HUM 111 Week 10 Assignment 2020 - Strayer University | HUM111 Week 10 Assignment 2020 - School Graded

HUM 111 Week 10 Assignment 2020 - Strayer University HUMANITIES 111 Week 1 Discussion Option A "Myths in Neolithic Cultures Around the Globe" Please respond to the following, using sources under the Explore heading as the basis of your response: • Describe the functions of ancient myths, using examples from two (2) different neolithic cultures, and comment on whether myth is inherently fictional. Using modern examples, discuss ways modern belief systems, secular or religious, function for modern cultures in a similar fashion. Explore Neolithic societies and myths • Chapter 1 (pp. 6-8. 18-23, 29), myths in prehistory and early cultures • Ancient myths in regions around the globe at My discussion post: -Olokun, the sea god of the Yoruba people, lives in a palace under the sea, with human and fish attendants. His name means "owner of the sea." Once, Olokun challenged the sky god, Olorun. The winner would be the god with the finest clothes. The people would decide the winner. Olorun sent his attendant, Chameleon to compete with Olokun. Chameleon matched whatever Olokun wore. Olokun finally gave up the challenge, and Olorun was declared the winner. While reading the myth about Olokun, instantaneously I thought of SpongeBob Square pants which is not only one of the most popular cartoons of all time but has to be one of the strangest concepts to ever be given the green light. SpongeBob is a character who lives under the sea. The two stories correlate -Pele is a fire goddess according to the people of Hawaii. She is a savage and wrathful divinity who is said to reside in the crater of the volcano Kilauea. She is considered responsible for all the eruptions that take place in Hawaii. It is said that one day Kamapua'a, a pig god of Hawaii mythology, tried to woo the fire goddess. Kamapua'a had the face and body of a pig, but his hands and feet were human. Pele covered him with insults, but Kamapua'a was strongly determined in the pursuit of Pele's love. As a result, the two deities found themselves involved in a fight. This myth kind of explains why Hawaii is such a "Hot Spot" and why they're so big on fire activity. Classmate Post: Hi class, it is said the people of the Americans developed agricultural societies. This included domesticating animals and cultivating new types of plants. A creation myth of these times spoke of everyone speaking the same language, but then went to people speaking of different tongues. The myth is in much comparison of how animals are domesticated in the modern world today. My Response: Kendra, "A Creator by the name of Kulsu was able to speak all languages, so he called all the people together and was able to tell them the names of each animal in their own language, taught them to get food, and gave them their laws and rituals.” “An aspect of this outlook is the major role played in the stories by animals, who often speak to humans and assist them. Most tribes thought of individual members of a species as expressions of the spiritual archetype of that species, which in turn embodied a particular spirit power." Animal domestication of today is much like it was in the Native American Cultures; it is used to raise animals in a way that are suitable for human use. For example, people rounded up animals that they would usually hunt and use them for things such as food and skins, and for other benefits like eggs and milk. Farming animals is largely throughout the world but not all parts of the world domesticate the same animals. For example, Africa domesticated cattle and Asia domesticated sheep, goats, and pigs. Week 2 Discussion Option A "Egyptian Love Poetry and Mummies" Please respond to the following, using sources under the Explore heading as the basis of your response: • From the samples of Egyptian love poetry, identify one (1) or two (2) lines that you especially enjoy or find interesting, and compare this poetry to some aspect of modern life. Next, describe two (2) aspects of Egyptian mummification and the early Egyptians’ beliefs related to mummification that you find surprising or intriguing. These funerary practices were driven by certain Egyptian ideas of the afterlife; compare these to modern beliefs and practices. Explore Egypt • Chapter 3 (pp. 86-8), Egyptian music • Egyptian love poetry at • Chapter 3 (pp. 74-5, 86, 89-91), Egyptian mummification and beliefs about afterlife • Egyptian mummification and burial at • Atlanta Michael Carlos Museum at • Egyptologist explains mummification at My discussion post: Egyptian Love Poetry and aspects of Current modern life one of all the time favorite Egyptian love poetry must be the Papyrus Chester Beatty I. The same is a concoction of about nine stanzas describing intense feelings of longing and lust. It is almost magical how most of Egyptian literature including Poetry always makes a reference to the afterlife. In the latter poem for instance, the poet states that and I quote, "I face death today like a sick man regaining health, like one coming out of imprisonment. Like a man coming home from a battlefield...” Reading through the Stanza, it becomes apparent that the author prefers whatever comes after death rather than before it. I find this interesting because much of what is left of the human civilization today loathes death. In fact we are struggling to find ways to forestall death, yet the Egyptian perspective was aligned the other way around (Maspero & Lee, 1909). In the previous Stanza, we are given a reason as to why they despised life at the time or why they saw death as such a relief especially from unreturned feelings or emotions of love and endearment. For the current dispensation, death marks the lowest point of a man's health. It implies depleted health reserves, yet the author here saw it as just the opposite; a sick man regaining their health. The reason for this plot twist was blamed on humanity. In line six he says, "Those who should enrage people by their wrong doing, make them laugh at their evil doings..." The author has reservations with what has become of the human race which was once noble. - - - - -- - - - - - - - - - -- -- -- - -- - - - - - - - - - - - - - - - -- -- -• Explain whether you prefer the representation of the Last Supper by Tintoretto, Veronese, or Leonardo da Vinci, identifying specific elements of the Mannerist and Renaissance artistic styles. Discuss whether you would have sided with Veronese or with Inquisition court, considering the issues of artistic freedom, right of the patron, and appropriate subject matter. Provide a rationale for your response. Describe a real modern situation where similar issues arise, like a controversial film, a professor with controversial views, a business owner expressing a religious opinion in public, a business owner who has an employee who is "just different", etc. Explore Counter-Reform and Mannerism • Chapter 20 (pp. 665-681), Mannerist art; (see also p. 591 in Chapter 17); review Week 10 Music folder • Tintoretto's Last Supper at • Tintoretto’s Last Supper, video, at • Chapter 14 (p. 491), Leonardo’s Last Supper (Fig. 14.25) • Leonardo’s Last Supper at • Chapter 20 (pp. 678-680 with Fig. 20.16), "Last Supper" painting and Inquisition trial of the artist Veronese • Trial of Veronese at My discussion post: Last Supper portrays the last feast that Jesus imparted to his pupils, which included founding the Holy Communion. Looking through the portrayals by Veronese, Tintoretto and Leonardo da Vinci, I lean toward the portrayal made by Tintoretto. In his portrayal, he had joined every one of the components of Renaissance. He has utilized independence as he has singled out every one of the supporters who are portrayed in a frontal scene sited parallel to the plane of the photo. Likewise, his concordat of painting is a progression of that of Leonardo. The focal point of the scenes possessed by hirelings clearing dishes from the table, for the need of visual precision. Furthermore, profundity was referent as Tintoretto utilized light originating from both Jesus and the translucent roof. Also, Tintoretto uses idiosyncrasy gadget, this is eminent for the way that his canvases identified with the European design of the nineteenth century. Likewise, its emotional scene had the capacity to connect with watchers in resuscitating and keeping the Catholic Church's convictions through the religious craftsmanship. The issues of creative opportunity are critical to all countries. As per Vellodi (2015), craftsmen have the privilege to opportunity of expression, flexibility to look for, get and give imaginative thoughts and data. On account of Veronese and the Inquisition court, I would favor Veronese concerning the issues of creative flexibility. Veronese had the opportunity to consolidate the photo that she felt that fitted well in the Last Super portrayal other than the picture of Magdalene that had no significance in the craftsmanship setting. On the privileges of the benefactor, I likewise favor Veronese that, painters are more often than not under a similar permit of artists and in this way they need to stick to what was required of them by their masters. In the portrayal of fitting topic, I would agree with the Inquisition court that the paints in pictures ought to be appropriate and specifically identified with the topic. Interestingly, Veronese had included compositions that were totally outside of any relevant connection to the issue at hand in Last Super's portrayal. Most media house and columnists are normally undermined with lawful activities or even charged thus of their work. For example, in 2012, the National Province of Council required that all columnists ought to dependably have a constrained open intrigue and maintain a strategic distance from the exposure of ordered data. For instance, in May 2005, after the races in Andijan all columnists who had secured the restriction were imprisoned and accused of wrongdoings of hooliganism. Classmate response: Hello class, I would prefer Tintoretto's version of the last super because it comes off as realistic. Thinking of the last supper with Jesus Christ himself you are not thinking peace and harmony. You would think that it would be a hectic but powerful environment given the situation at hand. Fighting for the power of God one last time would be a battle because his praise is at a high demand amongst the people filled with sin. I would side with Veronese because who's to say that another person's depiction of something is not right. Freedom is freedom and you can't take away someone's artistic perspective. A modern situation would be parenting. Some people prefer spankings and others prefer talking it out or other ways of parenting. Spankings worked when I was growing up but because others views it as abuse now it's frowned a poun. My response: Ashley, I coincide with you on that in which Tintoetto's rendition is more realistic. I say that this picture is Proto-Baroque in view of the whirling lines, exceptional hues, and flooding dramatization. This oil on canvas is particularly Venetian in light of the splendid flies of blue, red, and gold and the unmistakable chiaroscuro (differentiation of light and dim). The profoundly coffered roof and the table that dives down the focal point of the room in an askew line totally skew the viewpoint. Straight lines and a superbly focal vanishing point have been mercilessly surrendered, making this picture all the more energizing to the eye. I especially like the sparkling light that saturates all through the artistic creation notwithstanding the dim inside. Jesus' head illuminates like a bulletin in Las Vegas, and even his moving witnesses have an ethereal brilliance. Overall, the artistic creation appears as though it is moving and "alive." The surging smoke that radiates from the moving fire in the upper left of the picture changes into element heavenly attendants that float over the scene. The figures are lengthened, streaming, and communicate with not only each other, but rather with the watcher also. This work of art is awesome in light of the fact that it consolidates the sacred with the everyday, the fleeting with the quotidian. In the front focus, Tintoretto incorporated a still life in the design of the Dutch Baroque specialists. While DaVinci's rendition captures the expressions, Tintoretto's brings to light the power of Jesus and the angels protecting him. To me it showcased the choice Jesus was actually making by sacrificing here in the earth. To me it was a more realistic rendering