example for) something Visual anthropology methods include photo elicitation, the use of images to stimulate culturally relevant reflections from informants. The end results are narratives (film, video, photo essays) which communicate typical events of a cultural scene. History Visual Anthropology only became possible with the availability of cameras in the 1860s- arguably the first visual anthropologists were not anthropologists at all but rather photojournalists like the Civil War photographer Matthew Brady;  Jacob Riis, who photographed 19th-century slums of New York;  and  Dorthea Lange, who documented the Great Depression in stunning photographs. In the mid-nineteenth century, academic anthropologists began collecting and making photographs of the people they studied. So-called collecting clubs included the British anthropologists Edward Burnett Tylor, Alfred Cort Haddon, and Henry Balfour, who exchanged and shared photographs as part of an attempt to document and classify ethnographic races. The Victorians concentrated on British colonies such as India, the French focused on Algeria, and the U.S. anthropologists concentrated on Native American communities. Modern scholars now recognize that imperialist scholars classifying the people of subject colonies as others is an important and downright ugly aspect of this early anthropological history. Some scholars have commented that visual representation of cultural activity is, of course, very ancient indeed, including cave art representations of hunting rituals beginning 30,000 years ago or more. Photography and Innovation The development of photography as a part of the scientific ethnographic analysis is usually attributed to Gregory Bateson and Margaret Meads 1942 examination of Balinese culture called Balinese Character: A Photographic Analysis. Bateson and Mead took more than 25,000 photos while conducting research in Bali, and published 759 photographs to support and develop their ethnographic observations. In particular, the photos- arranged in a sequential pattern like stop-motion movie clips- illustrated how the Balinese research subjects performed social rituals or engaged in routine behavior. Film as ethnography is an innovation generally attributed to Robert Flaherty, whose 1922 film Nanook of the North is a silent recording of activities of an Inuit band in the Canadian Arctic. Purpose In the beginning, scholars felt that using imagery was a way to make an objective, accurate, and complete study of social science that had been typically fueled by an extensively detailed description. But there is no doubt about it,  the photo collections were directed and often served a purpose. For example, the photos used by anti-slavery and aborigine protection societies were selected or made to make the natives more human and needier, through poses, framings, and settings. American photographer Edward Curtis made skillful use of aesthetic conventions, framing Native Americans as sad, unresisting victims of an inevitable and indeed divinely ordained manifest destiny. Anthropologists such as Adolphe Bertillon and Arthur Cervin sought to objectify the images by specifying uniform focal lengths, poses, and backdrops to remove the distracting noise of context, culture, and faces. Some photos went so far as to isolate body parts from the individual (like tattoos). Others such as Thomas Huxley planned to produce an orthographic inventory of the races in the British Empire, and that, coupled with a corresponding urgency to collect the last vestiges of disappearing cultures drove much of the 19th and early 20th century efforts. Ethical Considerations All of this came crashing to the forefront in the 1960s and 1970s when the clash between ethical requirements of anthropology and the technical aspects of using photography became untenable. In particular, the use of imagery in academic publication has impacts on the ethical requirements of anonymity, informed consent, and telling the visual truth. Privacy: Ethical anthropology requires that scholar protect the privacy of the subjects that are interviewed: taking their picture makes that nearly impossibleInformed consent: Anthropologists need to explain to their informants that their images may appear in the research and what the implications of those images might mean- and get that consent in writing- before the research beginsTelling the truth: Visual scholars must understand that it is unethical to alter images to change their meaning or present an image that connotes a reality not consistent with the understood reality. University Programs and Job Outlook Visual anthropology is a subset of the larger field of anthropology. According to the Bureau of Labor Statistics, the numbers of jobs projected to grow between 2014 and 2024 is about 4 percent, slower than the average, and competition for those jobs is likely to be fierce given the small number of positions relative to applicants. A handful of university programs specializing in the use of visual and sensory media in anthropology, including: The University of Southern California MA at the Center for Visual AnthropologyHarvard Universitys Ph.D. program at Sensory Ethnography LabThe University of Londons MA and Ph.D. in Visual AnthropologyThe University of Manchesters MA at the Granada Centre for Visual Anthropology Finally, the Society for Visual Anthropology, part of the American Anthropological Association, has a research conference and film and media festival and publishes the journal Visual Anthropology Review. A second academic journal, titled Visual Anthropology, is published by Taylor Francis. Sources: Cant A. 2015. One Image, Two Stories: Ethnographic and Touristic Photography and the Practice of Craft in Mexico. Visual Anthropology 28(4):277-285.Harper D. 2001. Visual Methods in the Social Sciences. In: Baltes PB, editor. International Encyclopedia of the Social Behavioral Sciences. Oxford: Pergamon. p 16266-16269.Loizos P. 2001. Visual Anthropology. In: Baltes PB, editor. International Encyclopedia of the Social Behavioral Sciences. Oxford: Pergamon. p 16246-16250.Ortega-Alczar I. 2012. Visual Research Methods, International Encyclopedia of Housing and Home. San Diego: Elsevier. p 249-254.Pink S. 2014. Digital–visual–sensory-design anthropology: Ethnography, imagination Arts and Humanities in Higher Education 13(4):412-427.and intervention.Poole D. 2005. An excess of description: Ethnography, race, and visual technologies. Annual Review of Anthropology 34(1):159-179.

An Introduction to Visual Anthropology

An Introduction to Visual Anthropology Visual anthropology is an academic subfield of anthropology that has two distinct but intersecting aims. The first involves the addition of images including video and film to ethnographic studies, to enhance the communication of anthropological observations and insights through the use of photography, film, and video. The second one is more or less the anthropology of art,  understanding visual images, including: How far do humans as a species rely on what is seen, and how do they integrate that into their lives?How significant is the visual aspect of life in any particular society or civilization? andHow does a visual image represent (bring into existence, make visible, exhibit or reproduce an action or person, and/or stand as an example for) something Visual anthropology methods include photo elicitation, the use of images to stimulate culturally relevant reflections from informants. The end results are narratives (film, video, photo essays) which communicate typical events of a cultural scene. History Visual Anthropology only became possible with the availability of cameras in the 1860s- arguably the first visual anthropologists were not anthropologists at all but rather photojournalists like the Civil War photographer Matthew Brady;  Jacob Riis, who photographed 19th-century slums of New York;  and  Dorthea Lange, who documented the Great Depression in stunning photographs. In the mid-nineteenth century, academic anthropologists began collecting and making photographs of the people they studied. So-called collecting clubs included the British anthropologists Edward Burnett Tylor, Alfred Cort Haddon, and Henry Balfour, who exchanged and shared photographs as part of an attempt to document and classify ethnographic races. The Victorians concentrated on British colonies such as India, the French focused on Algeria, and the U.S. anthropologists concentrated on Native American communities. Modern scholars now recognize that imperialist scholars classifying the people of subject colonies as others is an important and downright ugly aspect of this early anthropological history. Some scholars have commented that visual representation of cultural activity is, of course, very ancient indeed, including cave art representations of hunting rituals beginning 30,000 years ago or more. Photography and Innovation The development of photography as a part of the scientific ethnographic analysis is usually attributed to Gregory Bateson and Margaret Meads 1942 examination of Balinese culture called Balinese Character: A Photographic Analysis. Bateson and Mead took more than 25,000 photos while conducting research in Bali, and published 759 photographs to support and develop their ethnographic observations. In particular, the photos- arranged in a sequential pattern like stop-motion movie clips- illustrated how the Balinese research subjects performed social rituals or engaged in routine behavior. Film as ethnography is an innovation generally attributed to Robert Flaherty, whose 1922 film Nanook of the North is a silent recording of activities of an Inuit band in the Canadian Arctic. Purpose In the beginning, scholars felt that using imagery was a way to make an objective, accurate, and complete study of social science that had been typically fueled by an extensively detailed description. But there is no doubt about it,  the photo collections were directed and often served a purpose. For example, the photos used by anti-slavery and aborigine protection societies were selected or made to make the natives more human and needier, through poses, framings, and settings. American photographer Edward Curtis made skillful use of aesthetic conventions, framing Native Americans as sad, unresisting victims of an inevitable and indeed divinely ordained manifest destiny. Anthropologists such as Adolphe Bertillon and Arthur Cervin sought to objectify the images by specifying uniform focal lengths, poses, and backdrops to remove the distracting noise of context, culture, and faces. Some photos went so far as to isolate body parts from the individual (like tattoos). Others such as Thomas Huxley planned to produce an orthographic inventory of the races in the British Empire, and that, coupled with a corresponding urgency to collect the last vestiges of disappearing cultures drove much of the 19th and early 20th century efforts. Ethical Considerations All of this came crashing to the forefront in the 1960s and 1970s when the clash between ethical requirements of anthropology and the technical aspects of using photography became untenable. In particular, the use of imagery in academic publication has impacts on the ethical requirements of anonymity, informed consent, and telling the visual truth. Privacy: Ethical anthropology requires that scholar protect the privacy of the subjects that are interviewed: taking their picture makes that nearly impossibleInformed consent: Anthropologists need to explain to their informants that their images may appear in the research and what the implications of those images might mean- and get that consent in writing- before the research beginsTelling the truth: Visual scholars must understand that it is unethical to alter images to change their meaning or present an image that connotes a reality not consistent with the understood reality. University Programs and Job Outlook Visual anthropology is a subset of the larger field of anthropology. According to the Bureau of Labor Statistics, the numbers of jobs projected to grow between 2014 and 2024 is about 4 percent, slower than the average, and competition for those jobs is likely to be fierce given the small number of positions relative to applicants. A handful of university programs specializing in the use of visual and sensory media in anthropology, including: The University of Southern California MA at the Center for Visual AnthropologyHarvard Universitys Ph.D. program at Sensory Ethnography LabThe University of Londons MA and Ph.D. in Visual AnthropologyThe University of Manchesters MA at the Granada Centre for Visual Anthropology Finally, the Society for Visual Anthropology, part of the American Anthropological Association, has a research conference and film and media festival and publishes the journal Visual Anthropology Review. A second academic journal, titled Visual Anthropology, is published by Taylor Francis. Sources: Cant A. 2015. One Image, Two Stories: Ethnographic and Touristic Photography and the Practice of Craft in Mexico. Visual Anthropology 28(4):277-285.Harper D. 2001. Visual Methods in the Social Sciences. In: Baltes PB, editor. International Encyclopedia of the Social Behavioral Sciences. Oxford: Pergamon. p 16266-16269.Loizos P. 2001. Visual Anthropology. In: Baltes PB, editor. International Encyclopedia of the Social Behavioral Sciences. Oxford: Pergamon. p 16246-16250.Ortega-Alczar I. 2012. Visual Research Methods, International Encyclopedia of Housing and Home. San Diego: Elsevier. p 249-254.Pink S. 2014. Digital–visual–sensory-design anthropology: Ethnography, imagination Arts and Humanities in Higher Education 13(4):412-427.and intervention.Poole D. 2005. An excess of description: Ethnography, race, and visual technologies. Annual Review of Anthropology 34(1):159-179.

How to Write a Speech

How to Write a Speech How to Write a Speech When it comes to public speaking – in the student’s case, giving a speech to a classroom of their peers and their instructor – one’s success lies in preparation. Which means that delivering a good speech ultimately depends on the writing a  speech. After all, a speech is like a spoken essay. Some people are natural-born public speakers who can entertain an entire room without a second of planning; however, the student in higher education who is to give a speech (who is also most likely a novice public speaker) should follow these 10 speech writing steps. 10 Speech Writing Steps 1. Plan the speech according to the occasion. The student required to give a speech will probably be speaking in an academic setting, where a serious, informative or persuasive tone will serve them best. Most times, the student will be given a time limit, which should be strictly followed. 2. Recognize the theme/message or purpose of the speech. This will help the student identify which direction they are going to take in the writing/planning/researching of the speech, helping them develop a sort of formula to achieve that purpose. 3. Be creative with the speech’s introduction. Once the student knows what they are going to say, they should consider a brief, interesting way to get their audience’s attention – whether with a joke, an interesting anecdote, famous quote, even a thought-provoking question. 4. Learn how to write a speech outline. This helps the student visualize all the points they need to cover in their speech. 5. Expand on the points in the speech outline. If they’re given a speech in a persuasive manner, they will need a solid thesis statement defended by strong evidence to support their argument. If giving an informative speech for an assignment, the student should incorporate solid, research-based information. In either case, the student must center their speech on the theme, issue, or subject they are discussing, arguing, or analyzing. 6. Incorporate transitional phrases to cover various points. Words like â€Å"First of all,† â€Å"Secondly,† â€Å"Next,† and â€Å"Lastly† help the speaker better transition from point to point, for their own sake and the audience. 7. Don’t forget about the conclusion. Just like with an essay or written assignment, a proper conclusion allows the speaker to tie in all the points of their speech, leaving the audience with a comprehensive understanding of what they just discussed. 8. Write the speech out in full, in essay form. Include the introduction, the points to be covered, as well as transitional phrases, and a conclusion – and then evaluate its effectiveness. Edit if needed. Writing more than one draft helps the student add or remove pertinent information. 9. Ask a friend to revise the written speech; revise the draft based on their feedback. Once the student feels their written speech is nearly completed, seeking the help of another person is beneficial. They will see things the writer may not notice, which will ultimately improve the speech. 10. Read the speech aloud. Before the student rehearses their speech first for familiarization, then memorization, they should read the speech aloud to compare how it sounds with how it reads; this could be the difference in an awkward, boring speech or one that is interesting and gets a higher grade. Read also: How to Write a Persuasive Essay | How to Write an Argumentative Essay In case you are working on a speech, and are having difficulties with it, would be happy to assist. Feel free to contact our writers and they will help you to work through the assignment. Our staff will assign writers with suitable backgrounds and adequate experience. This will result in a paper that is properly written and formatted, with thorough background research and a solid literature base.  Feel free to contact us anytime. Place an order to get your individual discount now.

Digital Marketing and Communications Essay Example | Topics and Well Written Essays - 2000 words

Digital Marketing and Communications - Essay Example This research will begin with the statement that today, the World Wide Web has thrived and expanded during the last few decades. Subsequently, the Social Media environment has grown and is gaining a rising amount of users. Hence, it becomes even more essential for a business to adopt and use Social Media to be tied closer to their customers. They require changing their thoughts from traditional working methods to the adoption and use of Social Media with the maxim â€Å"Be located where the customers are†. In the ever dynamic business world, Social media provide marketers with a voice and a way to communicate with customers and potential consumer. This can be attributed to the increasing knowledge and use of various social media. The social media are becoming one of the main sources of information for customers around the globe. Users are preferred conducting a quick online search for most the things they want, as opposed to turning the pages of newspapers and directories. Soc ial media personalize the "brand" and help marketers to spread their message in a more relaxed and conversational way. Social media are an experience that has become an essential aspect of the marketing mix and revolutionizing the way marketing companies interact with customers. The information has impacted on the business and improved their performance and the ability to achieve the objective through competitive advantage.

Feminism in American Cinema Essay Example | Topics and Well Written Essays - 1250 words

Feminism in American Cinema - Essay Example One meaning is "films made by women" and the other meaning is "films made for women" (p. 27). The first pat of her article attempts to explain how each field within these traditional definitions was transformed by feminism over time, using the "woman at the keyhole metaphor" to show how women gained status from being objects of voyeuristic curiosity and into the curious voyeurs themselves. As Mayne argues (p. 28), there is a need to consider "what relationships women have had traditionally and historically, as filmmakers and as film consumers, to the medium" in order to "understand how women make movies". Nothing could be farther from the truth, but this one-sided argument founded on masculine logic hides a basic natural fact: that men and women are different, and thank heavens that they are, and that women and their feminist representation in cinema would be a constantly evolving and a permanently complex and elusive goal. Mayne explains (p. 33-34) that while it is true that having women at the other end of the keyhole is a typical sign of masculine voyeuristic tendencies, it is also true that women love being seen, watched, and admired. They want to feel and look beautiful, not for any reason or motive that is a sign of inferiority, but because that is how they are wired, and nothing is bad about that. It is only "not good" if such a natural human tendency is associated with a (blonde-haired or beautiful-faced) lack of intellectual capacity. This knee-jerk subjective reaction, no matter how one looks at it, and whether it is applied to women or men, is more a reflection of the one who makes rash judgments based on looks and appearances and not based on interior substance. Women are the ultimate dialecticians, Mayne declares, recalling Ruby Rich (p. 40), who declared that "for a woman today, film is a dialectical experience in a way that it never was and never will be for a man under patriarchy". Like Brecht's ultimate dialectician who lives the tension of two different cultures, "women bring into the movie theater a context and a certain coding from life outside the theater". This is perhaps the reason why women love different films in different ways, and why some films made by and for women reach their audiences in unique ways. Feminism in cinema has certainly shaped the way actors act and filmmakers - both men and women - do films, making the human experience richer and more sophisticated. This is good for all, not only for men and the patriarchy to understand women a bit better, but also for women to better understand themselves and how they look at the world. Making, watching and critiquing movies are, indeed, different and complex (p. 41-42), and reflect the innate and natural differences between men and women that provide the artistic cinematic world a dialectic tension that contributes to its magic. Mayne's ambivalent view of women's cinema is carried over to the definition of the feminine aesthetic by de