Which line would be best to include in a summary of "Hokusai's The Great Wave”?
What must students use when summarizing an informational text? Select 3 options.a casual toneinformal languageacademic languagean objective, formal tonea variety of sentence types
Read the excerpt from "Early Victorian Tea Set.” So our tea set is really a three-piece social history of nineteenth-century Britain. It is also a lens through which historians such as Linda Colley can look at a large part of the history of the world:It does underline how much empire, consciously or not, eventually impacts on everybody in this country. If in the nineteenth century you are sitting at a mahogany table drinking tea with sugar, you are linked to virtually every continent on the globe. You are linked with the Royal Navy, which is guarding the sea routes between these continents, you are linked with this great tentacular capital machinery through which the British control so many parts of the world and ransack them for commodities, including commodities that can be consumed by the ordinary civilian at home.
Which statement expresses a viewpoint?
Read the excerpt from "Hokusai's The Great Wave” by Neil MacGregor.In the early nineteenth century Japan had been effectively closed off from the world for 200 years. It had simply opted out of the community of nations.Kings are burning somewhere,Wheels are turning somewhere,Trains are being run,Wars are being won,Things are being doneSomewhere out there, not here.Here we paint screens.Yes . . . the arrangement of the screens.This is Stephen Sondheim’s musical tableau of the secluded and calmly self-contained country in 1853, just before American gunships forced its harbours to open to the world. It is a witty caricature of the dreamy and aesthetic Japanese, serenely painting screens while across the seas Europe and America industrialize and political turmoil rages.
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 "Early Victorian Tea Set.”But a loving, tranquil cup of tea has a violent hinterland. When all tea came into Europe from China, the British East India Company traded opium for silver and used that silver to buy tea. The trade was so important that it brought the two countries to war. The first of the conflicts, which we still refer to as the Opium Wars – they were in fact just as much about tea – broke out more or less as our teapot was leaving the Wedgwood factory. Partly because of these difficulties with China, in the 1830s the British set up plantations in the area around Calcutta and Indian tea was exempted from import duty to encourage demand.
Read the excerpt from "Hokusai's The Great Wave.”But there are other ways of reading Hokusai’s Great Wave. Look a little closer and you see that the beautiful wave is about to engulf three boats with frightened fishermen, and Mount Fuji is so small that you, the spectator, share the feeling that the sailors in the boats must have as they look to shore – it’s unreachable, and you are lost. This is, I think, an image of instability and uncertainty. The Great Wave tells us about Japan’s state of mind as it stood on the threshold of the modern world, which the US was soon going to force it to join.
Read the excerpt from "Early Victorian Tea Set” by Neil MacGregor.This is quite clearly mid-range pottery, simple earthenware of a sort that many quite modest British households were then able to afford. But the owners of this particular set must have had serious social aspirations, because all three pieces have been decorated with a drape of lacy hallmarked silver. The historian Celina Fox explains that tea-time had become a very smart event:In the 1840s the Duchess of Bedford introduces the ritual of afternoon tea, because by this time dinner had become so late, seven-thirty to eight o’clock, that it was a bit of a gap for the British tummy between lunchtime and evening. For a while there was a revival of tea-drinking, as a sort of meal for sandwiches and so forth, around four o’clock.
Read the excerpt from "Early Victorian Tea Set” by Neil MacGregor.As it got cheaper, tea also spread rapidly to the working classes. By 1800, as foreigners remarked, it was the new national drink. By 1900 the average tea consumption per person in Britain was a staggering 6 lbs (3 kilograms) a year. In 1809 the Swede Erik Gustav Geijer commented:Next to water, tea is the Englishman’s proper element. All classes consume it . . . in the morning one may see in many places small tables set up under the open sky, around which coal-carters and workmen empty their cups of delicious beverage.
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