Phylosophy Paper1

University of Phoenix Material

Philosophy and Arts Worksheet

Take no more than three sentences to answer the following questions (15 pts):

· What is the primary Freudian influence evident in Figure 33.2?

· Describe the difference between expressionism and abstract expressionism.

· Explain how Dada might be reflective of the change in society as a result of science opposed to psychology.

· What is one primary similarity and one primary difference between the dance of Martha Graham and Merce Cunningham?

· Review Figure 33.2. Provide three attributes of the painting that reflect the expressionist movement.

Essay question – answer the following question in no more than 525 words (5 pts). Use proper APA citations.

· What are the similarities and differences of readings 33.2 and 33.3? Cite specific examples from each to support your answer.

https://prezi.com/y4yylkq99qmw/chapter-33-the-freudian-revolution/

please on the link you will find the figures 33.2 and 33.3

the first figure on the slide “scream” and the second “berlin…” respectively

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CHAPTER 32 The Modernist Assault

The Humanistic Tradition, Book 6: Modernism, Postmodernism, and the Global Perspective, 7e

T. S. Eliot

No English-speaking poet advanced the Modernist agenda more powerfully than the American-born writer T. S. (Thomas Stearns) Eliot (1888–1965). Meeting Pound in 1914, Eliot joined him in the effort to rid modern poetry of romantic sentiment. He held that poetry must seek the ver- bal formula or “objective correlative” (as he called it) that gives precise shape to feeling. Eliot’s style soon became notable for its inventive rhythms, irregular cadences, and startling images, many of which draw on personal reminis- cences and obscure literary resources.

Educated at Harvard University in philosophy and the classics, Eliot was studying at Oxford when World War I broke out. He remained in England after the war, becom- ing a British citizen in 1927 and converting to the Anglican faith in the same year. His intellectual grasp of modern philosophy, world religions, anthropology, and the classical literature of Asia and the West made him the most erudite literary figure of his time.

Begun in 1910, Eliot’s poem “The Love Song of J. Alfred Prufrock” (reproduced here in full) captures the wan- ing idealism that pervaded the years leading up to World War I. The “love song” is actually the dramatic monologue of a timid, middle-aged man who has little faith in himself or his capacity for effective action. Prufrock’s cynicism anticipated the disillusion and the sense of impotence that marked the postwar generation (discussed in greater detail in chapter 34).

READING 32.2 Eliot’s “The Love Song of J. Alfred Prufrock” (1915)

S’io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocche giammai di questo fondo Non torno vivo alcun s’i’odo il vero, Senza tema d’infamia ti rispondo.1

Let us go then, you and I, 1 When the evening is spread out against the sky Like a patient etherised upon a table; Let us go, through certain half-deserted streets,

The muttering retreats 5 Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument

Of insidious intent To lead you to an overwhelming question . . . 10 Oh, do not ask, “What is it?” Let us go and make our visit.

1 LinesfromDante’s“Inferno,”Canto27,61–66,spokenbyGuido da Montefeltro, who was condemned to Hell for the sin of false counseling. In explaining his punishment to Dante, Guido is still apprehensive of the judgment of society.

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In the room the women come and go Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes, 15 The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains,

Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, 20 And seeing that it was a soft October night, Curled once about the house, and fell asleep.

And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window-panes; 25 There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands2 That lift and drop a question on your plate; 30 Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.

In the room the women come and go 35 Talking of Michelangelo.

And indeed there will be time To wonder, “Do I dare?” and, “Do I dare?” Time to turn back and descend the stair, With a bald spot in the middle of my hair— 40 (They will say: “How his hair is growing thin!”) My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin— (They will say: “But how his arms and legs are thin!”) Do I dare 45 Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse.

For I have known them all already, known them all— Have known the evenings, mornings, afternoons, 50 I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room.

So how should I presume?

And I have known the eyes already, known them all— 55 The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall,

Then how should I begin To spit out all the butt-ends of my days and ways? 60

And how should I presume?

An ironic allusion to the poem “Works and Days” by the eighth- century B.C.E. poet Hesiod, which celebrates the virtues of hard labor on the land.

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