Read the excerpt from "Hokusai's The Great Wave.”So The Great Wave, far from being the quintessence of Japan, is a hybrid work, a fusion of European materials and conventions with a Japanese sensibility. No wonder this image has been so loved in Europe: it is an exotic relative, not a complete stranger.It also, I think, shows a peculiarly Japanese ambivalence. As a viewer, you have no place to stand, no footing. You too must be in a boat, under the Great Wave, and in danger. The dangerous sea over which European things and ideas travelled has, however, been drawn with a profound ambiguity.
Read the paragraph.Each year between April and October, millions of baseball fans head out to fields across America to watch their favorite teams compete against each other. But how and when did baseball become recognized as the national sport of the United States?
In the future, which method of communication will be considered culturally significant as a representation of the 2020s?
Read the excerpt from "Ship's Chronometer from HMS Beagle."These were enormous and belief-shattering ideas for many people in the nineteenth century, but time was also changing in a much more day-to-day, or rather hour-to-hour, way. Thanks to clockmakers like Earnshaw, precise and reliable clocks and watches became ever more affordable. Before long the whole of Britain was running by the clock, and the measurement of time had been severed from the natural cycle of days and seasons. The clock ruled every aspect of life – shops and schools, pleasure and work. As Charles Dickens wrote, ‘There was even railway time observed in clocks, as if the sun itself had given in.’
What does pausing before a certain word in the middle of a sentence provide for the listener?
When do listeners benefit from listening? Select three options.when the narrator emphasizes key wordswhen they analyze text features on their ownwhen the narrator pauses for effectwhen they reread text for claritywhen sound effects are used
Read the excerpt from A History of the World in 100 Objects.The drum was found by Kitchener’s army near Khartoum after the Anglo-Egyptian reconquest of the city. Once again it was re-carved – or re-branded – to make a political statement: near the tail of the bush calf Kitchener added the emblem of the British Crown. It was then presented to Queen Victoria.
Read the excerpt from "Benin Plaque: The Oba with Europeans.”Many wild theories were put forward. It was thought that the plaques must have come from ancient Egypt, or perhaps that the people of Benin were one of the lost tribes of Israel. Or the sculptures must have derived from European influence (after all, these were the contemporaries of Michelangelo, Donatello and Cellini). But research quickly established that the Benin plaques were entirely West African creations, made without European influence. The Europeans had to revisit, and to overhaul, their assumptions of easy cultural superiority.
Read the excerpt from "Hokusai's The Great Wave.”Hokusai has taken more than colour from the West – he has also borrowed the conventions of European perspective to push Mount Fuji far into the distance. It is clear that Hokusai must have studied European prints, which the Dutch had imported into Japan and which circulated among artists and collectors. So The Great Wave, far from being the quintessence of Japan, is a hybrid work, a fusion of European materials and conventions with a Japanese sensibility. No wonder this image has been so loved in Europe: it is an exotic relative, not a complete stranger.
Read the excerpt from A History of the World in 100 Objects.The process of redefining the British political nation was a slow one. It began in the 1820s, and by the 1880s roughly 60 per cent of the male population had the right to vote – but no women. The campaign for women's suffrage had begun shortly after the Great Reform Act of 1832, but the battle only really got going at the start of the twentieth century, when the suffragette movement was born and with it a new level of female assertiveness, indeed violence. Here are the words of Dame Ethel Smyth, who composed the song ‘March of the Women’, which was a battle hymn of the suffragettes.
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