History

“Take-Home Final Exam History 102” “Please select ONE of the works included in the course materials from one of the contexts we cover after the Midterm Exam. (Impressionism>Existentialism) With reference to that example, its historical context, and its cultural movement, please fill out the form below, providing at least one very full paragraph for each of the required elements. You may use another word processer to write your answers, but to complete the assignment you must use this Word document. Copy and paste answers into the boxes below, and add endnotes as necessary. [See section on references at end.] Then save this document with your last name at the start of the filename. Finally, please go to the course Sakai site by the time of the deadline, click on the Assignment, and submit the file as an attachment. Grades will be determined by an average score based on all of your reponses.” “Your exam should analyze how your source addresses three of the themes listed below its Context.” “Impressionism Reaction to experiences of political, industrial, urban, and capitalist revolutions Painting their ‘present’¬¬--including but not only the modern city Use of new technologies Applying scientific method Capturing the sense of change and movement in modern life” “Symbolism Reaction to experiences of political, industrial, urban, and capitalist revolutions Study of, analysis of, and use of imagery derived from the ‘present’¬¬--including but not only the modern city Developing complex combinations of symbols Representing complicated states of mind, including objective and subjective factors Anticipating modern psychology in the exploration of conscious and subconscious experience Acknowledging and expressing drives and desires that "bourgeois" culture tended to hide or repress Critiquing and ‘shocking’ the bourgeoisie for its hypocrisy and repressiveness Questioning the overemphasis on material and financial "respectability" in "Victorian" culture” “Post-Impressionism Reaction to experiences of political, industrial, urban, and capitalist revolutions Study of, analysis of, and use of imagery derived from the "present"¬¬--including but not only the modern city Developing complex combinations of symbols Representing complicated states of mind, including objective and subjective factors Anticipating modern psychology in the exploration of conscious and subconscious experience Acknowledging and expressing drives and desires that "bourgeois" culture tended to hide or repress Critiquing and "shocking" the bourgeoisie for its hypocrisy and repressiveness Questioning the overemphasis on material and financial ‘respectability’ in ‘Victorian’ culture” “Expressionism Reaction to experiences of political, industrial, urban, and capitalist revolutions Study of, analysis of, and use of imagery derived from the ‘present’¬¬--including but not only the modern city Developing complex combinations of symbols Representing complicated states of mind, including objective and subjective factors Parallelling modern psychology in the exploration of conscious and subconscious experience Acknowledging and expressing drives and desires that "bourgeois" culture tended to hide or repress Critiquing and "shocking" the bourgeoisie for its hypocrisy and repressiveness Questioning the overemphasis on material and financial ‘respectability’ in ‘Victorian’ culture” “Cubism Reaction to experiences of political, industrial, urban, and capitalist revolutions Study of, analysis of, and use of imagery derived from the ‘present’¬¬--including but not only the modern city Simplification of forms Multiple dimensionality Multiple perspectivalism Change over time” “Abstraction Reaction to experiences of political, industrial, urban, and capitalist revolutions Study of, analysis of, and use of imagery derived from the ‘present’¬¬--including but not only the modern city Developing complex combinations of non-representational symbols Representing complicated states of mind, including objective and subjective factors Exploration of conscious and subconscious experience Acknowledging and expressing drives and desires that "bourgeois" culture tended to hide or repress Critiquing and "shocking" the bourgeoisie for its hypocrisy and repressiveness Questioning the overemphasis on material and financial ‘respectability’ in ‘Victorian’ culture” “Futurism Reaction to experiences of political, industrial, urban, and capitalist revolutions Celebration of industry Celebration of technology Rejection of traditional art Rejection of Romantic > Expressionist responses to modernity Celebration of speed Celebration of violence Celebration of urban world Celebration of potential beauty of mechanized war “Dada Reaction to experiences of political, industrial, urban, and capitalist revolutions Reaction against First World War Rejection of rationalism Rejection of systematization Techniques designed to undermine order, reason, systematization Acceptance of disorder and surprise of modern existence” “Weimar Culture Reaction to experiences of political, industrial, urban, and capitalist revolutions Reaction to First World War Combinations of Expressionist, Cubist, Abstract techniques Rejection of rationalism Rejection of systematization Techniques designed to undermine order, reason, systematization Critique of post-war politics and society Focus on economic realities Representation of the suffering and fundamental dignity of the working classes Warnings of/calls for revolution Sense of pessimism forboding about the future” “Surrealism Reaction to experiences of political, industrial, urban, and capitalist revolutions Reaction against First World War Effort to combine objective and subjective experiences Use of Dada Techniques designed to record ‘psychic automatism’ Explicit use of Freudian theory Fear of backlash against modernist cultures” “Totalitarian Culture Reaction to experiences of political, industrial, urban, and capitalist revolutions Reaction to First World War Rejection of ‘modernisms’ Search for order Authoritarian rule Social/racial stratification Neo-Classical aesthetics Neo-Romantic aesthetics” “Existentialism Reaction to experiences of political, industrial, urban, and capitalist revolutions Reaction against totalitarianism Reaction against Second World War Rejection of underlying order, reason, systematization Acceptance of disorder and surprise of modern existence Insistence on existence preceding essence Rejection of the existence of a diety or divine plan Insistence on personal responsibility Acceptance the absurd (unpredictable/non-systematic) nature of existence” YOUR NAME: Your Topic: [Creator’s Name: Title of Work; Context] “I. INTRODUCTION A. Provide background about the historical context (social, political, military circumstances) relevant to the cultural movement of your example. Start with some discussion of at least the preceding era, as a way to set the scene for your topic. [Draw from class lectures, ‘historical background’ readings on course site, and other academic sources about the period.” Please type or paste your response here. “B. Provide background about the cultural context (intellectual/literary/artistic movement) as a reaction to the above, briefly establishing its major themes (not just your chosen three, but many or all of those listed above). Start with some discussion of at least the preceding movement, as a way to set the scene for your topic. [Draw from class lectures, ‘background’ readings in course site, and other academic sources about the culture of the period.]” Please type or paste your response here. “C. Provide background about the creator of your example: not a full biography, but discussion of him/her as an important representative of the trend—include pertinent anecdotes, etc. Introduce the work you are analyzing: briefly relate its origins and reputation. (Unless the work is little known, a full summary is NOT necessary. Assume that your reader experienced the work some time ago, but must be reminded of the basics.) Base this section on academic sources.” Please type or paste your response here. “D. Develop a Thesis Area including a statement of thesis and plan of argument: argue that the work is an important representative of its ‘context,’ since it conveys three of the themes mentioned above. Announce the themes in full sentences or clauses, in the order that they will be covered in the body. Think in terms of a thesis area or paragraph which announces each point in a full sentence.” Please type or paste your response here. “II. ANALYSIS OF THEME ONE A. Provide information about major aspects of the historical context to which the cultural movement was responding. Draw from background readings, our discussions, or other sources. Then, discuss this cultural theme as a response to these factors of the historical context. Include reference to ‘theoretical statements’ of contemporaries and members, as well as secondary interpretations by historians (in academic sources).” Please type or paste your response here. “B. Present examples of the theme as communicated in other examples of the cultural movement. Include written, visual, and musical examples when possible. Establish thereby that this was an important idea or concept in the era.” Please type or paste your response here. “C. Present proof that the theme is communicated in the work you are analyzing [as introduced in IC & ID]: include very specific evidence from the source itself (direct quotes from written sources or careful descriptions of visual & musical materials, integrated well into your explanation of its significance).” Please type or paste your response here. “III. ANALYSIS OF THEME TWO A. Provide information about major aspects of the historical context to which the cultural movement was responding. Draw from background readings, our discussions, or other sources. Then, discuss this cultural theme as a response to these factors of the historical context. Include reference to ‘theoretical statements’ of contemporaries and members, as well as secondary interpretations by historians (in academic sources).” Please type or paste your response here. “B. Present examples of the theme as communicated in other examples of the cultural movement. Include written, visual, and musical examples when possible. Establish thereby that this was an important idea or concept in the era.” Please type or paste your response here. “C. Present proof that the theme is communicated in the work you are analyzing [as introduced in IC & ID]: include very specific evidence from the source itself (direct quotes from written sources or careful descriptions of visual & musical materials, integrated well into your explanation of its significance).” Please type or paste your response here. “IV. ANALYSIS OF THEME THREE A. Provide information about major aspects of the historical context to which the cultural movement was responding. Draw from background readings, our discussions, or other sources. Then, discuss this cultural theme as a response to these factors of the historical context. Include reference to ‘theoretical statements’ of contemporaries and members, as well as secondary interpretations by historians (in academic sources).” Please type or paste your response here. “B. Present examples of the theme as communicated in other examples of the cultural movement. Include written, visual, and musical examples when possible. Establish thereby that this was an important idea or concept in the era.” Please type or paste your response here. “C. Present proof that the theme is communicated in the work you are analyzing [as introduced in IC & ID]: include very specific evidence from the source itself (direct quotes from written sources or careful descriptions of visual & musical materials, integrated well into your explanation of its significance).” Please type or paste your response here. “V. CONCLUSION: Develop a full conclusion in which you strongly reiterate your thesis and the ways you have demonstrated it. Write it with some passion!” Please type or paste your response here. “References If you cite or paraphrase materials from secondary sources, you must provide reference notes. If you use MLA, you can provide a list of sources on or below this page, to coordinate with your parenthetical references. Or, Using Microsoft Word, you may add “endnotes” to the document where necessary. Historians generally use this modified "Chicago" style. Complete footnotes of this nature do not require an additional bibliography page. First References: Book: Author Name (first last), Title (City: Publisher, Year), [Cited Page(s)]. Edited Book: Editor(s) Name(s) (first last), ed., Title, (City: Publisher, Year), [Cited Page(s)]. Journal Article: Author Name (first last), "Article Title," Journal Volume no., Issue (Year) Pages [of whole article]: [Cited Page(s)]. Newspaper Article: Reporter Name (first last), "Article Title," Newspaper, Issue Date, [Cited Page(s)]. Website: Author, Title (Access Date ); available from [URL]. Immediately repeated source: Ibid., [Cited Page(s)]. Subsequently repeated source (after first mention, and intervening references to other sources): Last Name, Shortened Title, [Cited Page(s)]. References to background materials in the course documents can go as: Goethe, Faust, in Course Readings for History 106, Loyola University Chicago, Spring 2011. Or Eugen Weber, “Romanticism,” in Course Readings for History 106, Loyola University Chicago, Spring 2011. The background readings on the website are from Jackson J. Spielvogel, Western Civilization since 1500 (Wadsworth, 2004), pp…”