Writing two of the five prompts.

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Qnak3

Writing

University of South Florida

Description

Please see the assignment instructions careful and write up to 900 words answering two of the five the prompts. You can choose any two you are comfortable with but please when you bring something from outside source please cite it as MLA format. Also, Try to read the whole assignment instructions file to make a good response to the prompts.


important for the prompts:

Stories and Poems:

Chekhov, "The Kiss"

Erdrich, "The Big Cat" (Links to an external site.)Links to an external site.

Boyle, "Are We Not Men?" (Links to an external site.)Links to an external site.

Fowlkes, "You'll Apologize If You Have to" (Links to an external site.)Links to an external site.

Gay, poems from Catalog of Unabashed Gratitude (available through Course Reserves)

Prikryl, "A Place as Good as Any"


Paintings for Prompt #1:

- Michelangelo, The Torment of St. Anthony

- Raphael, St. George and the Dragon

- Hans Holbein the Elder - Death of the Virgin

- Pieter Bruegel the Elder - Children's Games

- Marguerite Thompson Zorach - Memories of My California Childhood

- Piet Mondrian - Broadway Boogie Woogie

- Richard Hamilton - Just What Is It That Makes Today's Homes So Different, So Appealing?

- Wassily Kandinsky - Composition VIII


I can send you the pictures of the paintings if you want or you can just google it.


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Name ________________________________________________________ HUM 1020 Midterm Instructions Below, you will find five prompts. From those, select two and compose essay-style responses to them (except in the case of prompt five, which is an in-practice prompt which asks you to include images as well as written descriptions). Compose your answers in a word-processing software and print them out, double-spaced, to submit during class on Wednesday, March 21st. Be sure to include your name and the prompt number at the top of each response. Prompts Write your essay responses to two of the following five prompts. Any submitted midterms containing answers to more than two prompts will be subject to the grader randomly picking out which two answers to assess. 1) In our unit on painting, we talked a lot about distinctions between different ages of art (classical v. modern; modernism v. postmodernism), assessing the role of the artist and the way that the artwork engages the history of the medium and the public world the painting addresses. Choosing two paintings from the list on the assignment page on Canvas, use close reading to show how each painting is reflective of the periods to which it belongs and elaborate how the work is meant to address the culture in which the work was produced. 2) One of the most important aspects of literary fiction is the use of narrative structure. Narrative structure governs the ebbs and flows of dramatic action, lines of conflict, and character development, often (but not always) falling into five- or three-act structures. Using specific examples of the author’s prose, compare the narrative structures of two of the stories assigned for the course (Chekhov’s “The Kiss,” Erdrich’s “The Big Cat,” Boyle’s “Are We Not Men?”, or Fowlkes’ “You’ll Apologize If You Have to”), showing how each author (similarly or differently) uses narrative structure to aid the stories’ larger point or argument about some aspect of the world. 3) In addition to narrative structure, another significant way that writers instantiate meaning in their texts is through the use of patterns and repetitions. Great readings of texts consider patterns of meaning which, scaffolded on each other, enable a balance between very specific writerly choices (of diction, phrasing, syntax, etc.) and the larger, global structure of a narrative. Using either one of the four stories (Chekhov, Erdrich, Boyle, or Fowlkes) or one of the poems (Gay, Prikryl), specify a formal pattern used by an author and describe the larger point the author is making with it. 4) When we talked about Andy Warhol’s Marilyn Diptych in class, we read a short bit of Anne M. Wagner’s “Warhol Paints History, or Race in America” essay. The bit we read concerned whether it makes sense to call Warhol a painter, given his industrial production methods. The rest of Wagner’s essay talks about Warhol’s Race Riot series, framing them as “history painting.” Using Wagner’s text, use close readings of one of Warhol’s Race Riot works (there are many different versions, but all of them use common methods and image sources) to describe how Warhol fits (or doesn’t fit) within the definition of a “history painter.” 5) In-practice: We didn’t do an in-practice for installation and performance for the last test, for a few different reasons. However, for those who are interested in putting the concepts of installation or performance into practice, use this prompt as a space to do so. For this prompt, I want you to come up with an idea for a performance or installation work and then contextualize how you’re using either medium to a predesigned affect. Answers here should include a thorough description of the performance or installation (including specific descriptions of materials, costumes, spaces, or whatever else you’d use to make meaning), some hand or computer-drawn imaging or photographs of the installation/performance as you’re envisioning it, and then a short text describing how the artwork works as performance or installation (i.e. define the medium and then spell out how your work fits it), as well as what your overall goal or point would be if you were to put the installation/performance into practice. Grading Criteria Each response will be evaluated for its clarity, insightfulness, creativity, complexity, and use of core course concepts and skills. Each response will be graded on a scale of fifty (two responses x 50 points each = a total scale of 100 points). There is no necessary length for answers, although I think somewhere between 600-900 words will be adequate for most students. To be clear, your response will not be graded by length, but according to the criteria spelled out below. Responses earning an A-level grade (45-50 points) will have a clear central thesis, a thoughtful and complete response to the prompt, and consideration of the total structure as well as the specific details of the artworks concerned, as well as a considered perspective and position that ties the answer to a larger stake in the artwork (those stakes might be political, philosophical, personal, etc., so long as they’re described clearly and within the bounds of what the text can support). A-level responses go beyond what we’ve already talked about in class, using the core skills of close reading and larger conceptual orientation to elaborate something vital and important about the artworks concerned. Responses earning B-level grades (40-44) might have a clear thesis and some good uses of specific textual details, but might not elaborate a new or insightful position in relation to the texts used. These responses might have great ideas about the artworks concerned, but might not use specific details and close reading sufficiently or to the extent necessary to involve the specifics of the artwork as meaningful aspects of your total reading. Or alternatively, there might be moments of breathtaking and insightful textual analysis within a confusing or unclear overall structure. Or, perhaps, everything else being in place, the larger stakes of the analyses aren’t clearly delineated. In general, B-level responses are close to A-responses, but fall short in an area of considerable importance. C-level (35-39) responses might have a clear but underwhelming central argument, or might address details in an interesting way that isn’t well-contextualized within the prompt or the context of the artwork. Significant aspects of the argument in these responses might be missing or shoddy in their logic. Structurally, these responses tend less toward a unified central idea and more toward a collection of ideas that aren’t tied together in the context of an argument with a larger point to make and, correspondingly, a larger stake in the artwork’s overall meaning and value. Responses earning less than a C grade (D = 30-34 points; F = less than 30 points) are generally deficient in two or more of the areas described above and generally have unclear or incoherent argumentation, a lack of specific details from the artworks, etc. These responses are generally a product of a rushed writing situation, so try your best not to put yourself in a bad spot. Note: While the written mechanics of your prose aren’t a major area of assessment, you will be docked points in cases where your prose style gets in the way of making your argument clear. Major issues with prose (sentence fragments, run-on sentences, etc.) may also bring down your overall score. Advice: Since clarity is paramount here, I strongly advise you all to write out and specify a central thesis for each response, perhaps even marking it out by bolding it or by marking a “Thesis: ” at the top of each response. You aren’t required to have a proper introduction and conclusion, but these facets do often aid the readability and clarity of your responses. One more word: Any outside sources consulted must be cited in your paper, with proper bibliographic information presented in MLA or APA style. This, however, does not apply to the artworks themselves. Responses using outside sources or ideas that aren’t cited will be deemed plagiarism and will result in a 0/100 final grade, even if plagiarism is incidental or unintentional. If you’re concerned that something might fall under plagiarism, please consult your instructor.
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It has been great working with you right from the start to the end. I wish you all the best in your academics. Feel free to ask me any question in the future.

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Classical versus Modern Art
“The Torment of St. Anthony” painting by Michelangelo in the 1480s is a masterpiece
that continues to inspire generations, artists or not, hundreds of years since its inception. The
painting, which is now the property of the Kimbell Art Museum, features St. Anthony
surrounded by grim-faced demons while suspended in the air because he had resisted their
temptations. Below him are sharp rocks and a large water body, both of which could easily kill
him if he falls. The artist was only 13 years old when he put together the painting. This piece of
art is representative of the renaissance period between the 14th and 16th centuries when culture
identified with mythological thoughts and reveals the actively imaginative mind of
Michelangelo.
This is a classic art piece, telling a story that the audience can easily grasp and relate with
(Scott & Rutkof, 2001). It is based on the Italian sculptures and has absolutely no equivalent in
the use of perfect detail, balance, and symmetry. Art around the time was used to celebrate
humanity, in this case, St. Anthony. They are easier to understand because they evoke emotional
responses that link the audience to the ancient times in comparison to modern art. It is important
to note, however, that the great...


Anonymous
Just the thing I needed, saved me a lot of time.

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