The Little Blog On The Prairie

I have to take this more seriously....

2008-02-22T23:21:00.003Z

Well, TMA06 just went in! I wrote it in a couple of hours this evening whilst watching Ricky Gervais and Johnathon Woss! Not enough words and nowhere near enough use of resources but who knows, I thought the last one was really good... and it wasn't!

Anyway, here it is...

TMA 06
Religious Studies

How far do you think observing a visual religious activity - such as a festival, can help you to understand the part a religion plays in the life of an individual and a community?

Religion, in today's world is both a very personal issue and very public display of belief and faith. An observer of any religious festival can obviously see the community effects, the clothing, processions, activities, songs and praise. These can not only be observed, but they can also be researched, taught and in many cases, descriptively broadcast, enabling further understanding of them. Personal effects, however, are much more closeted. They are held within the minds and souls of the participants and they differ from believer to believer. Overall however, the effects of any religion depend on attaining a depth of feeling which simple observation cannot hope to understand.

The first question we need to answer is that of the insider or outsider. Otto suggested that if you cannot direct your mind to a moment of deeply-felt religious experience (Block 4, page 49), then you will find it hard to understand religion and therefore can be considered an outsider. This is particularly relevant when we look at the Christian festival of Christmas. The deep religious meaning behind the festival of Christmas has been hijacked by modern life. It is now as much a time for family, holidays and celebration of life in general as it is the Christian festival to honour the birth of the son of their Lord. This actually has the effect of both improving and at the same time, impairing the outsiders' view of the festival.

Whilst an insider knows, and understands, the specifically religious activities entwined in the festival, an outsider would have to delicately pick through the pieces and try to separate the religious from the holiday. The benefits here, to the outsider, are that the festival is so widely publicised, so broadly celebrated and as such, there is an enormous amount of source material for them to view. This does mean that many of the religious subtleties of the festival are intrinsically wrapped up with the 'extras' however and many important religious aspects could be overlooked as simply modern bastardisations.

An example of this could be the act of gift giving. This has become, to many, and especially to children, the single most important aspect of the Christmas period. An outsider would see no correlation between this act and the religious festival, but an insider would understand that the act does have grounding in the Christians Christmas story.

Of course, this broad celebration will also limit anybodies understanding of the part that the religious side of it plays on either an individual or a community. The argument could follow the line that without the religious undertones, the holiday or festival would be entirely groundless. Christmas is, without doubt, a Christian religious festival.

Christianity itself however, allows the festival to become diluted through its own sub-divisions and more importantly, its acceptance of a blasé attitude from its followers. As a community, the festival is celebrated by almost every member of the religion. Many followers attend church for the one and only time during the year, to sing carols and hear the nativity. The media and shops are saturated by images, programmes and other reminders of the festival and most businesses close. To an observer the effect would be one of the communities total submersion in the festival and whilst that observation would hold true, the religious aspects of that submersion might not be what is gripping the community in such fever. Christianity allows this in a way that many other religions would baulk at.

The sight, to an observer, of queues of worshipers outside a church on Christmas Eve, revellers standing at the back of church, singing carols of praise which they all know and understand would certainly lead that observer to come to some very obvious conclusions about the effect that the religion was having on the community. They would not, however, understand that personally, many of the attendees of the service were merely there because they enjoy carols. That it's seen as the 'thing to do' and as such, they would maybe misinterpret the effect the festival has had. Many Christians believe that the spirit of Christmas, the celebration of the birth of Jesus, is totally overlooked these days but in the society we live in today, their voices are certainly not loud enough to make a difference, or even, more importantly here, to be heard by observers. They are swept along with the general will!

We could try to analyse the festival using a more scientific method. Ninian Smarts seven dimensions of religion could be used to tell an observer how intrinsically linked into the religion the festival is. Again, this could only ever be used to show that religion was playing a part in the festival. The effect of this part cannot really be analysed out of the situation. For example, if we look at the practical and ritual dimension we can see that, quite obviously, there are many examples over the Christmas period of rituals and practices. Again, how many of these are religious in their basis is another matter. The whole community celebrates them but only study and inside knowledge will help to determine which are based in religious celebration and which are not.

To conclude, although the Christian festival of Christmas is almost swamped by the holiday celebration, at its fundamentals it is still a religious festival and can be observed as such. Observation of the community involvement, at a cursory glance, would lead to a belief that the festival was all-consuming and hugely followed. More serious observations of the depths of the festival and community show that everything is not what it seems but regardless of this, without the religion, the community would not be stirred. Personal feelings are another matter as they do not show amongst the celebration. There are not avenues for these feelings to be adequately expressed and an observer would not be able to tell either the significance of the festival to that individual nor the depth with which they felt a part of it.

Gwilym Beckerlegge. (2005) Units 14 and 15, Studying Religion, Block 4 - Religion and science in context, Second Edition. pp. 11-83

Resource Book 3, (2005), Section A5, pp 34-45

OK, so it wasn't as good as I'd hoped!

2008-02-07T16:55:00.001Z

Maybe I should spend more time reading the question! Anyway...

TUTOR'S COMMENTS AND ADVICE TO STUDENT:

Dan,

You have made a good effort with the questions and there is potential here. You make some interesting observations about Rousseau and David, however, while the Rousseau section is relatively clear and shows that you understand the general will and how exercising reason leads to moral liberty, the David section is a bit of a jumble, although it is not without merit.

It would have been a good idea to look at the subject matter of the painting - it has a republican theme, which one could argue mirrored what was happening in France in the 1780s. But as is pointed out on p. 168, Roman republicanism was different to that being espoused by the Revolutionaries. And the painting isn't really about 'the nobility falling apart'. And it's not entirely accurate to refer to David as an 'entertainer' (p. 4). Well done, though, for mentioning the fasces and for using the Cuvillier letter.

It is your answer to the third question that is a bit puzzling as it doesn't really explore 'areas of shared concern'. Rather you discuss their effect on society. Duty to the state is one idea that both share. It is central to Rousseau's thinking and to Brutus's decision to condemn his sons to death.

Please see my comments throughout your assignment. And please cite sources for all quotations.

TMA 05
Art History and Philosophy

1 - How does Rousseau argue that obedience to the general will increases our moral liberty? Briefly discuss one reasonable objection to the claim that obeying the general will would increase our freedom.

Rousseau published his Social Contract in 1762, opening with the words, 'man is born free, and everywhere he is in chains'. source of quotation? His philosophical argument is based around human freedom, human reasoning or morality and a unity, bringing men together as non-reasonable animals can never be. Interesting.

To answer the first half of the question, we initially have to understand the terms general will and moral liberty as used by Rousseau.ü Rousseau describes general will as 'that which is in the best interests of the group taken as a whole rather than as a collection of individuals'. Good quote to use, but you must cite where it came from. The general will is determined by the reasoning of the people. It looks beyond individual desires and dictates that if humans follow the general will rather than their base desires, they will be free. yes, now explain how and why this occurs. Humans may feel that they know what they want, their particular will, but if this differs from the general will, then they are binding themselves in bestial chains. They are a slave to their instincts and animal desires; they live in a state of nature.

To discover how Rousseau understands the term moral liberty we must look to his own reasoning. Rousseau believed that nature lacked both nobility and reason. Jump from moral liberty to legitimate authority He suggests that legitimacy can only be derived through following the will of the sovereign, an individual’s will has no legitimacy Through sovereignty of the people. This is different from the sovereign. He believed in the liberty derived from following this general will, in a sense, a feeling of belonging and having brought about your own place in the world. This is true moral liberty, legitimate and reasoned. good point to make. Discuss ennoblement, justice (pp. 111, 113).

We can, therefore, start to see how Rousseau took a view which on the surface looks extraordinary. The idea that following the crowd makes us free! When deciding on the general will, man must use reason to look beyond his own needs and see the needs of the many.ü Only once this man exercises his reason and subsumes his individual will to the general will will man ascend to nobility and take steps away from the animals. This looks to civility, intelligence and a lack of any limiting ambition and appetite.
Mention the civil state.

One objection to this political philosophy is that the general will does not allow for any reasoned deviation. It reasoned deviation’ or the general will? accounts for an individual who uses the state for personal gain, forcing them to accept their freedom, but when an individual uses reason to develop an argument which differs from the general will, they are forced to dismiss their opinion. The entire social contract is based on reasoning, looking to the good of the many, but it can only see one correct answer. It does not look to the future nor accept that there can be more than one correct solution to a problem.ü In many ways this allows the general will? to fall back into the world it is so desperate to claw its way out of, the natural world. It mirrors sheep walking together and herds packing for safety, not nobility.

2 What evidence can be put forward in support of the claim that David sought to give visual form to political ideas in The Lictors Returning to Brutus the Bodies of his Sons?

To answer this question we need to look at both the setting of the picture itself and the time in which David painted it.ü This gives us our first major piece of evidence that David could have been portraying political ideals in his work.

The ‘Brutus’ painting depicts a time of great change in Roman history, the forming of a great republic. Although David began his painting in 1788 before the beginning of the French Revolution, it could be argued that David was contributing to the build up of feeling and the beginnings of change in France, which he was sensing around him at the time. Surely, it is no coincidence that David's ‘Brutus’ and the time it was painted both share the same political backdrop. Block 3, p. 168 – Roman republic a bit different than the one to which the revolutionaries aspired. Periods of history when law and consensus replaced individual rule and autocracy. Not a grammatically correct sentence.

Further evidence that David intended to convey a political message is revealed in the content of the painting. The lictors carrying Brutus' sons are carrying fasces. Fasces are bundles of rods which were known to represent solidarity and fraternity, ideals of the Revolution, ü and their presence in the painting is, again, no coincidence.

New idea, new paragraph The painting is split into two halves. On the right, the grieving family, women filled with emotion and feeling. On the left we see the bodies being carried by the lictors, very formally and without fuss. Again, this seems to suggest that the system, the rulers, were in charge of themselves whilst the nobility were falling apart. Well, not quite. It does, however, suggest conflict between duty to the state and family allegiance. The family are surrounded by white sheets, framing them in their vivid colour whilst also promoting their Family’s failure? To do what? failure, whilst the lictors, or the state if you will, are subtle and almost faceless, but nevertheless, effective.

More evidence of the political effects of David’s ‘Brutus’ is in the evidence we get from the people who saw it at the time. In a letter to Joseph Vien in 1789, Charles-Etienne-Gabriel Cuvillier, of the Royal Fine Arts Office, argues that the painting has the potential to 'inflame political passions' source of quotation? and he is worried that it should not be a part of an exhibition to be opened on the King's feast day. Cuvillier’s views are hardly surprising if he felt the painting supported republicanism, which was building in France at the time. There is, however, no evidence that anybody who saw the painting was stirred to dash off and start chopping the heads off the ruling classes!ü In fact, the people who saw the painting, and had the intelligence to understand its contents, were almost certainly those who might fear any portentous content.

David must have known the feelings his paintings could stir when he began ‘Brutus’, and although there is plenty of evidence suggesting that he was 'giving visual form to political ideas', in reality there is no hard evidence that David was, in fact, doing this. Use examples from course material to support this point of view. One could be cynical and suggest that David was doing what entertainers! He’s not an entertainer! have done throughout history in mirroring their times for personal gain. One could suggest that David, who had no particular political leanings before Brutus, actually changed his views and Brutus was his first step towards a more politically active future. An interesting suggestion, but where is the evidence for this? One things is certain, however, Brutus is both an inflammatory and succinct observation of the time in which it was conceived.

3 What areas of shared concern can you identify between Rousseau's argument in The Social Contract and David's Brutus?

In comparing Rousseau and his philosophical thinking to David and his painting, we can first look to the effect both men had on the time in which they lived. Whilst they both 'performed' to crowds and were held up as bastions of change and visionaries, they neither of them actually facilitated any of this change; they simply contributed to a new mindset which was sweeping France at the time. Interesting, but this isn’t answering the question. Both men saw a need for change and used the resource they had to do what they could to promote this. While we can definitely see that Rousseau was a political animal, although he would hate such a description, David's role is slightly more ambiguous in as much as he can be seen as either an entertainer or social commentator, with possible political leanings. Ok, but this isn’t identifying areas of shared concern between Rousseau and David.

Both The Social Contract and ‘Brutus’ share a determination that the state works at its best without autocracy. Brutus depicts the ruling class falling apart Not really. , whilst The Social Contract gives power to the population, and in both cases this results in order from chaos and a faceless, but nonetheless, reasoned and noble calm. Freedom from tyranny has been achieved in both pieces of work; Rousseau in the power of the General Will and David in the rule of law dictated by the population.? The theme of the painting is that Brutus has condemned his sons to death because of their role in a royalist plot. He is putting duty to the state before his personal needs or considerations of family allegiance.

Derek Matravers. (2005) Units 10 and 11, Rousseau and Democracy, Block 3 - History, Classicism and Revolution, Second Edition. pp. 91-154

Linda Walsh. (2005) Unit 12, Art History and Politics, David and Friedrich, Block 3 - History, Classicism and Revolution, Second Edition. pp. 156-200

The Open University. An Introduction to Humanities, Illustration Book. Colour Plate 41

Only 66%!

And now... TMA 05

2008-01-25T09:19:00.000Z

So, I'm quite pleased with this one! Surely a sign that it will be dreadful as the previous one, which I thought was awful turned out not too bad! Well, not as bad as I expected!

Have a read, we'll see how I got on in a couple of weeks! Now, Religion!

TMA 05
Art History and Philosophy

1 How does Rousseau argue that obedience to the general will increases our moral liberty? Briefly discuss one reasonable objection to the claim that obeying the general will would increase our freedom.

Rousseau published his social contract in 1762, opening with the words, 'man is born free, and everywhere he is in chains'. His philosophical argument is based around human freedom, human reasoning or morality and a unity, bringing men together as non-reasonable animals can never be.

To answer the first half of the question, we initially have to understand the terms general will and moral liberty, as used by Rousseau. Rousseau describes general will as; 'that which is in the best interests of the group taken as a whole rather than as a collection of individuals'. The general will is determined by the reasoning of the sovereign or population. It looks beyond individual desires and dictates that if humans follow the general will, rather than their base desires, they will be free. Humans may feel that they know what they want, their particular will, but if this differs from the general will then they are binding themselves in bestial chains.

To discover how Rousseau sees the term moral liberty we must look to his own reasoning. Rousseau believed that nature lacked both nobility and reason. He suggests that legitimacy can only be derived through following the will of the sovereign, an individuals will has no legitimacy. He believed in the liberty derived from following this general will, in a sense, a feeling of belonging and having brought about your own place in the world. This is true moral liberty, legitimate and reasoned.

We can therefore, start to see how Rousseau took a view which on the surface looks extraordinary. The idea that following the crowd makes us free! When deciding on the general will, man must use reason to look beyond his own needs and see the needs of the many. Only once this need has been satisfied will man ascend to nobility and take steps away from the animals. This looks to civility, intelligence and a lack of any limiting ambition and appetite.

One objection to this political philosophy is that the general will persecutes any suggestion of reasoned deviation. It accounts for an individual who uses the state for personal gain, forcing them to accept their freedom, but when an individual uses reason to develop an argument which differs from the general will they are forced to dismiss their differed opinion. The entire social contract is based on reasoning, looking to the good of the many, but it can only see one correct answer. It doesn't look to the future or accept that there can be more than one correct solution to a problem. In many ways this allows it to fall back into the world it is so desperate to claw its way out of, the natural world. It mirrors sheep walking together and herds packing for safety, not nobility.

2 What evidence can be put forward in support of the claim that David sought to give visual form to political ideas in The Lictors Returning to Brutus the Bodies of his Sons?

To answer this question we need to look at both the setting of the picture itself and the time in which David painted it. This gives us our first major piece of evidence that David could have been portraying political ideals in his work. The Brutus painting depicts a time in Roman history of great change. The forming of a great republic. Although David began his painting in 1788, before the beginning of the French Revolution, and it is based on much earlier sketches, it could be argued that David was adding suggestion to a build up of feeling and the beginnings of change in France which he was sensing around him at the time. Surely, it is no coincidence that David's Brutus and the time it was painted both share the same political backdrop. Periods of history when law and consensus replaced individual rule and autocracy.

Further evidence is portrayed in the content of the painting. The lictors carrying Brutus' sons are carrying fasces. Fasces are bundles of rods which were known to represent solidarity and fraternity, bywords of the revolution. They were commonly used symbols of the revolution and their presence in the painting is again, no coincidence. The painting is split into two halves. On the right, the grieving family, women, filled with emotion and feeling. On the left we see the bodies being carried by the lictors, very formally and without fuss. Again, this seems to suggest that the system, the rulers, were in charge of themselves whilst the nobility were falling apart. The family are surrounded by white sheets, framing them in their vivid colour whilst also promoting their failure whilst the lictors, or the state if you will, are subtle and almost faceless, but nevertheless, effective.

More evidence of the political effects of Davids' Brutus is in the evidence we get from the people who saw it at the time. In a letter to Joseph Vien in 1789, Cuvillier, of the Royal Fine Arts Office argues that the painting has the potential to 'inflame political passions' and he is worried that it should not be a part of an exhibition to be opened on the king's feast day. Hardly surprising if he felt the painting supported a republicanism which was building in France at the time. There is, however, no evidence that anybody who saw the painting was stirred to dash off and start chopping the heads off the ruling classes! In fact, the people who saw the painting, and had the intelligence to understand its contents were almost certainly those who might fear any portentous content.

David must have know the feelings his paintings could stir when he began Brutus and although there is plenty of evidence suggesting that he was 'giving visual form to political ideas', in reality, there is no hard evidence that David was, in fact, doing this. One could be cynical and suggest David was doing what entertainers have done throughout history in mirroring their times for personal gain. One could suggest that David, who had no particular political leanings before Brutus actually changed his views and Brutus was his first step towards a more politically active future. One things is certain however, Brutus is both an inflammatory and succinct observation of the time is was conceived.

3 What areas of shared concern can you identify between Rousseau's argument in The Social Contract and David's Brutus?

In comparing Rousseau and his philosophical thinking, to David and his imagery, we can firstly look to the effect both men had on the time they lived. Whilst they were both 'performed' to crowds and were held up as bastions of change and visionaries, they neither of them actually facilitated any of this change, simply forming a piece of a new mindset which was sweeping France at the time. Both men saw a need for change and used the resource they had to do what they could to promote this. While we can definitely see that Rousseau was a political animal, although he'd hate such a description, David's role is slightly more ambiguous, in as much as he can be seen as either an entertainer or social commentator, with possible political leanings.

Both The Social Contract and Brutus share a determination that the state works at its best without the autocracy. Brutus depicts the ruling class falling apart whilst The Social Contract gives power to the population and in both cases, this results in order from chaos and a faceless, but nonetheless, reasoned and noble calm. Freedom from tyranny has been achieved in both pieces of work, Rousseau in the power of the General Will and David in the rule of law dictated by the population.

Derek Matravers. (2005) Units 10 and 11, Rousseau and Democracy, Block 3 - History, Classicism and Revolution, Second Edition. pp. 91-154

Linda Walsh. (2005) Unit 12, Art History and Politics, David and Friedrich, Block 3 - History, Classicism and Revolution, Second Edition. pp. 156-200

The Open University. An Introduction to Humanities, Illustration Book. Colour Plate 41

Over Christmas...

2008-01-25T09:05:00.000Z

Hiya,

Ok, so Christmas and new year were a little testing, and my OU work got a little forgotten about, along with this blog! I applied for, and got, an extension for TMA04 and then left it to the very last minute anyway and wrote it in just over an hour on the night it had to be in, a week late. I'm not proud! I know the whole idea behind this has now vanished in smoke! Work hard at it! My ass!

Anyway, my result, well, it wasn't too bad to be honest!

TUTOR'S COMMENTS AND ADVICE TO STUDENT: 66%

Dan,You are certainly heading in the right direction with your comments and you make some interesting observations about Roux's speech.

The source is indeed public (it was a speech given before the Convention), however, as it reveals opinions and views it is actually discursive and not a document of record. You are correct to suggest that the speech may contain bias, however, the main weakness which you neglect to mention is that it gives us the views and opinions of one radical faction in Paris in the summer of 1793. The accuracy of the events it describes is secondary.

Well done for mentioning the Constitutional Act and the Declaration as two things that would need elucidation. Capets and sovereign don't really need elaborating on as they are discussed in the notes at the bottom of the speech. The reference to Marseilles, which refers to the success of the Jacobin camp there, might also need explaining.

You provide an interesting, and overall relevant, synopsis of the contents of the speech, however, you never really differentiate between witting and unwitting testimony, therefore, it is difficult to conclude whether or not you fully understand each. Well done for mentioning Roux's accusation that the Convention is condoning hoarding. This wittingly reveals that Roux believes that those who do so are part of the counter revolution, the existence of which is revealed in the references to the Capets and emigres. Roux's suggestion that hostages be taken reveals the extreme measures that some believed were needed to deal with that counter revolution. Roux's emphasis on hoarding suggests that there is a subsistence crisis in Paris in the summer of 1793, which has a class dimension to it with the rich oppressing the poor. Reference to rights and sovereign people reveals the presence of a political culture in which men were demanding their rights, something that Roux unwittingly extends to the economic realm when he demands freedom from want and economic rights for all. The tone of the speech, which is critical and condescending, unwittingly reveals the distrust in which the enrages held the Convention. Roux also claims to speak on behalf of the people, which can be read as an attempt to bargain with the Convention. Discussion of some of the other points that are wittingly and unwittingly revealed, plus distinction between the two would have strengthened your essay, but in general you are heading in the right direction.

TMA04: History
Daniel Tarry

Imagine that you are writing a study of Paris during the Terror. In an essay of no more than 800 words consider the following three questions;

1. What kind of primary source is this and what strengths and weaknesses does it have as a source for your study?

2. Are there any particular words and phrases in the document that require elucidation or special comment before you can make use of it?

3. What can you learn from this source with respect to Paris during the Terror? You should distinguish, where appropriate, between witting and unwitting testimony.

The extract is taken from a speech given by Jacques Roux before the French Convention on 25th June 1793. As such, the type of primary source would be considered to be an unpublished document. It would, however, have been made in front of a large number of people and therefore it would not have been as difficult to find as letters home to the family or school report cards I can see the point you are trying to make here, but this isn’t really answering the question and reference to school report cards is anachronistic. . It is also a document of record, having been aired very publicly Yes, it is a public source, but it is not a document of record. As a speech that reveals opinions and views it is actually a discursive source. Block 3, p. 25.. This is a strength as we can trust the source.

One weakness is that we are not told if the speech was written down by one of these spectators or by Roux. If a spectator transcribed it then it is a discursive document. If Roux kept a written copy of the speech he gave then it is a document of record. A discursive document would not be the best source as there can be inaccuracies or bias. One of the weaknesses of this discursive source is that, yes, there may be bias and Roux could be open to claims of exaggeration in order to make his point. We can assume, as the speech was given to a crowd, that it did actually happen, however! A bit repetitive. You have already said this above.

As the speech was given in France in 1793 we can expect it to contain elements that would need clarifying today. The extract we are given has two notes attached for a start. Which means that you don’t really need to explain the terms that the notes provide definitions for. Whereas we, today, would see sovereign as a single supreme authority, Roux was referring to the people of France. This, in context, does still ring true as Roux saw the common population as the power or rulers of France, as one, enmasse.

Combine this paragraph with the one above; you are still discussing terms that require elucidation.
We are also told that Capet was the family name of the French Royal Family, something we would need to know for the speech to make complete sense to us. There are other 'French' phrases that we would need to look-up to ensure complete accuracy before we could use the document. These include 'sans-culottes and émigrés.

There are two separate acts which are referred to by Roux during the extract. 'The Constitutional Act' and the 'Declaration of the Rights of Man'. If we were to make proper use of this extract then we would need prior knowledge of these two acts,ü along with a clear background on the time Roux lived in, the world around him and the events he was referring to. Yes, but the latter is contextual information and isn’t really examples of words or phrases in the document that require elucidation.

From the extract you Try not to use ‘you’. Perhaps, ‘it can be determined…’ or ‘one can determine…’ can determine that Paris was confused, dangerous and in the midst of change. Although we know this much from other background reading, the clues are in this extract. Roux is speaking to the French Convention. He urges them to pass decrees, which shows us that they still had the power to govern Jacobins in control of Convention for the first time. and that Paris was not entirely anarchic. The Convention is urged to pass a decree outlawing speculation and hoarding, stopping the merchants oppressing the poor, bringing the people into the revolution and increasing its Vague reference. To what does ‘it’ refer? power.

Reference is made to the striking dead of those who 'dare propose a king' and the outlawing of counter revolutionaries, showing us that the people are beginning to be heard. Their power is beginning to come to the fore. Royalty, however, has not yet been chased out and this shows us that the Convention still has not bowed completely to the will of the revolution. They do not expel nobles, and in Roux’s opinion most importantly, they are allowing the merchants to continue their monopolistic stranglehold over commerce and food.ü which wittingly suggests that those who condone hoarding are part of the counter revolution.

We learn that the merchants still have control of Paris. They keep the 'sans-culottes' unfed, fuelling counter-revolution as the citizens starve and wonder whether this really is the way forward. The idea that France could revolutionise is hanging in the balance, regardless of the steps already taken, because the poor majority is not yet taking part, and Roux is pleading for the half measures to stop and the Law and the Constitution to be used to finally bring down all of the ruling classes. ü an interesting suggestion.

Arthur Marwick. (2005) Units 8 and 9, Introduction to History, Part 1 : Issues and Methods, Block 3 - History, Classicism and Revolution, Second Edition. pp. 1-88

http://www.edteck.com/dbq/more/types.htm#oral

Damn, only 68%!

2007-12-16T12:14:00.000Z

Hi there,

Just got my mark back for TMA3 - only 68%! Damn, now I'm thinking I should have tried harder.... I remember that comment from school.

Anyway, it's not all bad, I was, I have to be honest, secretly expecting worse.... while hoping for better! You get what you deserve I suppose and I spent far too little time on this!

Comments below, remember though, if you found this blog and you are about to write this assignment, don't copy, it's naughty! Besides, why copy a 68%er!

TUTOR'S COMMENTS AND ADVICE TO STUDENT:

Dan,

I actually found it rather difficult to grade this assingment as the grades given don't actually reflect the quality of the work, rather they reflect a tendency to digress from the question asked and to not fully answer the set question. The actual writing is good overall, although be careful with sentence structure at times. Your concluding remarks in essay two are particularly thought-provoking and well written.

You are heading in the right direction with your comments in essay 1, and identify several public functions of the Colosseum, though I'm surprised that you don't mention the size of the Colosseum and how this was connected to public function (necessary to house the lavish spectacles) and symbolic meaning (might and glory of Rome and the Empire). You haven't actually addressed the second part of the question, the symbolic meaning part, which means that you have only answered the first half of the set question. You write quite a bit of descriptive information about the Colosseum in the introduction, which could have been edited or deleted. By doing this you would have had the words at your disposal to consider symbolic meaning.

By the same token, you spend quite a bit of time describing the views of the various writers and making references to society today, which you weren't asked to do, in the second essay (effect of the crowd on people today, for example). Yes, you offer a paragraph near the end of the essay on views towards animals and criminals, but this needed to be discussed more fully and earlier on. And what about Augustine's Christianity. How did this influence his views? Well done, though, for suggesting that some, like Martial, wrote to curry favour with the emperor.

There is so much potential here, Dan, and you write well. You just need to make sure that you stay on track and answer the set question.

Please see my comments throughout the assignment.

TMA 03

Daniel Tarry
Classical Studies

Part One (short answer)

Question
How did the design of the Colosseum relate to its public function and to its symbolic meaning?

Answer in no more than 300 words

You write quite a bit of descriptive information in the first paragraph. It would be a good idea to have a short introduction that tells your reader what the essay will be about: the connection between form, public function and symbolic meaning.
The Colosseum, or Flavian Amphitheatre, was built in Rome by the Emperor Vespasian as a gift to the people of Rome. The first stage of building was completed in 75CE and the inauguration of the vast setting for Rome's gladiatorial combat and public spectacle was held by Titus, in 80CE. The Colosseum was capable of holding 50,000 people and the inaugural games is said to have lasted 100 days with up to 3000 men fighting in a single day and thousands of animals being slaughtered. These huge numbers created problems which the design of the Colosseum had to overcome, and the three main areas of design that allowed the Colosseum to function were visibility, shelter and access. interesting

Every audience member needed to be able to see, not only the 'performers' but also the Emperor who was also a large part of the spectacle.ü The Colosseum had steeply banked sides ensuring that everyone attending could see down into the arena. These were layered, so the audience sat within their social class. The oval shape ensured the Emperor’s box was always visible. Tiered seating helped provide an unobstructed view and reflected hierarchy in Roman society.

Shows often began at midday, so a sunshade was erected to shade the audience from the worst of the weather. The design of this shade is still a matter for discussion and allegedly a team of sailors was garrisoned near to the Colosseum for erecting it. Ok, but you are using up quite a few words describing the sunshade. Try to stick more closely to what the question asks you to discuss.

Access to both the seating and the arena was the greatest design feature of the Colosseum. Numbered arches led to passages and staircases, leading people to their seats. These also kept the very structured Roman society to there own. good to mention this Trap doors in the floor of the arena allowed the animals and fighters to enter centre stage, and the Colosseum had huge gates at either end for entering and exiting the arena, the unlucky leaving via the 'Gate of Death'.
While you have done well with public function, symbolic meaning is more or less absent.

Part Two (essay)

Question
What attitudes towards the Roman games did the ancient writers express? How would you account for the differences and similarities between these writers?

Answer in no more than 900 words

'The Games' represented a major part the lives of all sections of Roman society. This is shown in the many surviving amphitheatres around their empire, the artwork created to promote great champions, patrons, even the shows themselves and in the writings which remain. Famous Roman correspondents, poets, politicians and writers all devoted their time and effort to detailing their thoughts, emotions and experiences of attending these games. This has left us with a rich and varied selection of accounts and opinions about the shows, crowds, participants and feelings. this is interesting and well-written, but you don’t really have the words necessary to include a lot of description or narrative.

Some writers enjoyed the games and loved the spectacle and the event, which some saw as a waste of time and resources. Cicero, a man famed for careful thought, leaves us with examples of both views. In his letters to friends he asks of the Pompey shows, 'what pleasure can it be to a man of refinement when either a powerless man is torn by a very powerful beast, or else a magnificent beast is spitted on a hunting spear?. Source of quotation? He also suggests, however, that it was not always like this, and in his philosophical discussion says that in the days when equals fought in the arena that great strength of mind was shown and lessons were learnt. good

Many writers did not detail the shows themselves but wrote of the patrons, the men who were responsible for not only promoting, but also paying for the shows. good Many of these accounts will have been written for the patron and as such we need to take care not to read too much into their accuracy. good point to make Suetonius wrote of the Emperor Titus that, 'he gave a magnificent and costly gladiatorial show', which is probably true. He also stated that 'he would be second to none of his predecessors in munificence', a statement written to please the emperor maybe? yes, praise of emperor is likely.

Apuleius wrote of one patron that he was 'preparing a public entertainment of a brilliance to match his fortune'. He also said, however, that the magnificence of the show and generosity were subject to 'Envy' as he put it when the bears that had been bought at such a high price were struck down and died. The excerpt comes from The Robbers Tale title in italics and you wonder if there was some glee in this misfortune as the writer struggles to comprehend both the vast sums of money spent and the good fortune to be able to spend it. Interesting thoughts, but they’re not really answering the question.

The writers who did detail the contents of the shows did not spare us any detail, and although today we might find some of the accounts disturbing, it is important to remember that the Romans had a very different attitude to the games.ü Apuleius wrote of an event where a woman had been 'condemned to make an illustrious match with beasts'. Martial wrote of lacerated limbs, dripping gore and a tigress who had 'gained such ferocity' amongst humans that she tore apart a wild lion. it would be a good idea to account for the attitudes you have discussed by mentioning something about Roman attitudes towards animals, crime and criminals.

We read these accounts today in disbelief and shock in many cases but I (Avoid using ‘I’ in essays.) feel we could easily be reading contemporary accounts when we read both Seneca and Saint Augustine. Both show an initial reluctance to attend the games and watch the 'sheer butchery'. Seneca went along to watch and was taken in by the crowds baying for more blood and more death. The crowd seemed caught up in a relentless fascination with the spectacle and was desperate for more. Alypius's story shows in detail how this crowd affects the individual. He was sure he would not watch, would despise the death, but was caught up in the excitement and eventually saved from his depths by God.

Today, as in Roman times, we reach a fever pitch and attain a certain spirituality in the midst of an enormous crowd of likeminded souls and it is easy to see how the Romans got carried away with their games and demanded more. (Oh dear, you have digressed from what the question has asked you to do. You are spending too much time describing the effects of the crowd and not enough describing the various attitudes and accounting for differences in them.) Of course, we might be watching a game of football or attending a political rally whereas the Romans were shouting for more violent death, but we have to understand that their attitudes to life and death vastly differed from our own. Please discuss their attitudes. This is vital to your essay as it forms the second part of the question.

The subjects of the violence, the beasts, the criminals and the Christians were all viewed by the Romans as either outside their society or a major problem to Roman expansion. (tick) Therefore, their deaths were nothing to concern the audience. Criminals were already dead in Roman eyes, and whereas today great beasts are viewed as assets to be cherished, in Roman times they were killers and had to be destroyed to save lives. (tick) The only example that expresses any compassion towards the animals involved was Cicero's account from Pompey when he writes that the crowd showed pity towards the elephants as there was a feeling they had 'something in common with the human race'. Pity, yes but only brought on because they saw something human there, showing that other deaths in the arena did not engender humanity amongst the audience. Well, you are certainly on the right track here. You make some perceptive and relevant comments, but this ‘account for…’ section needs to be discussed much more fully and incorporated into the various views.

Overall, the accounts left to us by the Romans show us that they loved attending the games. The patrons earned a great amount of kudos and good feeling from putting the games on, and in many cases probably used them as a means of hanging on to their power. Whereas today we see barbarism and exploitation, the Romans only saw entertainment, punishment, discipline and reparation in the arena, and the huge crowds, magnificent architecture, creative artistry and written accounts that these events inspired can only show us how important they were in their time. Interesting and well-written conclusion.

Paula James and Janet Huskinson. (2005) An Introduction to Humanities, The Colosseum, Second Edition.
The Open University. An Introduction to Humanities, Illustration Book.
The Open University, A103, Resource Book 1 (2005) - 'Section C, Classics: The Colosseum', Second Edition. pp. 89-121

68%

TMA 03 - Classical Studies

2007-12-07T22:03:00.000Z

Thankfully I have just submitted my latest TMA. This one was about the Colosseum and I found it a right pain in the ass!

I enjoyed the initial reading and learning about the subject but it coincided with both a week off and an out of place tutorial which seemed to muddy the waters a touch!

It's done now though and although I don't expect the best grade for it we can live in hope! I really didn't give it the time it deserved, spending an hour on part 1 last night and maybe 2 at a push on part 2 this evening! It actually feels like a degree now anyway, with me pushing deadlines to their very end and not giving it my all! Oh yes, I rmemeber those days well!

Anyway, gonna go watch something funny now. No more work due until January so I can leave it until after Christmas now, well maybe the New Year even :)

Cya
xxx

2007-11-25T21:03:00.000Z

TMA 02
Part 4: Philosophy

1 - Fill out the argument that Hattie gives in paragraph 5, following the template below.

Premise 1:
How good a painting is depends entirely on what it looks like.

Premise 2:
The quality of a painting doesn't depend on who painted it.
Close, but this premise should read, ‘Leonardo’s Mona Lisa and the copy look exactly the same.’

Conclusion:
A copy of a painting is equally good as the original.
Close – ‘Leonardo’s Mona Lisa and the copy are equally good.

10

2 - In paragraph 7, Hattie sets out an argument that she thinks that Jack ought to accept. Fill out the argument following the template below.

Premise 1:
How good a painting is depends entirely on who painted it.

Premise 2:
All of Leonardo's paintings are by Leornardo.ü good

Conclusion:
All of Leonardo's paintings will be equally good.

well done
20

3 - Hattie thinks that the conclusion of this argument contradicts a claim that Jack made earlier. What claim was that?

In paragraph 2, Jack states that the Mona Lisa is better than any other painting that Leonardo did.

20

4 - Jack responds by rejecting one of the premises of the argument that Hattie gives in paragraph 7. Which premise does he reject and why?

Jack rejects the premise that how good a painting is depends entirely on who painted it because the quality of a painting depends on what it looks like as well.

20

5 - In paragraph 9, Hattie draws a comparison between the copy of the Mona Lisa that she has been to see and the copy of Jane Eyre on Jack's bookshelf. What point is she trying to make with this comparison?

She is trying to show that so long as a copy is identical to the original then it is as good because it is just as much the work of the original artist or author as the original. It still draws on the artist’s decisions of composition and use of colour, not the decisions of the copier.

Pad out a bit more. Hattie argues that the paperback of Jane Eyre is the same novel as the manuscript that Bronte wrote out by hand. Both are equally the work of Bronte. By the same token, Hattie suggests that the copy of the Mona Lisa in the local gallery and the original might be considered the same. Both can be considered the work of Leonardo. The local artist has reproduced the work in the same way that the printing press has reproduced the novel. Therefore, the copy is just as good as the original.

13.5

Nigel Warburton. (2005) Unit 4 - Reasoning', An Introduction to Humanities, Form and Reading, Second Edition. pp. 144-172

TMA02 - Music

2007-11-25T20:59:00.000Z

TMA 02
Part 3: Music
In no more than 300 words write a descriptive analysis of the song 'For No One' by The Beatles. Pay particular attention to features such as the verse-chorus structure, melody, rhythm, timbre, texture and the relationship between words and music.

The John Lennon and Paul McCartney composition, ‘For No One’, has a regular verse chorus structure. It begins with two verses, followed by a chorus, then another verse followed again by a chorus, ending with two more verses and a final chorus. Each verse is three lines long whilst the chorus is four lines long. Ok, but you don’t really need to mention the length of verse and chorus.

The song has a rhythm around which the lyrics and music are built. This upbeat - Note 1 - rhythm flows throughout the piece. The song is written in quite a high pitch, and the melody and harmony, along with the timbre, are upbeat and cheerful which seems to be at odds with the content of the lyrics which are mournful and focus on loss. The only musical element which fits with the lyrics is the French horn which plays a motif at the beginning of the second and third choruses. Good, now explain how the French horn complements the lyrics. And what about the poignant nature of the choruses, they way they are sung?

The texture of the songs builds throughout. It is sparse in the first verse with only the vocal and a piano. Texture thinned somewhat during the chorus The drums are included in the second verse, which adds richness to the texture and a definite rhythm to the piece. This texture is then deepened further by the addition of the bass guitar and the tambourine, along with more piano and drums. The French horn is used in the second half of the song. Yes, now explain how the horn is used and what its effects are.

There is only the one voice used throughout. No vocal harmonies are used; harmony is added by the music. interesting On first listening to this piece, this seems to be a fairly basic, happy pop song. It is (do not use contractions) only on further listening to the song that one realises the depth of feeling and the quality behind the music, the way it builds and fits together.What about the ending? It has an unfinished effect which mirrors the mood and meaning of the song.

16.5

Fiona Richards. (2005) Unit 3 - Listening to music, An Introduction to Humanities, Form and Reading, Second Edition. pp. 97-129

The Open University, CD5B, Track 21 - For No One, The Beatles

Note 1 - Not sure that the rhythm is ‘upbeat’ given the message that the words convey.

TMA02 - Literature

2007-11-25T20:54:00.000Z

TMA 02
Part 2: Literature
In no more than 300 words, write an analysis of Robert Edward Thomas's sonnet 'February Afternoon'

‘February Afternoon’ is a standard 14 line sonnet, written in iambic pentameter. The twelfth line, however, has eleven syllables. - Note 1 - It is divided into two parts, the first part an octave and the second a sestet. The rhyming scheme is ABBA, ABBA, CDD, ECE. The division of the octave into two quatrains using the rhyming pattern shows the sonnet is Petrarchan although the two rhyming tercets in the sestet do not follow the usual CDE, CDE or CDC, DCD pattern of the Petrarchan sonnet. - Note 2 - The sonnet also contains many examples of enjambment. And what is the effect of enjambement? It gives the piece a contemplative reading and contrasts with the pauses, which give it a somewhat jarring feel. The turn of the sonnet is the split between the octave and the sestet.

The imagery in the sonnet is all based around the author’s experience during the First World War. - Note 3 - It begins by showing the reader how 'all encompassing' war is by bringing nature into the military arena.ü The birds are black and white, good and evil, like pieces on a chess board. They chatter and command. A thousand years is mentioned three times, showing the seemingly never- ending conflict the author finds himself in, along with the eternity of all war and nature.ü interesting The author ends with two lines showing the godlessness of war, the absence of what must surely have been seen in 1916 as a force for good. Discuss Thomas’s portrayal of God a bit further. There is bitterness here.

The sonnet uses many words we do not commonly use these days. Such as? Cite and explain examples. Punctuation is used correctly, however, showing the enjambment by not ending lines with full stops and adding commas and hyphens where necessary. The sonnet does have a definite end, a conclusion of sorts. Well…you need to discuss punctuation much more fully rather than just writing it is used ‘properly’. What effect does the punctuation have on the overall mood and meaning of the sonnet? And does the sonnet have a ‘definite end’? It doesn’t end with a rhyming couplet which suggests that there is dislocation of sorts; something is not quite right at the end of the sonnet.

‘February Afternoon’, like other war poetry, uses metaphor and symbolism to demonstrate the hopelessness and heartlessness of battle. It also helps to convince us, that even in the midst of such horror, the human soul is still capable of creating beauty. Not clear how this final message is conveyed in the sonnet. And you haven’t really discussed metaphor even though you mention it in the conclusion.

Stephen Regan. (2005) Unit 2 - Form and meaning in poetry: The sonnet, An Introduction to Humanities, Form and Reading, Second Edition. pp. 50-93

Josh Robinson. (2006) 'Petes' Radical Poetry Site' - http://wwwpetepoetry-bullybuster.blogspot.com/2006/12/february-afternoon.html
16

Note 1 - And why is this important?

Note 2 - This section could be further edited – You could mention that the sonnet is Petrarchan in the opening sentence. It would also be a good idea to discuss the importance of unorthodox rhyme scheme in the sestet. It is rather jarring and suggests dislocation and complements the theme of the poem.

Note 3 - This is what the imagery reveals. The imagery itself is very much based on nature.

TMA02 - Art History

2007-11-25T20:41:00.000Z

TMA 02
Part 1: Art History
Look at Georg Friedrich Kersting's Man Reading
In no more than 300 words, write a descriptive analysis of this painting. Pay particular attention to features such as the composition of the pictorial space, to the organisation of form and detail, and to the use of lighting and tone, and to say how you think these contribute to the effect of the work.

Georg Friedrich Kersting's painted Man Reading title in italics in 1814. It is painted in oil, on canvas, and is 47.5cm x 37cm in size. The painting portrays a man sitting in what appears to be a small study, reading by candlelight. The man is in the centre of the painting and because of the lighting used, is the main focus of the painting. good, now explain how lighting is used to make him the focus.

The angle of vision is set at right angles to both the picture plane and the literal plane. This gives the viewer a front and centre view, staring deep into the painting rather than simply looking at it. - Note 1 - The vanishing point is to the high left centre of the painting where the lamp shines.

The painting is a three (write out numbers under 10) dimensional likeness and the objects painted are all very distinct and solid with weight, volume and colour. - Note 2 - The light brings detail to the face of the man, the book, a family portrait and to the open red box on the desk next to him. The figure-ground relationship here is very important. It places the man in his study late in the day and the man is the centre of our attention. A bit of repetition here There is a very wide tonal range, from black to white. Good, now what effect does this tonal range have? It helps draw our attention to the man.

The lighting is very subdued around the edges of the painting and very bright and direct in the centre. The light source is the candles on the desk, slightly to the left of the angle of vision. Shading and shadow are thrown from the lamp, giving the painting a dimensional quality - Note 3 - and adding perspective. But overall the painting is relatively shallow. The lighting draws the viewer into a 'circle of importance' around the light. True, but this is a bit repetitive. You have already mentioned light and the man being the centre of attention.

The light source is the first thing you look to before noticing how the man appears, the shelving, closed boxes and other features of the room. The painting suggests the viewer is standing at the room door, looking in on the man.ü a bit repetitious. You have already mentioned the spectator. The effect of the lighting, form, detail and use of pictorial space all suggest the man is reading through duty, not for relaxation. An interesting suggestion which could be further discussed with reference to some of the objects in the room, the rolled up map, for example. He wants to get back to the family in the picture on his desk. The mirrored red boxes suggest that what he is reading is important as the open box, which contained his reading material, is in the light, whilst the closed box is hidden in the shadows. Another interesting suggestion.

Charles Harrison. (2005) Unit 1 - Seeing', An Introduction to Humanities, Form and Reading, Second Edition. pp. 7-48

The Open University. An Introduction to Humanities, Illustration Book. Colour Plate 96. Pp 96

17

Note 1 - Interesting. And given the composition are we part of it or are we like an interloper, on the edge looking into a self-contained, private world?

Note 2 - Composition is in rectilinear arrangement, which again helps draw our attention to the man. Two red boxes contrast with the cool green wall and balance the composition.

Note 3 - Perhaps define what you mean by this.

TMA 02

2007-11-25T20:02:00.000Z

Hiya,

I've had my second TMA results back. Considering the amount of work put in I feel it reflects quite well. I know that I am still not giving this my best. Maybe it is because it is not really what I want to be doing, I'm not sure.

I signed up to do either a literature or philosophy degree and am doing art, music etc. Excuses though I think! I need to commit myself more fully to achieve top marks.

The OU marking structure is
Pass 1 - 100-85 - A
Pass 2 - 84 - 70 - B
Pass 3 - 69 - 50 - C
Pass 4 - 54 - 40 - D
And then all sorts of nasty fails we wont mention.

Obviously I'd like to be in Pass 1 but at the moment, getting into Pass2 is not too bad. I've not done anything like this in over 10 years!

My TMA02 was done too quickly and I feel the result shows that! The only section I really took my time with was Philosophy. I'm not sure how long these essays are supposed to take but I spent about 2 hours on each.

Anyway, enough wittering, my result is as follows...

TUTOR'S COMMENTS AND ADVICE TO STUDENT:

Dan,

You have made a good effort answering the questions and there is alot of potential here.

The philosophy section is the strongest of the four and you display a good understanding of the various philosophical terms that you were introduced to in Block 1. Hattie's final argument could be padded out a bit, but overall, well done.

You are heading in the right direction with your analyses of the painting, the poem and the piece of music, however, each would have been stronger had you offered less description of content and more analysis of colour, tonal range, composition, strucure, imagery, diction, timbre, etc. that you were asked to cover. There is quite a bit of repetition in your discussion of the painting and you tend to spend rather too much time on lighting. I'm left wondering about colour and tonal range, the arrangement of the composition. What colours are used and how are they used? What about the linear arrangement of the composition? The same general comments hold true for your analysis of the poem. You make some interesting observations, but need to go a step further in your discussion of them. What, for example, is the effect of the unorthodox rhyme scheme in the sestet? What words does Thomas use and how does he use them? Parleying, for example, suggests not only chattering birds, but negotiation during war. You have the gist of 'For No One', but again are general rather than specific. How, for example, does the French horn complement the meaning of the lyrics? How does the song end? It has an unfinished quality to it that mirrors the theme.

71/100

Dan
x

TMA 01

2007-11-16T21:53:00.000Z

Ok, so the idea behind this blog is to add a sense of transparency to my degree, forcing me to work harder and hopefully making this blog more interesting than a simple diary. Therefore, my TMA sumissions will be complete with tutor comments along with details of how hard i worked on them! Comments are shown in red!

This TMA took me about an hour to plan and a further hour to write...

A Fable for Tomorrow
Daniel Tarry

A fable is a myth, legend or fairy tale. It is (do not use contractions)a brief and succinct story featuring the forces of nature and which illustrates a moral lesson and ends with an explicit maxim or wise saying. Tomorrow is the day after today or the future. Therefore, a fable for tomorrow is actually a contradiction, teaching us a lesson about a future we cannot yet see. You are making some interesting comments, but in future try to write an introductory paragraph that lets your reader know what the essay will be about (in this case the connection between language, mood and meaning). Try not to launch into your analysis.

The excerpts we are shown are clearly defined into a before tomorrow, a tomorrow and a conclusion. Try to avoid one-sentence paragraphs. This is an interesting point to make, but it’s not really clear how this is answering the question which asks you to look at language.

Before tomorrow, the past is shown in a collection of bright, positive and vibrant long sentences.ü good Prosperity and harmony reign and the seasons are well defined. Discuss the first section more fully, pulling out examples of words and phrases that Carson uses.

The future is darker. Death and shadow abound. Humans enter the narrative, as if they suddenly stand out from the dying nature around them rather than being 'as one' or symbiotic.ü again, interesting The sentences are cut short, like the lives in the fable, they flow. Interesting; and what effect do short sentences have on the mood and meaning of the piece?

In the past there is no mystery. Everything is vivid and real. And how does Carson use language to convey this vividness and reality? The future shows confusion, unreality and uncertainty, for example, by the way the birds feed. In the past , even the roadsides are bountiful with food. In the future the birds need feeding, and that is left untouched.

There seems a definite certainty in the beauty of nature and a strange mystery in the death of nature. Again, avoid one-sentence paragraphs. And while this is a good description of the extracts, it isn’t really explaining the connection between language, mood and meaning.

Throughout the narrative the author uses lists to convey subject matter,specifically nature as it abounds, or is missing. Maple, oak, birch, laurel, viburnum and elder are listed in the first section, robins, catbirds, doves, jays and wrens in the second. yes, now discuss Carson’s use of lists a bit further re: mood of each section. How does the first list differ from the second?

The conclusion shows a clever mix of the author’s honesty and heart-felt emotion. The first sentences honestly admit that the work is a fiction. The author then brings us back to the horror of the vision with dark fact and even darker assumption. Ok, but rather than describing the conclusion you need to consider the words that Carson uses, whether they are different than those used in the first two sections, and whether a different mood is created. For example, there is a different narrative voice and phrases such as ‘grim spectre’ may be considered over-dramatic.

The past section is ended in silence, as is the conclusion, which could be seen as an attempt to tie the empty future into a semi-factual conclusion. Interesting, but this isn’t really explaining the connection between language, mood and meaning.

333 words
Bibliography?

TUTOR'S COMMENTS AND ADVICE TO STUDENT:

Daniel,This is a good attempt at answering the question and you make a number of very interesting observations about the extracts. I thought the references to today, tomorrow, the past and future were perceptive. However, the problem with the focus of your essay is that it doesn't actually answer the question which is asking you to discuss the connection between language, mood and meaning. For example, on p. 2 you correctly state that 'in the past there is no mystery. Everything is vivid and real.' More discussion of this, vis a vis the question, needs to appear. Exactly how does Carson use language to convey this vividness and reality? Ditto how does Carson use language to convey confusion and unreality? Are the words and phrases different in each section? And well done for mentioning Carson's use of lists. Now, explain whether the lists are different in each section. What is their effect on the mood created in each section?On the whole you convey your ideas well, however, make sure that you discuss points fully in your paragraphs (some paragraphs are rather short, which suggests that more discussion is needed) and try to avoid one-sentence paragraphs.

65

OK, so, 65, not so good but not bad considering it was the first essay I have written in years! That's an excuse though. I knew I hadn't answered the question and did discuss this with my tutor before submitting the TMA but decided to submit it as it was because it doesn't count towards the final score and I wondered how it would be marked. Anyway, That's 1 down....

Left it tooooooo long....

2007-11-16T21:45:00.000Z

I'm sorry, that's all I can say! I was determined that this was going to detail my prgress through my degree.

Well, it's started. I've now finished my first 2 TMA's and we start on the thrid next week. The first was an optional one to find out more about how everything works than anything. The second, which I submitted yesterday was a 4 parter. The first part was History of Art, then Sonnets, then Music and finally Philosophy.

I'll create seperate entries to discuss these further.

The course itself is fun and it's nice to have something new to focus on. I have to go to Cheltenham most Tuesdays for tutorials and at the moment am spending one other evening a week reading the course material for that week. I think this will increase once the pace hots up and things get more tricky. It's all fairly simple at the moment but even so, I know I'm not putting my heart and soul into it yet! My music essay was written in less than an hour last night and I'm sure my mark will reflect that kind of slap dash attitude!

I'll sign off now but I promise I'll be back soon!

Dan

Not long now...

2007-08-11T21:41:00.000Z

Is it cheating to read my course books now? Should I wait until I've started and read them when I'm supposed to.... Am I simply putting off reading them cause, well to be honest, I've got lots of other books I'd rather read!

They're sitting here, on the coffee table looking at me, along with 10 others I've bought cause I chose to. Hmmmm....

OK, well, the course starts soon so fingers crossed I'll have more to write here and it'll be a touch more inspiring!

Just wanna get started

2007-07-11T21:09:00.000Z

I've got the course books on their way, made a big mistake a Amazon and asked for my entire order to be posted together, not realising that I's ordered a couple of 'non-course', enjoyable reads which were yet to be published and it would hold it all up! Not such a bad thing cause it's given me a chance to brush up on Harry Potter before the big release and to re-read the 3 books by Louis De Bernierres which are just awesome, about a fictional South American country.

Anyway, this damn course can't start soon enough! I've been reading the OU magazine and there are plenty of articles about how students find it to be more work than they thought when they signed up! Didn't find that to be the case with my last degree but maybe, and this is only a maybe, I didn't really give that the attention I should have! I was pants after all!

I've also read that very few students are submitting their coursework online, and prefer to print it out and post it! How silly!

Anyway, will sign off now, just wanted to keep things ticking over really.

Dan
x

Funding...

2007-06-24T16:01:00.000Z

Ok, so I applied for funding to help with the degree but the Open Uni wont give me anything because I 'already hold a UK degree'! Damn, oh well, nevermind. We also keep getting calls at work from business help type companies who want to give money to train staff but they seem to only want to help to NVQ (or not very qualified as Chris called it).

Guess I'm paying then :)

Still, if this blog is a success then maybe google will.... can but hope!

Introduction to humanities book list

2007-06-09T01:32:00.000Z

E. Chambers, A. Northedge The Arts Good Study Guide, The Open University
Euripides Medea and Other Plays trans. P. Vellacott, Penguin

G. B. Shaw Pygmalion, Penguin
Jean Rhys Wide Sargasso Sea ed. Angela Smith, Penguin

My First Course

2007-06-09T01:27:00.000Z

An introduction to the humanities
October 2007 - June 2008

You will get from this course a lively and varied grounding in the eight disciplines in the Arts Faculty: art history, literature, music, philosophy, classical studies, history, religious studies, and history of science. The subjects are introduced in attractive case studies combined with multidisciplinary sections on the French Revolution and the 1960s. The course will help you to express yourself more clearly and develop the reading, analysis and interpretation skills you need before moving on to more specialised courses at Level 2. It is not necessary to have studied in this area before.

For more details - http://www3.open.ac.uk/courses/bin/p12.dll?C01A103

Book list - http://thelittleblogontheprairie.blogspot.com/2007/06/introduction-to-humanities-book-list.html

The Beginning . . .

2007-06-09T01:13:00.000Z

Ok, so why a blog and what's it for? Well, I need a motivational tool to get me through my degree! I'm going to try and keep this up-to-date with all my course work, marks, everything really and see where it gets me!