Date of publication: 2017-08-25 06:38
Torvald perceives Nora as a foolish woman who is ignorant of the way society works, but he likes Nora&rsquo s foolishness and ignorance because they render her helpless and therefore dependent on him. It soon becomes clear to us that Nora&rsquo s dependence, not Torvald&rsquo s love for Nora as a person, forms the foundation of Torvald&rsquo s affection for her. In Act One, Torvald teases Nora about wasting money but then tries to please her by graciously giving her more. Similarly, he points out her faults but then says he doesn&rsquo t want her to change a bit. He clearly enjoys keeping Nora in a position where she cannot function in the world without him, even if it means that she remains foolish.
The formal analysis of works other than paintings needs different words. In Learning to Look , Joshua Taylor identified three key elements that determine much of our response to works of sculpture. The artist “creates not only an object of a certain size and weight but also a space that we experience in a specific way.” A comparison between an Egyptian seated figure (Louvre, Paris) and Giovanni da Bologna’s Mercury (National Gallery of Art, Washington, DC) reveals two very different treatments of form and space:
[Diebenkorn's] particular way of forming the picture... is captivating,... organizing the picture plane into large, relatively open areas interrupted by a greater concentration of activity, a spilling of shapes and colors asymmetrically placed on one side of the picture. In Woman by a Large Window the asymmetry of the painting is further enhanced by having the figure not only placed at the left of the picture but, more daringly, facing directly out of the picture. This leftward direction and placement is brought into a precarious and exciting but beautifully controlled balance by the mirror on the right which... creates a fascinating ambiguity and enrichment of the picture space.
became an obsession. We find the traces of this throughout this still-life. He actually draws the contour with his brush, generally in a bluish grey. Naturally the curvature of this line is sharply contrasted with his parallel hatchings, and arrests the eye too much. He then returns upon it incessantly by repeated hatchings which gradually heap up round the contour to a great thickness. The contour is continually being lost and then recovered... [which] naturally lends a certain heaviness, almost clumsiness, to the effect but it ends by giving to the forms that impressive solidity and weight which we have noticed. 76
98. The evolutionary success of organisms depends on reproduction. Some groups of organisms reproduce asexually, some reproduce sexually, while others reproduce both sexually and asexually.
Sample student responses to an AP . History document-based question, scored using the updated 7568 AP history rubric. Includes scoring guidelines and commentary.
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Then Fry turned to “the organization of the forms and the ordering of the volumes.” Three of the objects in the still-life are mentioned, but only as aspects of the composition.
97. Discuss the processes of cleavage, gastrulation, and neurulation in the frog embryo tell what each process accomplishes. Describe an experiment that illustrates the importance of induction in development.
During the Civil War era there existed many factions seeking to dramatically change America. Remarkable speakers spread their ideas through oratory, thrilling their audiences through powerful speeches that appealed to both emotion and logic. Frederick Douglass, a black American, fought for black.
78. The problem of survival of animals on land are very different from those of survival of animals in an aquatic environment. Describe four problems associated with animal survival in terrestrial environments but not in aquatic environments. For each problem, explain an evolutionary solution.
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5. How do the characters in A Doll&rsquo s House use the words &ldquo free&rdquo and &ldquo freedom&rdquo ? Do different speakers use the terms differently? Do they take on different connotations over the course of the play?