Eugene Delacroix the first ethnographic essayEssay Writing Service

Eugene Delacroix the first ethnographic essayEssay Writing Service Eugene Delacroix the first ethnographic essay Eugene Delacroix the first ethnographic essayThe Orient has been a central attraction to both the Western artists during the nineteenth century, and in this period a number of Oriental tales and pictures help shaped ideas of the East and feeds into stereotypical perceptions of the Orient lands; particularly Turkey, Eygypt, Syria and more recently North Africa. These works of art not only help us to understand how prominent artists interpreted the orient of his dream, but also points to popular changing perceptions, conflicts and how art can contribute to the way in which we perceive the Orient during that era. A number of artist are prey to received idea of the Orient as lawless, barbaric and backward by engaging and reproducing such political orientalist thoughts into their works. Many of these works continue to be particularly relevant today, when a range of challenges and current debates continuously challenge the ways in which we think about, and come to terms with, the Orient.Of these various challenges, this essay will in particular focus on the issue of contradiction and ambiguities surrounding Eugene Delacroix (1798-1863)   as an ethnographer during his voyage to North Africa, in 1832.Being relatively new to the country’s social, political and geographic structure, Delacroix struggled with ‘coming to terms’ with the reality that was before him. In order to explore the possibility of Delacroix being the first ethnographer to have traversed through North Africa, this essay will draw on Delacroix’s watercolour sketches; A courtyard in Tangier; Arab woman sitting on some cushions, study for the Women in Algiers; Arab fantasia in front of The gates of Meknes. This essay will also analyse Delacroix’s oil paintings; Jewish Wedding; Women of Algiers In their Apartment; Moroccans conducting Military Exercises (Fantasia).  Ã‚   All these paintings have a connection to Delacroix journey and through the comparative analysis bet ween these paintings, a wealth of notes can be drawn from, learnt and interpreted.Firstly, this essay will provide a brief overview of Delacroix’s pre-North Africa conception of the oriental scene in order to contextualise the significance   of his later construction of Oriental art. Secondly, the essay will draw from his watercolour sketches in order to consider how he grappled with being confronted by the aesthetic spectacles of North Africa and demonstrate how Delacroix’s direct relationship with the Orient space may or may not have transformed his vision and approach of the Orient. Thirdly, this essay will contrast Delacroix’s watercolour sketches with that of his major canvases, and consider elements that perhaps could justify Delacroix’s transformation from the orientalist artist to the ethnographic one.  Prior to North Africa, Delacroix had been a proponent of the Romantic whose skill set in George P. Mras[1] view involves subject matters that are exotic and whose aim in structuring composition is to heighten emotional response and drama, with the use of the artist’s personal interpretation and imagination. Hence, Delacroix approach to Orient themes then, was filled with violence and cruelty in the oriental subjects. Death of Sardanapulas (1826), for example, influenced from Lord Byron’s 1821 tragedy Sardanapulus[3], incorporated these romanticised elements. The tone to the tragedy was elevated with the addition of more dead bodies and murders than the original scene, the reds and yellows in this image intensified the scene and made it more disorderly to the eye.The clever use of lighting draws our eyes towards the moment of disorder at the center of the picture, illuminating the atmosphere of death and destruction. The artist deliberate enhancement to the original imagery only stressed strong degree of pain, suffering and tortures which highlights the barbaric nature of the Orient. Such paintings are classi c examples of artworks which explicitly served the political interest in Orientalist art that fed the nature of orientalist thoughts of the period.The Death of Sardanapalus (1827) is the early paining created several years before his trip to North Africa. The Death of Sardanapalus contains strong orientalist trends which, to a certain extent are similar to those depicted in his Saada, the Wife of Abraham Benchimol, and Preciada, One of Their Daughters (1832). The Death of Sardanapalus focuses on the depiction of the last days of the ancient king Sardanapalus, who decided to kill his wives, servants and himself to escape from enemies, who were about to capture his city[4]. However, European trends are stronger in this painting compared to the watercolor painting created during his trip to North Africa. For instance, the female nudity was traditional for European art of that time.Delacroix’s freedom of visual expression evident in his watercolour sketches (1832) affected percep tions of the stereotypical Orientalist thoughts in a very different, perhaps more subtle, way than his earlier works. It also mark a departure from his previous intense styles. Perhaps this freedom was due to his effort to preserve the fleeting experience that may be lost if not instantaneously captured[5], and at the same time revealing imageries, techniques and aesthetic discourse that are fresh. Whats remarkable about Delacroix’s sketches is that despite the hasten showcased a discipline that is conservative and pure in its content. Brahim Alaoui[6] concludes that Delacroix’s ability to capture   shed his pre conceived notion of the Orient, and freed himself of former prejudices and had approached Morocco with a fresher, newer outlook.This can seen in watercolour sketches created by Delacroix, including A courtyard in Tangier; Arab woman sitting on some cushions, study for the Women in Algiers; Arab fantasia in front of The gates of Meknes. These sketches are ligh t hearted attempts to record the authentic environment of Arabs.He paints with great vividness and emotion but with the minimal use of bright colours. Such superficial but detailed sketches resemble the documentation, archiving and note taking, collecting details and architecture of those communities, which Delacroix attended during his trip to North Africa. His trip brought him new impressions and bright emotions uncovering the truth about the life of local tribes and people inhabiting Arab countries and Maghreb region.However, in accordance with Brahim Alaoui’s description, Elizabeth Fraser argues thatOn the one hand, we have Edward Said and Linda Nochlin arguing that European culturally-embedded stereotypes about North Africa were reproduced in artistic and cultural production, regardless of what artists encountered.Through the myriad of studies in watercolour of various subjects of the everyday was amassed during his journey, it is showcases Delacroix versatility in captu ringand these were later mixed and match used much later, in his major canvases. Watercolour studies like Arab Interior and A courtyard in Tangier are examples of an ethnographic documentation of the living conditions of the people in Morocco and such sketches are used in his major canvases, years down the road. Both sites display an airy, spacious room painted with a thin layer of paint that emphasised the light feel of the site. Delacroix has employed exceptional skill and care in authentically reproducing intricate detail of the architectural structure (anathema to his usual painterly practice), this painting is designed to communicate the inherent cultural differences of the East. Details from A courtyard in Tangier was also later used as the main scene for his oil painting The Jewish Wedding (1837/41).Apart from Delacroix’s fascination with the architectures in North Africa, he was also interested in the human and social areas and this is seen in his watercolours Arab fa ntasia in front of The gates of Meknes and the study for the Women in Algiers. Delacroix recorded those activities in his sketch to show the lifestyle of Arabs which was different from the traditional lifestyle of Europeans. More important, it was different from the lifestyle of Arabs imagined by Orientalists. Another sketch, Arab Interior shows the interior architecture and design of traditional Arab households. Delacroix makes the sketch but records distinct details that help viewers to understand the atmosphere of the interior of Arab households and the lifestyle of people. Light walls decorated with some paintings, places to seat located close to the window, the arch above the seats, densely decorated window and other elements convey the original atmosphere of Arab household. Even thought this watercolour is just a sketch but still it conveys details that allow viewers to understand main elements of the dà ©cor and interior of Arab buildings and households. Delacroix’s s ketch is the view from within the building.Arab woman sitting on some cushions; Study for The Women of Algiers is another watercolour sketch that also shows the interior of Arab household but, unlike Arab Interior, Arab woman sitting on some cushions; Study for The Women of Algiers depicts a woman lying on cushions. Her posture is absolutely natural, lazy in a way, and apparently relaxed. She is not confused at all. There are no signs of anxiety on her face, but her eyes are looking a bit downward that may be the implication of some embarrassment from uncovering her private life to a stranger, like Delacroix. Nevertheless, she is not over-agitated. She leans on her elbow casually that shows that she has accustomed to such position and it is absolutely natural for her. The interior surrounding the woman is relatively simple. She lies on cushions which cover a large part of the room around her. There are no many elements of furniture, which was traditional for European interior, which Delacroix accustomed to. However, the interior depicted on Arab woman sitting on some cushions; Study for The Women of Algiers seems to be intentionally simple to show that the Arab woman is not pursuing some extraordinary comfortable conditions. The minimalism of the furniture is absolutely natural since the woman seems to have everything she needs and she is not even looking for more being satisfied with her life.In Arab fantasia in front of The gates of Meknes record in rapid and literal way what he actually observed. Arab fantasia in front of The gates of Meknes shows Arabs conducting military exercises which were probably their traditional activities. This stirring scene – a tumultuous line of violent, turbaned Arabs charging towards some hidden enemy – had as its source a fantasia viewed by Delacroix while in Morocco: a choreographed military spectacle that is unique to Morocco, whose origin was, as its name suggests, more in the imagination than actuality. The painter’s fluid and gestural brushwork, the sharp contours and the rich palette, produce an image of the Orient as dazzling and theatrical, a wild place of dust and violence.After his trip to North Africa, the artist attempted to convey the authentic spirit and way of life of North Africa which was quite different from the one he used to. At this point, his earlier works, like The Death of Sardanapalus (1827), are absolutely different from his post-trip works. The Death of Sardanapalus is vulnerable to the considerable influence of Orientalism, whereas Arab fantasia in front of The gates of Meknes reflects the authentic way of life of the population of North Africa. In such a way, the artist attempted to show the real life and the different way of life of the local population to make Europeans acquainted with the totally different culture. At the same time, he debunked those Orientalist myths concerning North Africa that prevailed in European culture before his trip to the re gion.Delacroix preserved in his attempt to make sketchlike technique as an expressive device – a visual stimulus intended to activate the viewer’s imagination into creative response.[7] However, his oil canvases have a stronger impact on the audience due to the use of richer colours and concise brush moves, especially in the center of his paintings, such as Women of Algiers In their Apartment, where the artist depicts females in details. His brush moves are accurate and mirror the certainty of the painter in every move he made. This oil canvas depicts vividly the interior of the female part of Arab household. Again the author depicts the same cushions, minimalistic interior with a few elements of furniture and cushions on the carpet covering the floor of the room. Women sitting on the carpet and cushions or leaning on them talk to each other but there are no males around them. this details is important because Delacroix shows local traditions of segregation of male and female parts of households. By the way, the same trend can be traced in Delacroix’s Jewish Wedding oil on canvas created in 1837. The artist depicts the Jewish wedding, which he probably witnessed during his trip to North Africa. The distinct feature of this painting is the presence of males only with a woman dancing in the left part of the painting. This painting basically supports the male/female segregation in North African communities. Hence, the author shows distinct features of the traditional lifestyle, rites, architecture, interior and decorations of households of people living in North Africa. Delacroix pays attention to details of clothing, relations between people, and their lifestyle.Thus, Delacroix became the first ethnographic artist, who recorded the life of people in North Africa, their lifestyle, habits, clothing, entertainments, architecture, interior, gender relations and many other issues. Canvases and sketches mentioned above show the development and evo lution of Delacroix. Sketches and canvases discussed above show the evolution of Delacroix from the artist influenced by European Orientalism to the ethnographic artist, who first made sketches to record important details of the life of people living in North Africa, while later oil canvases created after his return from Africa complete the transformation of his views and show that Delacroix became the first ethnographic artist revealing the different way of life of North African people compared to the traditional way of life of Europeans.[1] Sheriff, M.D. (2010). Cultural Contact and the Making of European Art since the Age of Exploration. Chapel Hill: The University of North Carolina Press[2] metmuseum.org/toah/hd/euor/hd_euor.htm[3] artble.com/artists/eugene_delacroix/paintings/the_death_of_sardanapalus[4] Delacroix, E. (1827). The Death of Sardanapalus. Available online from artble.com/imgs/e/7/a/934950/the_death_of_sardanapalus.jpg[5] Sheriff, M.D. (2010). Cultural Contact and the Making of European Art since the Age of Exploration. Chapel Hill: The University of North Carolina Press[6] Ibid.[7] Pg 79 eugene delacroix’s theory of art by George P. Mras, Princeston, New Jersey, Princeton university Press, 1966, published for the department of art and archeology

Newtons Second Law Essay Example

Newtons Second Law Essay Example Newtons Second Law Paper Newtons Second Law Paper To confirm the relationship between the net force applied to a body and the bodys acceleration.Background:This experiment has two parts; Part A: How does the acceleration of a trolley change as you change the weight of the total mass on a mass holder supported by a pulley?; Part B: How does the acceleration of a trolley change as you change the weight of the total mass on the trolley itself?When the trolley is released, it accelerates to the right due to the mass on the mass holder, passing through two light gates. A scalar timer connected to each light gate records the time taken for a card mounted on the glider to pass through the light gate The time recorded at the two light gates is used to calculate 2 different speeds of the glider, and hence the acceleration of the glider may be found.Equipment: Trolley, 2 light gates, 2 scalar timers, masses, string, card, ruler, electric scalePart A:Data Collection:Mass of Weight (g)Time (s)Trial 1Trial 2Trial 3Trial 4LG1LG2LG1LG2LG1LG2LG1LG2 300.840.440.870.450.850.440.860.44400.620.330.640.320.630.320.620.32500.520.280.530.270.530.270.530.27600.450.240.460.240.460.240.460.24700.420.220.420.220.410.210.410.21800.390.200.390.200.390.200.390.20900.370.190.360.190.360.190.360.191000.340.170.340.180.340.170.340.181100.320.170.320.170.320.170.320.171200.300.160.300.160.300.160.300.16Constants:Mass of car 607.8 gDistance between light gate 1(LG1) to light gate 2 (LG2): 30 cmCard length: 17 cmData Processing:To convert the masses to forces we must do the following. Since the measurements are taken in grams we need to divide by 1000. This makes our measurements change to kilograms. After that we need to multiply by 9.8 because 1 kg is 9.8 N.Mass of Weight (g)Force (N)300.29400.39500.49600.59700.69800.78900.881000.981101.081201.18Since we have more than one trial for each mass, we need to find the average times for each mass.Average Times:Force (N)LG1 Time (s)LG2 Time (s)0.290.860.440.390.630.320.490.530.270.590.460.240.690.420. 220.780.390.200.880.360.190.980.340.181.080.320.171.180.300.16If then to calculate the velocity we will take the length of the card (17 cm) which is d, and divide it by the average times.Velocities:Force (N)LG1 Velocity (ms-1)LG2 Velocity (ms-1)0.290.200.380.390.270.530.490.320.620.590.370.710.690.410.790.780.440.850.880.470.890.980.500.971.080.531.001.180.571.06To calculate the acceleration we will need to use the following equation for motion:The next step is to make a (acceleration) the subject of the equationThis means that, where v is final velocity, u is initial velocity, and s is the distance traveled which is a fixed value of 30 cm (Distance between Light Gate 1 and Light Gate 2)Acceleration:Force (N)Acceleration (ms-2)0.290.180.390.340.490.480.590.610.690.760.780.890.880.970.981.161.081.201.181.35There is a linear relationship in this graph; this shows that the net force is directly proportional to the acceleration.Part B:Data Collection:Additional Mass of Cart (g)Time (s)T rial 1Trial 2Trial 3Trial 4LG1LG2LG1LG2LG1LG2LG1LG200.390.200.390.200.400.200.400.20500.420.210.430.220.420.210.430.221000.460.230.460.230.450.230.450.231500.490.250.500.250.490.250.490.252000.510.260.500.250.520.270.510.262500.540.280.550.280.540.280.550.283000.580.290.570.290.590.290.570.293500.610.310.610.310.610.310.610.314000.660.340.650.330.660.350.650.344500.790.390.780.390.800.400.780.38Constants:Mass of car: 407.7 gDistance between light gate 1(LG1) and light gate 2 (LG2): 30 cmCard length: 17 cmMass on Pulley: 50 gData Processing:Mass of Cart:To find the mass of the cart we need to add the initial mass of the cart to the additional mass added onto it. We also need to convert this number into kilograms.Additional Mass on Cart (g)Mass of Cart (g)Mass of Cart (kg)0407.70.4150457.70.46100507.70.51150557.70.56200607.70.61250657.70.66300707.70.71350757.70.76400807.70.81450857.70.86Since we have more than one trial for each mass, we need to find the average times for each mass.Av erage Times:Mass of Cart (kg)LG1 Time (s)LG2 Time (s)0.410.400.200.460.430.220.510.460.230.560.490.250.610.510.260.660.550.280.710.580.290.760.610.310.810.660.340.860.790.39If then to calculate the velocity we will take the length of the card (17 cm) which is d, and divide it by the average times.Velocities:Mass of Cart (kg)LG1 Velocity (ms-1)LG2 Velocity (ms-1)0.410.430.850.460.400.790.510.370.740.560.350.680.610.330.650.660.310.610.710.290.590.760.280.550.810.260.500.860.220.44To calculate the acceleration we will need to use the following equation for motion:The next step is to make a (acceleration) the subject of the equationThis means that, where v is final velocity, u is initial velocity, and s is the distance traveled which is a fixed value of 30 cm (Distance between Light Gate 1 and Light Gate 2)Acceleration:Mass of Cart (kg)Acceleration (ms-2)0.410.900.460.770.510.680.560.570.610.520.660.460.710.440.760.370.810.300.860.24Since we are getting a hyperbola shape in the graph, we will try to graph Mass of Cart vs. Acceleration-1 to get a linear relationship.I think that the last two points are outliers and they have been subject to lots of error. This is why I will draw the graph again without including them in the trend line.These graphs show that the mass of the cart is inversely or indirectly proportional to the acceleration. This means that the mass of the cart is directly proportional to the inverse of the acceleration.Conclusion and Evaluation:Figure 1Figure 2The aim of this lab is to confirm the relationship between the net force applied to a body and the bodys acceleration. The experiment has two parts: Part As aim is to see how the net force applied to a body affects the acceleration and Part Bs aim is to see what happens to the acceleration as you increase the mass of the cart.Obviously, the higher the net force on a body, the larger its acceleration. This is the obvious thing we found out from part a. In part B we found out that as the mass of the cart increased, its acceleration decreased. This is where the errors come in.This experiment was designed in a way the friction would be very minute or inexistent. The first set-up is using an air track; this allows the vehicle to move freely without friction due to a cushion of air being blown through the air track. The second set-up is using a friction compensated runway; this runway cancels out the effect of friction. However, our set-up included friction; this means that our results are distorted. The other thing is that all the values for the acceleration are lower than the actual value. This is because of Friction; all these calculations neglect the effect of friction. Friction makes a body move slower, slow moving bodies have a large inertia, so all the values of Mass are larger than the actual value.Assume there are two bodies, body A and body B. They are traveling on different surfaces but are pushed with the same force. Body A has a smaller net force than body B; there fore you assume that Body A has a larger mass than Body B or Body B has a larger acceleration than Body A. What if I told you that this is not the case? Maybe Body A and Body B have the same mass, what would you think? It would be logical to think that there are other forces acting on the system, Friction. Body A is traveling on a wooden surface (friction is present), Body B is traveling on a slippery, frictionless surface (friction is not present). So Body A doesnt have a larger mass than Body B, its just the surfaces that make us think so. This is the same here; these calculations assumed that friction was something else, which is why there are absurd numbers.If then imagine that a tension force of 1 N is acting on a body which is accelerating a 5 meters per second squared. and and This means the mass of the body equals 0.2 kilograms. What is happening in our situation is that our acceleration is smaller than it should be due to the other forces acting on the cart, like friction a nd air resistance. For example, instead of 5 ms-2 it is 4ms-2. This causes for there to be an error in our calculations.and and . This means the mass of the body is 0.25 kilograms- but its not. This value is larger than the real value, and this is exactly what is happening to us.The same problem exists in Part B. The net force is always less than the real value, 0.49 N. This is due to the other forces acting on the body like friction and air resistance., in part B the net force is always constant and the mass and acceleration are always changing. Since the acceleration is going to be smaller than it should be (due to the other forces acting on the body) the net force will also be smaller than it should be.The other problem with including friction comes in part B. When you add weights on the cart, you increase the force of gravity acting on the cart and the force of normal reaction acting on the cart (Figure 2). But, as you increase the mass of the cart you push the cart and make it come closer to the surface it is in contact with. This increases the force of friction and makes is increase as you increase the mass of the cart.The other (smaller) errors in our lab were the following. Firstly, the way we released the weight that would pull the cart was different each time, there is no way of keeping that the same no matter how hard we try. Secondly, we drew a line that shows where we are supposed to release the cart; the cart will never be in the same position as it was the first time we released it. Finally, we did this lab in two sittings, this means the environment changed and we had to make some adjustments, this affected the accuracy of our lab.To ensure the accuracy of our lab we did many things. Firstly, we measured the distance between the light gates more than one and between trials. Secondly, we made sure that the light gates were placed parallel to the edge of the counter. Also, we drew a line that would show us where we should release the cart. Next, we did four trials instead of three or one trial. We weighed the cart more than once and we measured the length of the card more than once as well. Finally, we tried to keep the lab as accurate as possible by doing the same jobs each time because everybody does their own job in their own way and if that way was kept constant than our results would be more accurate.Next time, we will use a different set-up, preferably with an air-track and a very streamlined glider. We will take even more accurate measurements so that our data would be even more accurate than it is. We will make sure we are releasing the cart from the same place each time, even if it means we need to use a magnifying glass. We will also try to do this lab in one sitting. Finally, we will try to come up with a way in which we will release the cart so that it would be the same each time.

The measurement of inflammatory oedema in skin Essay

The measurement of inflammatory oedema in skin - Essay Example The PubMed database contains more than 80,000 references related to the problem of the inflammation in medicine and biology. Nevertheless, the studies dedicated to the problem of inflammatory response do not loose their pertinence and keep top positions on the ranking of the most important scientific directions. The physiology of inflammation is very complicate. There are five universal hallmarks of the inflammation, four of theme were described by Celsus in the Ancient Rome as follows tetrad: rubor (i.e. hyperemia or redness due to increased blood flow), calor (heat due to increased metabolic activity and blood flow), tumor (i.e. swelling or oedema), and dolor (i.e. pain). The fifth hallmark of the inflammation was added to the previous by Dr. Rudolf Virhow only in the middle of XIX century. This is "functio laesa" or loss of function. But these visible indices of the inflammation are the result of the sophisticated processes mediated by the numerous humoral and cellular factors (Ley, 2001). Thus there is well known, that the inflammatory response has two components - cellular and exudative. The exudation is characterized by producing exudates i.e. fluids and cellular substances that are slowly discharged from blood vessels of inflamed tissues. The exudates contain proteins (fibrin and others) and could be released due to the increase of capillary permeability in the affected tissue. This process leads to the occurrence of oedema, thus by the measurement of swelling area the researcher can control the intensity of the inflammation. There is also important to remember that oedema distends the tissues, irritate the nervous receptors and can cause pain (Ley, 2001). The cellular component of the inflammation is presented by the emigration of leucocytes from the blood vessels into the inflamed tissues. Nevertheless for the research planned and conducted by the schedule of our training there is more important to recognise main mediators of the inflammation. There was demonstrated in the studies conducted recently (Ley, 2001; Sigal, 2005; Hildebrand, Pape & Krettek, 2005) that cytokines interleukin-1 and tumor necrotizing factors can play important role in the upregulation of the endothelial receptors and the processes of extravasation (i.e. e,igration of inflammatory cells into extravascular sites). This can increase intensity of swelling also. The vasoactive agents can influence on the processes of the exudation and extravasation significantly. Nevertheless they role are not studied completely. In the last decades the researchers pais great attention to the mechanisms of the impact of some vasoactive peptides on the microvascular responses during the acute and chronic inflammation. There are many candidates for profound studies in this area, nevertheless, some investigators prefer to use calcitonin gene-related peptide (CGRP) for modelling physiological reactions during the inflammatory response. This is a 37 amino acid peptide that is produced in the central and peripheral nervous system in the rodents (rats and mice). Since 1985 (Brain et al) there is known that CGRP is an extremely potent and long lasting microvascular vasodilator which can act to potentiate