Week 8 assignment: essay – interrelationships reflection apa format | Applied Sciences homework help

1. Is there is any correlation between a flourishing state of the arts and a democracy? A tyranny? Back up your answers with reference to specific leaders.

Factual values can be verified experimentally, put through the tests of the sci- entific method. Normative values are verified experientially, put through the tests of good or bad consequences. Satisfaction, for ourselves and the others involved, is an experiential test that the normative values we chose in a given instance were jac16871_ch16_397-406.indd 401 12/11/17 8:53 PM 402

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probably right. Suffering, for ourselves and the others involved, is an experiential test that the normative values we chose were probably wrong. Experiential testing of normative values involves not only the immediacy of experience but also the consequences that follow. Science can also point out these consequences, of course, but science cannot make them so forcefully clear and present as the arts, thus so thoroughly understandable. The arts are closely related to the other humanities, especially history, philosophy, and theology. In conclusion, we shall give only a brief sketch of these relationships, for they are very complex and require extensive analyses that we can only suggest. FOCUS ON The Arts and History, the Arts and Philosophy, the Arts and Theology The Arts and History Historians try to discover the what and the why of the past. They need as many relevant facts as possible in order to describe and explain the events that happened. Often they may be able to use the scientific method in their gathering and verification of facts. But in attempting to give as full an explanation as possible as to why some of the events they are tracing happened, they function as humanists, for here they need understand- ing of the normative values or ideals of the society they are studying. Among their main resources are works of art. Often such works will reveal people’s hopes and fears— their views of birth and death, blessing and disaster, victory and disgrace, endurance and decline, themselves and God, fate and what ought to be. Only with the understand- ing of such values can history become something more than a catalog of events. In one of his most famous sonnets, John Milton immortalized a moment in 1655 by reference to history and the horrors of a single event. In “On the Late Massacre in Piedmont,” Milton refers to a mass killing in a religious war in northern Italy carried out by the Catholic Duke of Savoy. He attacked a Protestant group called Waldensi- ans, who had lived in the region peacefully for almost 200 years. The slaughter took place on April 24, 1655, close to Easter.

ON THE LATE MASSACRE IN PIEDMONT

Avenge, O Lord, thy slaughtered saints, whose bones Lie scattered on the Alpine mountains cold; Even them who kept thy truth so pure of old, When all our fathers worshiped stocks and stones, Forget not: in thy book record their groans Who were thy sheep, and in their ancient fold Slain by the bloody Piedmontese, that rolled Mother with infant down the rocks. Their moans The vales redoubled to the hills, and they To heaven. Their martyred blood and ashes sow O’er all the Italian fields, where still doth sway The triple Tyrant; that from these may grow A hundredfold, who, having learnt thy way, Early may fly the Babylonian woe. [Note: “The triple Tyrant” refers to the pope, who wore a three-sectioned tiara; “the Babylonian woe” is Milton’s reference to the Catholic Church.] jac16871_ch16_397-406.indd 402 12/11/17 8:53 PM 403

THE INTERRELATIONSHIPS OF THE HUMANITIES

Milton’s role in this historical event was as a representative of the British Prot- estant government, drafting and sending an official protest to the Duke of Savoy. Milton’s poem was designed for his immediate English audience and ultimately for us. His detail and his metaphors reveal the significance, to him, of this terrible massacre of people, like sheep, who were unaware that the Duke’s soldiers had come to kill them or convert them. The Arts and Philosophy Philosophy is, among other things, an attempt to give reasoned answers to funda- mental questions that, because of their generality, are not treated by any of the more specialized disciplines. Ethics, aesthetics, and metaphysics (or speculative philosophy), three of the main divisions of philosophy, are closely related to the arts. Ethics is often the inquiry into the presuppositions or principles operative in our moral judg- ments and the study of norms or standards for value decisions. If we are correct, an ethic dealing with norms that fails to take advantage of the insights of the arts is inadequate. John Dewey even argued that Art is more moral than moralities. For the latter either are, or tend to become, con- secrations of the status quo, reflections of custom, reenforcements of the established order. The moral prophets of humanity have always been poets even though they spoke in free verse or by parable.1 Sarah Norcliffe Cleghorn (1876–1959) was a friend of Robert Frost and a Ver- monter most of her life. She was also an activist and deeply concerned with social issues. The New England in which she lived was filled with mills like those Lewis Hine photographed in North Carolina (Figure 16-2), producing the clothing and necessaries FIGURE 16-2 Lewis Hine (1874–1940), Rhodes Mfg. Co., Lincolnton, NC. Spinner. A moment’s glimpse of the outer world. Said she was 10 years old. Been working over a year. Location: Lincolnton, North Carolina. (Hine’s title). 1908. National Archives. ©Lewis Hine/The Image Works continued 1John Dewey, Art as Experience (New York: Minton, Balch, 1934), p. 348. jac16871_ch16_397-406.indd 403 12/11/17 8:53 PM 404 CHAPTER 16 of much of the nation. Young children worked regularly in those mills, especially up in the top floors, where there was less room for adults to stand upright. The wealthy men who owned the mills worked the laborers intensely while they sometimes enjoyed their recreations. Cleghorn’s poem, published in 1916, has no title because it is a qua- train from a longer poem, but it has been widely quoted as it is here: The golf links lie so near the mill That almost every day The laboring children can look out And see the men at play. For Cleghorn, the irony of men at play while children work, like the girl looking out the window in Hine’s photograph, was an ethical issue. The labor system of the day saw no problem with what she described, but she wrote this poem in protest. Throughout this book we have been elaborating an aesthetics, or philosophy of art. We have been attempting to account to some extent for the whole range of the phenomena of art—the creative process, the work of art, the experience of the work of art, criticism, and the role of art in society. On occasion we have avoided restricting our analysis to any single area within that group, considering the interrelationships of these areas. And on other occasions we have tried to make explicit the basic assump- tions of some of the restricted studies. These are typical functions of the aesthetician, or philosopher of art. For example, much of our time has been spent doing criticism— analyzing and appraising particular works of art. But at other times, as in Chapter 3, we have tried to make explicit the presuppositions or principles of criticism. Critics, of course, may do this themselves, but then they are functioning more as philosophers than as critics. Furthermore, we have also reflected on how criticism influences art- ists, participants, and society. This, too, is a function of the philosopher. The Arts and Theology Theology involves the study of the sacred. As indi- cated in Chapter 1, the humanities in the medieval period were studies about humans, whereas the- ology and related studies were studies about God. But in present times, theology, usually broadly con- ceived, is placed with the humanities. Moreover, for many religious people today, ultimate values or the values of the sacred are not necessarily ensconced in another world “up there.” In any case, some works of art—the masterpieces—reveal ultimate values in ways that are relevant to contemporary life. For many artists, art is an avenue to the sacred. The great cathedrals of the Middle Ages in Eu- rope were often decorated with stone carvings around the portals (doorways). We know the identities of many of the figures on, for example, Chartres Cathedral. Most of them are recog- nizable as saints or apostles; some are gargoyles and apocryphal figures. However, the one in Figure 16-3 is known only as a crowned woman with a halo holding a book. The sculpture repre- sented here is a twentieth-century copy, which is FIGURE 16-3 The crowned woman with a halo holding a book on the left portal of the west facade of Chartres Cathedral. ©Lee A. Jacobus jac16871_ch16_397-406.indd 404 12/11/17 8:53 PM 405

THE INTERRELATIONSHIPS OF THE HUMANITIES

why it is so clear-featured. The original is in the crypt. But we see that the urge to deco- rate the church with sculpture may have included the representation of local people of high standing, either in terms of aristocratic influence or special high moral reputation. This figure is represented as holy, as queenly, and as scholarly. The medieval valuation of religious experience produced innumerable such examples of sacred art. This is a case of appropriation, in which the structure uses sculpture to complete its mission. The Jesuit priest Gerard Manley Hopkins (1844–1889) wrote some of the best re- ligious poetry of his time. He did not publish while he lived, and wrote relatively little, but his work has been considered of the first order of Victorian poetry. His theology included an appreciation of the value of sensory experience. His poem “Pied Beauty,” published in 1918, praises God for the beauty perceptible in the natural world, espe- cially in animals and objects whose markings may seem to imply that they are imperfect.

PIED BEAUTY

Glory be to God for dappled things— For skies of couple-color as a brinded cow; For rose-moles all in stipple upon trout that swim; Fresh-firecoal chestnut-falls, finches’ wings; Landscape plotted and pieced—fold, fallow, and plough; And áll trádes, their gear and tackle and trim. All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him. Hopkins reflects on the whole of experience by his meditation on the “thisness” of physical experience through the senses that leads him to a deeper understand- ing of the spiritual qualities of beauty, which he connects directly to God. Hopkins destroyed his early poetry and stopped writing for many years because he thought writing poetry was inappropriate to his calling as a theologian. But his studies of the early church theologian Duns Scotus (1265/66–1308), who promoted the concept of “thisness,” freed Hopkins to begin writing again. Scotus’s concept of “thisness” gave Hopkins permission to write about the physical world, as he does in “Pied Beauty.” Hopkins takes pleasure in sensual experience in the fashion of most observant poets. CONCEPTION KEY Ethics and the Arts 1. Reflect on the works of art we have discussed in this book. Which ones do you think might have the most relevance to an ethicist? Why? 2. How does the sculpture of the crowned woman with a halo holding a book seem to represent the sacred and the ethical? 3. What seem to be the ethical issues that concern Lewis Hine? 4. What seem to be the ethical issues that concern Sarah Norcliffe Cleghorn? 5. How do Hine’s photograph and Cleghorn’s poem contribute to a humanist’s under- standing of values? 6. In what ways are Hine’s photograph and Cleghorn’s poem revelatory? Do they transform their subject matter? jac16871_ch16_397-406.indd 405 12/11/17 8:53 PM 406

CHAPTER 16

summary The arts and the other humanities are distinguished from the sciences because in the former, generally, strictly objective or scientific standards are irrelevant. In turn, the arts are distinguished from the other humanities because in the arts values are revealed, whereas in the other humanities values are studied. Furthermore, in the arts perception dominates, whereas in the other humanities conception dominates. In our discussion about values, we distinguish between (1) intrinsic values— activities involving immediacy of feeling, positive or negative; (2) extrinsic values—activities that are means to intrinsic values; and (3) intrinsic-extrinsic values—activities that not only are means to intrinsic values but also involve sig- nificant immediacy of feeling. A value is something we care about, something that matters. The theory of value presupposed in this book has been relational; that is, value emerges from the relation between a human interest and an object or event. Value is not merely subjective—projected by human interest on some ob- ject or event—nor is value merely objective—valuable independently of any subject. Values that are described scientifically are value facts. Values set forth as norms or ideals or what ought to be are normative values. The arts and the other humanities often have normative relevance: by clarifying what ought to be and thus what we ought to do. Finally, the arts are closely related to the other humanities, especially history, philosophy, and theology. The arts help reveal the normative values of past cultures to the historian. Philosophers attempt to answer questions about values, especially in the fields of ethics, aesthetics, and metaphysics. Some of the most useful insights about value phenomena for the philosopher come from artists. Theology involves the study of religions, and religions are grounded in ultimate concern for values. No human artifacts reveal ultimate values more powerfully to the theologian than works of art. jac16871_ch16_397-406.indd 406 12/11/17 8:53 PM

G-1

GLOSSARY

A A-B-A In music, a three-part structure that consists of an opening section, a contrasting second section, and a return to the first section. Abstract, or nonrepresentational, painting Painting that has the sensuous as its subject matter. Acrylic In painting, pigment bound by a synthetic plastic substance, allowing it to dry much faster than oils. Adagio A musical term denoting a slow and graceful tempo. Aerial perspective The portrayal of distance in painting by means of dimming light and atmosphere. See perspective. Aesthetics Philosophy of art: the study of the creative pro- cess, the work of art, the aesthetic experience, principles of criticism, and the role of art in society. Agnosticism Belief that one cannot know for sure whether God exists. Aleatory Dependent on chance. Allegory An image, a figure, or a term that symbolizes a specific hidden meaning. Allegretto A musical term denoting a lively tempo but one slower than allegro. Allegro A musical term denoting a lively and brisk tempo. Alliteration In literature, the repetition of consonant sounds in two or more neighboring words or syllables. Ambiguity Uncertain meaning, a situation in which sev- eral meanings are implied. Sometimes implies contradic- tory meanings. Anapest A poetic metrical foot of three syllables, the first two being short and the last being long. Andante A musical term denoting a leisurely tempo. Appropriation In the arts, the act of combining the artist’s basic medium with the medium of another art or arts but keeping the basic medium clearly dominant. See synthe- sis and interpretation. Arabesque A classical ballet pose in which the body is sup- ported on one leg, and the other leg is extended behind with the knee straight. Arcade In architecture, a series of arches side by side and supported by columns or piers. Arch In architecture, a structural system in which space is spanned by a curved member supported by two legs. Archetype An idea or behavioral pattern, often formed in prehistoric times, that becomes a part of the uncon- scious psyche of a people. The archetype is embedded in the “collective unconscious,” a term from Jungian psychology that has been associated by Jung with myth. In the arts, the archetype is usually expressed as a nar- rative pattern, such as the quest for personal identity. See myth. Architrave In post-and-lintel architecture, the lintel or lowermost part of an entablature, resting directly on the capitals of the columns. Arena Theater A stage arrangement in which the stage is surrounded on all sides by seats. Aria An elaborate solo song used primarily in operas, ora- torios, and cantatas. Art Deco In the visual arts, a style prevalent between 1915 and 1940. Art Nouveau A style of architecture characterized by lively serpentine curves and organic growth. Artistic form The organization of a medium that clar i fies or reveals a subject matter. See con tent, decorative form, subject matter, and work of art. Artlike Works that possess some characteristics of works of art but lack revelatory power. Assemblage The technique of sculpture, such as welding, whereby preformed pieces are attached. See modeling. Assonance A sound structure employing a similarity among vowels but not consonants. Atonal Music without a dominant key. Auteur The author or primary maker of the total film, usu- ally the director. Avant-garde The “advance guard”—innovators who break sharply with traditional conventions and styles. Axis line An imaginary line—generated by a visible line or lines—that helps determine the direction of the eye in any of the visual arts. Axis mundi A vertically placed pole used by some primi- tive peoples to center their world. B Baroque The style dominant in the visual arts in seventeenth - century Europe following the Renaissance, character- ized by vivid colors, dramatic light, cur vi lin ear heavy lines, elaborate ornamentation, bold scale, and strong expression of emotion. Music is the only other art of jac16871_Glossary_G1-G8.indd 1 12/9/17 11:27 AM

G-2 GLOSSARY

that time that can be accurately described as Baroque. See Rococo. Beauty An arrangement that is pleasing. Binder The adhering agent for the various media of painting. Blank verse Poetry with rhythm but not rhyme. Buttress In architecture, a structure built on a wall, vault, or an arch for reinforcing support. C Cadence In music, the harmonic sequence that closes a phrase. Cantilever In architecture, a projecting beam or structure supported at only one end, which is anchored to a pier or wall. Carving Shaping by cutting, chipping, hewing, etc. Casting The process of making a sculpture or other ob ject by pouring liquid material into a mold and al low ing it to harden. Catharsis The cleansing or purification of the emotions and, in turn, a spiritual release and renewal. Centered space A site—natural or human-made—that orga- nizes other places around it. Character In drama, the agents and their purpose. Chiaroscuro Technique in painting that combines and contrasts light and shade. Chord Three or more notes played at the same time. Cinematic motif In film, a visual image that is repeated ei- ther in identical form or in variation. Cinematography The way the film camera tells a story. Classical style In Greek art, the style of the fifth century BCE. More generally, the term “Classical” sometimes re- fers to the ancient art of Greece and Rome. Also, it some- times refers to an art that is based on ra tional prin ci ples and deliberate composition. The low er case term “classic” can mean excellence, whatever the pe riod or style. Closed line In painting, hard and sharp line. See line. Coda Tonal passage or section that ends a musical com- position. Collage A work made by pasting bits of paper or other ma- terial onto a flat surface. Collective unconscious Jung’s phrase for the universality of myths among cultures, some of which had no contact. Color The property of reflecting light of a particular wave- length. Color value Shading, the degree of lightness or darkness of a hue. Comedy A form of drama that is usually light in subject matter and ends happily but that is not necessarily void of seriousness. Complementary colors Colors that lie opposite each other on the color wheel. Composition The organization of the elements. See design. Computer art Works using the computer as the medium. Conception Thinking that focuses on concepts or ideas. See perception. Conceptual art Works that bring the audience into direct contact with the creative concepts of the artist; a de- emphasis on the medium. Conceptual metaphor A comparison that evokes ideas. Configurational center A place of special value, a place to dwell. Connotation Use of language to suggest ideas and/or emo- tional coloration in addition to the explicit or denoted meaning. “Brothers and sisters” denotes relatives, but the words may also connote people united in a common effort or struggle, as in the “International Brotherhood of Teamsters” or the expression “Sisterhood is powerful.” See denotation. Consonance When two or more tones sounded simultane- ously are pleasing to the ear. See dissonance. Content Subject matter detached by means of artistic form from its accidental or insignificant aspects and thus clari- fied and made more meaningful. See subject matter. Cool color A color that is recessive, such as blue, green, and black. Cornice The horizontal molding projecting along the top of a building. Counterpoint In music, two or more melodies, themes, or motifs played in opposition to each other at the same time. Craft Skilled making. Craftwork The product of craft, usually utilitarian and beautiful. Crescendo A gradual increase in loudness. Criticism The analysis and evaluation of works of art. Cross-referencing Memory of a similar work that enriches a participative experience. Crosscutting In film, alternation between two separate ac- tions that are occurring at the same time. D Dadaism A movement begun during World War I in Eu- rope that was anti-everything; a precursor of shock art and Duchampism. Decoration An artlike element added to enhance or adorn something else. Decorative form The organization of a medium that pleases, distracts, or entertains but does not inform about values. See artistic form. Denotation The direct, explicit meaning or reference of a word or words. See connotation. Denouement The section of a drama in which events are brought to a conclusion. jac16871_Glossary_G1-G8.indd 2 12/9/17 11:27 AM

GLOSSARY G-3

Descriptive criticism The description of the subject matter and/or form of a work of art. Design The overall plan of a work before implementation. See composition. Detail Elements of structure; in painting, a small part. Detail relationships Significant relationships between or among details. See structural relationships. Diction In literature, drama, and film, the choice of words with special care for their expressiveness. Dissolve In film, the slow ending of a scene. Dissonance When two or more tones sounded simultane- ously are unpleasant to the ear. See consonance. Documentarists Photographers who document the pres- ent to preserve a record of it as it disappears. Duchampism School of art that produced works that are anti-art and anti-establishment but are funny rather than angry. See Dadaism. Dynamics In music, the loudness and softness of the sound. E Earth sculpture Sculpture that makes the earth the me- dium, site, and subject matter. Earth-dominating architecture Buildings that “rule over” the earth. Earth-resting architecture Buildings that accent neither the earth nor the sky, using the earth as a platform with the sky as a background. Earth-rooted architecture Buildings that bring out with spe- cial force the earth and its symbolism. See sky-oriented architecture. Eclecticism A combination of several different styles in a work. Editing In film, the process by which the footage is cut, the best version of each scene chosen, and these versions joined together for optimum effect. See montage. Elements The basic components of a medium. See media. Elements of drama (Aristotle’s) Plot, character, thought, diction, spectacle, and music. See entries under individ- ual elements. Embodiment The meshing of medium and meaning in a work of art. Emotion Strong sensations felt as related to a specific and apparent stimulus. See passion and mood. Epic A lengthy narrative poem, usually episodic, with he- roic action and great cultural scope. Epicureanism The belief that happiness is based on pleasure. Episodic narrative A story composed of separate incidents (or episodes) tied loosely together. See organic narrative. Ethics The inquiry into the presuppositions or principles operative in our moral judgments. Ethics is a branch of philosophy. Evaluative criticism Judgment of the merits of a work of art. Expressionism School of art in which the work emphasizes the artist’s feelings or state of mind. Extrinsic value The means to intrinsic values or to further, higher values. See intrinsic value. F f/64 Group A group of photographers whose name de- rives from the small aperture, f/64, which ensures that the foreground, middle ground, and background will all be in sharp focus. Fantasia A musical composition in which the “free flight of fancy” prevails over conventional structures such as the sonata form. Figure of speech Language used to heighten effect, espe- cially by comparison. Flaw in character (hamartia) In drama, the prominent weakness of character that leads to a tragic end. Flying buttress An arch that springs from below the roof of a Gothic cathedral, carrying the thrust above and across a side aisle. Folk art Work produced outside the professional tradition. Form-content The embodiment of the meaning of a work of art in the form. Forte A musical term denoting loud. Framing The photographic technique whereby important parts of figures or objects in a scene are cut off by the edges of the photograph. Fresco A wall painting. Wet fresco involves pigment ap- plied to wet plaster. Dry fresco involves pigment applied to a dry wall. Wet fresco generally is much more endur- ing than dry fresco. Frieze Low-relief sculpture running high and horizontally on a wall of a building. Fugue A musical composition in which a theme, or mo- tive, is announced and developed contrapuntally in strict order. Seecounterpoint. G Genre Kind or type. Genre painting Subjects or scenes drawn from everyday life portrayed realistically. Gouache A watercolor medium with gum added. Greek cross A cross with equal vertical and horizontal arms. See Latin cross. H Happenings Very impromptu performances, often involv- ing the audience. See shock art. Harmony The sounding of notes simultaneously. jac16871_Glossary_G1-G8.indd 3 12/9/17 11:27 AM

G-4 GLOSSARY

Hearer One who hears music without careful attention to details or structure. See listener. High-relief sculpture Sculpture with a background plane from which the projections are relatively large. Historical criticism The description, interpretation, or evaluation of works of art with reference to their histor- ical precedents. Hue The name of a color. See saturation. Humanities Broad areas of human creativity and analysis essentially involved with values and generally not using strictly objective or scientific methods. I Iambic pentameter Type of poetic meter. An iamb is a met- rical unit, or foot, of two syllables, the first unaccented and the second accented. Pentameter is a five-foot line. See sonnet. Idea art Works in which ideas or concepts dominate the medium, challenging traditional presuppositions about art, especially embodiment. In an extreme phase, ideas are presented in diagram or description rather than in execution. See embodiment. Illumination Hand-drawn decoration or illustration in a manuscript. Illustration Image that closely resembles an object or event. Imagery Use of language to represent objects and events with strong appeal to the senses, especially the visual. Impasto The painting technique of heavily applying pig- ment so as to create a three-dimensional surface. Impressionist school The famous school of art that flourished between 1870 and 1905, especially in France. Impression- ists’ approach to painting was dominated by a concentra- tion on the impression light made on the surfaces of things. Improvisation Music or other performance produced on the spur of the moment. Inorganic color In painting, flat color, appears laid on the object depicted. See organic color. Intaglio A printmaking process in which ink is transferred from the grooves of a metal plate to paper by extreme pressure. Intentional fallacy In criticism, the assumption that what the artists say they intended to do outweighs what they in fact did. Interpretation In the arts, the act of using another work of art as subject matter. See appropriation and synthesis. Interpretive criticism Explication of the content of a work of art. Intrinsic value The immediate given worth or value of an object or activity. See extrinsic value. Irony A literary device that says one thing but means an- other. Dramatic irony plays on the audience’s capacity to perceive the difference between what the characters expect and what they will get. K Key A system of tones based on and named after a given tone—the tonic. Kitsch Works that realistically depict objects and events in a pretentious, vulgar manner. L Labanotation A system of writing down dance movements. Largo A musical term denoting a broad, very slow, stately tempo (also called lento). Latin cross A cross in which the vertical arm is longer than the horizontal arm, through whose midpoint it passes. Chartres and many other European cathedrals are based on a recumbent Latin cross. See Greek cross. Legato A musical term indicating that a passage should be played smoothly and without a break between the tones. Leitmotif In music, a leading theme. Libretto The text of an opera. Line A continuous marking made by a moving point on a surface. The basic building block of visual design. Linear perspective The creation of the illusion of distance in a two-dimensional work by means of converging lines. In one-point linear perspective, developed in the fifteenth century, all parallel lines in a given visual field converge at a single vanishing point on the horizon. See perspective. Listener One who listens to music with careful attention to details and structure. See hearer. Living space The feeling of the comfortable positioning of things in the environment that promotes both liberty of movement and paths as directives. Low-relief sculpture Sculpture with a background plane from which the projections are relatively small. Lyric A poem, usually brief and personal, with an empha- sis on feelings or states of mind as part of the subject matter. Lyric songs use lyric poems. M Machine sculpture Sculpture that reveals the machine and/or its powers. Madrigal In music, a secular song usually for two or three unaccompanied voices. Mass In sculpture, three-dimensional form suggesting bulk, weight, and density. jac16871_Glossary_G1-G8.indd 4 12/9/17 11:27 AM

GLOSSARY G-5

Media The materials out of which works of art are made. These elements either have an inherent order, such as colors, or permit an imposed order, such as words; these orders, in turn, are organizable by form. Singular, me- dium. See elements. Melodic line A vague melody without a clear beginning, middle, and end. Melodrama In theater, a genre characterized by stereotyped characters, implausible plots, and emphasis on spectacle. Melody A group of notes having a perceivable beginning, middle, and end. See theme. Metaphor An implied comparison between different things. See simile. Middle Ages The centuries roughly between the dissolu- tion of the Roman Empire (ca. 500) and the Renaissance (fifteenth century). Mixed media The combination of two or more artistic media in the same work. Mobile A constructed structure whose components have been connected at the joints to move by force of wind or motor. Modeling The technique of building up a sculpture piece by piece with some malleable material. See assemblage. Moderato A musical term instructing the player to be nei- ther fast nor slow in tempo. Modern art The bewildering variety of styles that de vel oped after World War II, characterized by the ten dency to re- ject traditionally accepted styles, em pha siz ing originality and experimentation, often with new technologies. Modern dance A form of concert dancing relying on emo- tional use of the body, as opposed to formalized or con- ventional movement, and stressing emotion, passion, mood, and states of mind. Montage The joining of physically different but usually psychologically related scenes. See editing. Mood A feeling that arises from no specific or apparent stimulus. Motive In music, a brief but intelligible and self-contained unit, usually a fragment of a melody or theme. Myth Ancient stories rooted in primitive experience, usu- ally of unknown authorship, ostensibly based on histori- cal events of great consequence. N Narrative A story told to an audience. Narrator The teller of a story. Negative space In sculpture, any empty or open space. Neo-classical A return in the late eighteenth and early nine- teenth centuries, in reaction to the Baroque and the Ro- coco, to the Classical styles of ancient Greece and Rome, characterized by reserved emotions. See Romanticism. New Comedy Subject matter centered on the foibles of so- cial manners and mores. Usually quite polished in style, with bright wit and incisive humor. Nocturne In music, a pensive, dreamy composition, usu- ally for piano. Normative values Values set forth as norms or ideals, what “ought to be.” O Objective correlative An object, representation, or image that evokes in the audience the emotion the artist wishes to express. Objectivist theory of value Value is in the object or event itself independently of any subject or interest. See rela- tional and subjectivist theory of value. Ode A ceremonious lyric poem. Oil painting Artwork in which the medium is pigment mixed with linseed oil, varnish, and turpentine. Old Comedy Subject matter centered on ridiculous and/ or highly exaggerated situations. Usually raucous, earthy, and satirical. Onomatopoeia The use of words whose sounds suggest their meaning. Open line In painting, soft and blurry line. See closed line. Organic color In painting, color that appears deep, as if coming out of an object depicted. See inorganic color. Organic narrative A story composed of separable incidents that relate to one another in tightly coherent ways, usu- ally causally and chronologically. See episodic narrative. P Panning In film, the moving of the camera without pause. Paradox An apparent contradiction that, upon reflection, may seem reasonable. Participative experience Letting something initiate and con- trol everything that comes into awareness—thinking from. Pas de deux A dance for two dancers. Pas de trois A dance for three dancers. Passion Emotions elevated to great intensity. Pediment The triangular space formed by roof jointure in a Greek temple or a building on the Greek model. Perception Awareness of something stimulating our sense organs. Perceptual metaphor A comparison that evokes images. Performance art Generally site-specific events often per- formed with little detailed planning and leaving much to chance; audience participation may ensue. See shock art. Perspective In painting, the illusion of depth. Philosophy The discipline that attempts to give reasoned answers to questions that—because of their generality—are jac16871_Glossary_G1-G8.indd 5 12/9/17 11:27 AM

G-6 GLOSSARY

not treated by any of the more specialized disciplines. Philosophy is the systematic examination of our funda- mental beliefs. Piano A musical term instructing the player to be soft, or quiet, in volume. Pictorial space The illusory space in a painting that seems to recede into depth from the picture plane (the “window effect”). Pictorialists Photographers who use realistic paintings as models for their photographs. See straight photography. Picture plane The flat surface of a painting, comparable to the glass of a framed picture behind which the picture recedes in depth. Pigment For painting, the coloring agent. Plot The sequence of actions or events in literature and drama. Polyphony In music, two or more melodic lines sounded together. Pop Art Art that realistically depicts and sometimes incor- porates mass-produced articles, especially the familiar objects of everyday life. Popular art Contemporary works enjoyed by the masses. Pornography Works made to sexually arouse. Post-and-lintel In architecture, a structural system in which the horizontal pieces (lintels) are upheld by verti- cal columns (posts). Also called post-and-beam. Presentational immediacy The awareness of something that is presented in its entirety with an “all-at-onceness.” Presto A musical term signifying a rapid tempo. Pretext The underlying narrative of the dance. Primary colors Red, yellow, and blue. See secondary colors. Print An image created from a master wooden block, stone, plate, or screen, usually on paper. Many impres- sions can be made from the same surface. Processional shot The camera focuses on figures and ob- jects moving toward the camera. Propaganda Political persuasion. Proportion Size relationships between parts of a whole. Proscenium The arch, or “picture frame,” stage of traditional theater that sets apart the actors from the au- dience. Protagonist The chief character in drama and literature. Q Quest narrative In literature, a story that revolves around the search by the hero for an object, prize, or person who is hidden or removed. This typically involves consider- able travel and wandering on the part of the hero. Quoins Large squared stones, often roughly cut, that accent the corners of a building. R Realism The portrayal of objects and events in a highly representational manner. An important style of painting around 1840–1860. Recessional shot The camera focuses on distant figures while leaving foreground figures somewhat blurred, used typically when the distant figure is leaving. Recitative Sung dialogue in opera, cantata, and oratorio. Recognition In drama, the moment of truth, often the climax. Region In painting, a large part. See detail. Regional relationships Significant relationships between regions. See structural relationships. Relational theory of value Value emerges from the relation between a human interest and an object or event. See ob- jectivist and subjectivist theory of value. Relief With sculpture, projection from a background. Renaissance The period in Europe from the fifteenth through sixteenth century with a renewed interest in ancient Greek and Roman civilizations. See Classical style. Representational Descriptive of portrayals that closely re- semble objects and events. Representational painting Painting that has specific ob- jects or events as its primary subject matter. See abstract painting. Requiem A mass for the dead. Reversal In drama, when the protagonist’s fortunes turn from good to bad. Rhyme A sound structure coupling words that sound alike. Rhythm The relationship, of either time or space, between recurring elements of a composition. Ritardando In music, a decrease in tempo. Rococo The style of the visual arts dominant in Europe during the first three-quarters of the eighteenth cen- tury, characterized by light curvilinear forms, pastel col- ors, ornate and small-scale decoration, the playful and lighthearted. Rococo music is lighter than Baroque. See Baroque. Romanticism Style of the nineteenth century that in reaction to Neo-classicism denies that humanity is essentially rational and the measure of all things, charac- terized by intense colors, open line, strong expression of feeling, complex organizations, and often heroic subject matter. Rondo A form of musical c

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