Analysis Of John Milton s Paradise Lost - 1852 Words

Juan Linares Mr. Maust English IV AP 10 October 2015 Select a novel, play, or epic in which a character experiences such a rift and becomes cut off from â€Å"home,† whether that home is the character’s birthplace, family, homeland, or other special place. Then write an essay in which you analyze how the character’s experience with exile is both alienating and enriching, and how this experience illuminates the meaning of the work as a whole. You may choose a work from the list below or one of comparable literary merit. Do not merely summarize the plot. (2010 AP Literature and Composition) Disobedience and Exile an Analysis of Satan from Milton’s Paradise Lost John Milton’s epic poem, Paradise Lost, has been the subject of criticism and interpretation through many years; these interpretations concur in that Adam and Eve are the sufferers of the poem, and it is their blight to lose Paradise because of their disobedience; however, their exile is merely a plight brought by Satan, and it is he who suffers exile before any others. Satan changes from Book I of the poem to Book XII; his introduction is heroic and grand, appearing as a hero rebelling against an unjust God. But by the finalization of Milton’s poem, Satan is a burnt shell of himself and, though ruler of Pandemonium, he sits in a throne in the lowest pit from God’s light. Satan’s exile brings forth the salvation of mankind and his own regressive transformation; tying in with the theme of disobedience, Satan’s exile givesShow MoreRelatedAnalysis Of John Milton s Paradise Lost Essay2201 Words   |  9 PagesEve’s story arc in Paradise Lost, by John Milton, is a bildungsroman, the German word for a â€Å"novel of education.† Eve develops through the five stages of a typical bildungsroman character, as demonstrated by several different works from the genre. It will be useful to discuss several different bildungsromans from different eras and regions to fully determine the necessary characteristics of a bildungsroman, like The Odyssey, To Kill a Mockingbird, David Copperfield, Adventures of Huckleberry FinnRead MoreAnalysis Of John Milton s The Of Paradise Lost 1122 Words   |  5 Pageshumankind could be considered heroic according to well-known author John Milton. Book IX of Paradise lost portrays this sense of heroism through the sins of Adam and Eve, but also creates a sense of controversy through the unexpected personality swap between Satan and of God. This literary work is a major contribution to biblical and literary history; therefore a reason why this work is still read today. The poem must turn tragic, and Milton asserts his intention to show this great fall is more heroic thanRead MoreAnalysis Of John Milton s Paradise Lost 1499 Words   |  6 Pagesbeing, an epic hero if that being has done what is required. In John Milton’s, â€Å"Paradise Lost†, the character of Satan presents itself as an epic hero, Milton tests that the character of Satan forces the reader to consider the possibility that Satan may actually be a hero, or at the very least, a character worth seeing in a more complex light. This along with the following examples are all showing how the character of Satan in â€Å"Paradise lost†, can be view and is viewed as an epic hero thought the novelRead MoreAnalysis Of John Milton s Paradise Lost 1071 Words   |  5 Pages Writing AP Exam Essays Advanced Placement English Literature Composition Name Juan Linares Major Work Data Page Paradise Lost Writer/Nationality John Milton/ UK 1608-1674 Theme/Meanings of the work as a whole Disobedience plays a key role in the unfolding of Milton’s poem. Satan disobeys God because God gave him free will, and causes Eve to disobey Adam, to disobey God. Justification of God. Death must happen to the world but because of the Son, DeathRead MoreAnalysis Of John Milton s Paradise Lost 1035 Words   |  5 PagesSatan is the first figure to speak in Milton’s poems in Paradise Lost. His words to Beelzebub are the sort of utterances a politician would make to his party members after a defeat. It combines convincement with the virtue of emotional manipulation. Satan’s words shift like a dream from expression of grief and sympathy to the restatement of united defiance, to which Beelzebub replies unconsciously. Milton creates this shift so subtly that it is hardly noticed and highlights through this that theRead MoreAnalysis Of John Milton s Paradise Lost 869 Words   |  4 PagesIn his epic, Paradise Lost, Milton entertains the reader with his version of how one of the greatest falls of humanity occurred. Although many would consider God or Adam and Eve as the main characters in a story like this, the main character of this epic is truly Satan. Satan is shown as a strong and powerful character who is completely overwhelmed with emotions which create a type of hell in his mind; even when he is in heaven, he cannot escape his true life. Satan’s desire for vengeance on God’sRead MoreAnalysis Of John Milton s Paradise Lost 1606 Words   |  7 PagesIn books one, two, four and nine of Paradise Lost, Milton portrays Satan as heroic, introducing freedom and reason to the minds and lives of humanity. Satan allows his subservient fallen angels, as well as Adam and eve to recognize authority, reason and the true meaning of freedom. The beginning of the story is told through Satan’s point of view, making him the first empathetic character the reader is introduced to. From the very beginning of Book One, Satan explains how him and other fellow angelsRead MoreAnalysis Of John Milton s Paradise Lost1442 Words   |  6 Pages(Name) (Instructor) (Course) (Date) Heroism in John Milton’s Paradise Lost There are many definitions of a hero, and establishing the hero in John Milton’s Paradise Lost has been object to scholarly debate. One definition of a hero is that by Aristotle, who defined a hero as a person who is divine and superhuman. However, other definitions encompass the aspect of virtue in heroism. Despite all the definitions for a hero, it remains factual that a hero would be someone that the readers would delightRead MoreAnalysis Of John Milton s Paradise Lost 1253 Words   |  6 Pages Students often read John Milton’s works with great difficulty; he is determined to have his audience know his goals and how important his writing is through epic metaphors and masterful language. In Paradise Lost, he tells his audience that this will the epic to end all epics and that this is the most important tale of all mankind: the fall of Man. Comparatively, Alexander Pope used the same style of epic not to tell an important tale, but to question much of the life of ar istocracy in his timeRead MoreAnalysis Of John Milton s Paradise Lost 1767 Words   |  8 Pagesthat won the support of the writer John Milton. Milton was known for his rhetorical writings against Charles I and for Oliver Cromwell at the time. It would not be until after the fall of Cromwell that Milton would complete his greatest work of literature however. When the Protectorate fell and Charles II rose to power in 1660, Milton was forced into hiding for fear that he would be punished for his involvement with Cromwell. This would actually benefit Milton for it was when he was in hiding that

Ap European History Chapter 12 Review Free Essays

string(61) " to modern readers than any other author of the Renaissance\." Week 6 Chapter Review Important People: Sir Peter Paul Rubens was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, King of Spain, and Charles I, King of England. We will write a custom essay sample on Ap European History Chapter 12 Review or any similar topic only for you Order Now In 1621, the Queen Mother of France, Marie de’ Medici, commissioned Rubens to paint two large allegorical cycles celebrating her life and the life of her late husband, Henry IV, for the Luxembourg Palace in Paris. The Marie de’ Medici cycle (now in the Louvre) was installed in 1625, and although he began work on the second series it was never completed. Marie was exiled from France in 1630 by her son, Louis XIII, and died in 1642 in the same house in Cologne where Rubens had lived as a child. After the end of the Twelve Years’ Truce in 1621, the Spanish Habsburg rulers entrusted Rubens with a number of diplomatic missions. In 1624 the French ambassador wrote from Brussels: â€Å"Rubens is here to take the likeness of the prince of Poland, by order of the infanta. † Between 1627 and 1630, Rubens’s diplomatic career was particularly active, and he moved between the courts of Spain and England in an attempt to bring peace between the Spanish Netherlands and the United Provinces. He also made several trips to the northern Netherlands as both an artist and a diplomat. At the courts he sometimes encountered the attitude that courtiers should not use their hands in any art or trade, but he was also received as a gentleman by many. It was during this period that Rubens was twice knighted, first by Philip IV of Spain in 1624, and then by Charles I of England in 1630. He was awarded an honorary Master of Arts degree from Cambridge University in 1629. Rubens was in Madrid for eight months in 1628–1629. In addition to diplomatic negotiations, he executed several important works for Philip IV and private patrons. He also began a renewed study of Titian’s paintings, copying numerous works including the Madrid Fall of Man. During this stay, he befriended the court painter Diego Velazquez and the two planned to travel to Italy together the following year. Rubens, however, returned to Antwerp and Velazquez made the journey without him. His stay in Antwerp was brief, and he soon travelled on to London where he remained until April 1630. An important work from this period is the Allegory of Peace and War. It illustrates the artist’s strong concern for peace, and was given to Charles I as a gift. While Rubens’s international reputation with collectors and nobility abroad continued to grow during this decade, he and his workshop also continued to paint monumental paintings for local patrons in Antwerp. The Assumption of the Virgin Mary for the Cathedral of Antwerp is one prominent example. Rubens’s last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones’s Palace of Whitehall, but he also explored more personal artistic directions. In 1630, four years after the death of his first wife, the 53-year-old painter married 16-year-old Helene Fourment. Helene inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus, The Three Graces and The Judgment of Paris. In the latter painting, which was made for the Spanish court, the artist’s young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, Helene Fourment in a Fur Wrap, also known as Het Pelsken, Rubens’s wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Chateau de Steen with Hunter and Farmers Returning from the Fields, reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis. Rubens died from gout on 30 May 1640. He was interred in Saint Jacob’s church, Antwerp. Lord Michel Eyquem de was one of the most influential writers of the French Renaissance, known for popularising the essay as a literary genre and is popularly thought of as the father of Modern Skepticism. He became famous for his effortless ability to merge serious intellectual speculation with casual anecdotes and autobiography—and his massive volume Essais (translated literally as â€Å"Attempts†) contains, to this day, some of the most widely influential essays ever written. Montaigne had a direct influence on writers the world over, including Rene Descartes, Blaise Pascal, Jean-Jacques Rousseau, Ralph Waldo Emerson, Friedrich Nietzsche, Stefan Zweig, Eric Hoffer, Isaac Asimov, and perhaps William Shakespeare. In his own time, Montaigne was admired more as a statesman than as an author. The tendency in his essays to digress into anecdotes and personal ruminations was seen as detrimental to proper style rather than as an innovation, and his declaration that, ‘I am myself the matter of my book’, was viewed by his contemporaries as self-indulgent. In time, however, Montaigne would be recognized as embodying, perhaps better than any other author of his time, the spirit of freely entertaining doubt which began to emerge at that time. He is most famously known for his skeptical remark, ‘Que sais-je? ‘ (‘What do I know? ‘). Remarkably modern even to readers today, Montaigne’s attempt to examine the world through the lens of the only thing he can depend on implicitly—his own judgment—makes him more accessible to modern readers than any other author of the Renaissance. You read "Ap European History Chapter 12 Review" in category "Papers" Much of modern literary non-fiction has found inspiration in Montaigne and writers of all kinds continue to read him for his masterful balance of intellectual knowledge and personal story-telling. His fame rests on the Essais, a collection of a large number of short subjective treatments of various topics published in 1580, inspired by his studies in the classics, especially Plutarch. Montaigne’s stated goal is to describe humans, and especially himself, with utter frankness. Montaigne’s writings are studied within literary studies, as literature and philosophy. Inspired by his consideration of the lives and ideals of the leading figures of his age, he finds the great variety and volatility of human nature to be its most basic features. He describes his own poor memory, his ability to solve problems and mediate conflicts without truly getting emotionally involved, his disdain for the human pursuit of lasting fame, and his attempts to detach himself from worldly things to prepare for his timely death. He writes about his disgust with the religious conflicts of his time, reflecting a spirit of skepticism and belief that humans are not able to attain true certainty. The longest of his essays, Apology for Raymond Sebond, contains his famous motto, â€Å"What do I know? † Montaigne considered marriage necessary for the raising of children, but disliked strong feelings of passionate love because he saw them as detrimental to freedom. In education, he favored concrete examples and experience over the teaching of abstract knowledge that has to be accepted uncritically. His essay â€Å"On the Education of Children† is dedicated to Diana of Foix. The Essais exercised important influence on both French and English literature, in thought and style. Thinkers exploring similar ideas include Erasmus, Thomas More, and Guillaume Bude, who all worked about fifty years before Montaigne. Since Edward Capell first made the suggestion in 1780, some scholars believe that Shakespeare was familiar with Montaigne’s essays. John Florio’s translation of Montaigne’s Essais became available to Shakespeare in English in 1603. It is suggested that Montaigne’s influence is especially noticeable in â€Å"Hamlet† and â€Å"King Lear†, both in language and in the skepticism present in both plays. For an example, compare Shakespeare’s Hamlet to Rosencrantz, at Hamlet Act 2, scene 2, about line 240, with an earlier quote of Montaigne. â€Å"†¦ for there is nothing either good or bad, but thinking makes it so. To me it is a prison. â€Å". â€Å"Whether the events in our life are good or bad greatly depends on the way we perceive them. † Much of Blaise Pascal’s skepticism in his Pensees was a result of reading Montaigne. Ralph Waldo Emerson chose â€Å"Montaigne; or, the Skeptic† as a subject of one of his series of lectures entitled Representative Men, along side other subjects such as Shakespeare and Plato. Friedrich Nietzsche judged of Montaigne: â€Å"That such a man wrote has truly augmented the joy of living on this Earth† Valentin Weigel was a German theologian, philosopher and mystical writer, from Saxony, and an important precursor of later theosophy. In English he is often called Valentine Weigel. He was born at Hayn, near Dresden, into a Catholic family. He studied at Meissen, Leipzig, and Wittenberg. In 1567 he became a pastor at Zschopau, near Chemnitz. There, he lived out a quiet life, engaged in his writings. Weigel was best known for his belief that the Virgin Mary was herself the product of a virgin birth. He based his belief on the idea of the immaculate conception, which required that Mary must also be sinless in order to bear God in the flesh. He kept his ideas secret, entrusting them only to personal friends (in contrast to Jakob Bohme). He carried out his parishioner duties and kept a low profile. He left around 6000 pages in printed or manuscript works. His ideas on human nature were only gradually and posthumously published. Johann Arndt, Gottfried Arnold, and Gottfried Leibniz helped to spread Weigel’s ideas. His mysticism was marked by that of Johannes Tauler and by doctrines of Paracelsus; he was also a follower of Sebastian Franck and Caspar Schwenckfeldt. Like these two latter, he emphasized the inner life. John Calvin was an influential French theologian and pastor during the Protestant Reformation. He was a principal figure in the development of the system of Christian theology later called Calvinism. Originally trained as a humanist lawyer, he broke from the Roman Catholic Church around 1530. After religious tensions provoked a violent uprising against Protestants in France, Calvin fled to Basel, Switzerland, where he published the first edition of his seminal work The Institutes of the Christian Religion in 1536. In that year, Calvin was recruited by William Farel to help reform the church in Geneva. The city council resisted the implementation of Calvin and Farel’s ideas, and both men were expelled. At the invitation of Martin Bucer, Calvin proceeded to Strasbourg, where he became the minister of a church of French refugees. He continued to support the reform movement in Geneva, and was eventually invited back to lead its church. Following his return, Calvin introduced new forms of church government and liturgy, despite the opposition of several powerful families in the city who tried to curb his authority. During this time, the trial of Michael Servetus was extended by libertines in an attempt to harass Calvin. However, since Servetus was also condemned and wanted by the Inquisition, outside pressure from all over Europe forced the trial to continue. Following an influx of supportive refugees and new elections to the city council, Calvin’s opponents were forced out. Calvin spent his final years promoting the Reformation both in Geneva and throughout Europe. Calvin was a tireless polemic and apologetic writer who generated much controversy. He also exchanged cordial and supportive letters with many reformers, including Philipp Melanchthon and Heinrich Bullinger. In addition to the Institutes, he wrote commentaries on most books of the Bible, as well as theological treatises and confessional documents. He regularly preached sermons throughout the week in Geneva. Calvin was influenced by the Augustinian tradition, which led him to expound the doctrine of predestination and the absolute sovereignty of God in salvation of the human soul from death and eternal damnation. Calvin’s writing and preachings provided the seeds for the branch of theology that bears his name. The Reformed and Presbyterian churches, which look to Calvin as a chief expositor of their beliefs, have spread throughout the world. After the deaths of Calvin and his successor, Beza, the Geneva city council gradually gained control over areas of life that were previously in the ecclesiastical domain. Increasing secularisation was accompanied by the decline of the church. Even the Geneva academie was eclipsed by universities in Leiden and Heidelberg, which became the new strongholds of Calvin’s ideas, first identified as â€Å"Calvinism† by Joachim Westphal in 1552. By 1585, Geneva, once the wellspring of the reform movement, had become merely its symbol. However, Calvin had always warned against describing him as an â€Å"idol† and Geneva as a new â€Å"Jerusalem†. He encouraged people to adapt to the environments in which they found themselves. Even during his polemical exchange with Westphal, he advised a group of French-speaking refugees, who had settled in Wesel, Germany, to integrate with the local Lutheran churches. Despite his differences with the Lutherans, he did not deny that they were members of the true Church. Calvin’s recognition of the need to adapt to local conditions became an important characteristic of the reformation movement as it spread across Europe. Due to Calvin’s missionary work in France, his programme of reform eventually reached the French-speaking provinces of the Netherlands. Calvinism was adopted in the Palatinate under Frederick III, which led to the formulation of the Heidelberg Catechism in 1563. This and the Belgic Confession were adopted as confessional standards in the first synod of the Dutch Reformed Church in 1571. Leading divines, either Calvinist or those sympathetic to Calvinism, settled in England (Martin Bucer, Peter Martyr, and Jan Laski) and Scotland (John Knox). During the English Civil War, the Calvinistic Puritans produced the Westminster Confession, which became the confessional standard for Presbyterians in the English-speaking world. Having established itself in Europe, the movement continued to spread to other parts of the world including North America, South Africa, and Korea. Calvin did not live to see the foundation of his work grow into an international movement; but his death allowed his ideas to break out of their city of origin, to succeed far beyond their borders, and to establish their own distinct character. Theodore Beza (Theodore de Beze or de Besze) was a French Protestant Christian theologian and scholar who played an important role in the Reformation. A member of the monarchomaque movement who opposed absolute monarchy, he was a disciple of John Calvin and lived most of his life in Switzerland. As Calvin’s successor, Beza was very successful, not only in carrying on his work but also in giving peace to the Church at Geneva. The magistrates had fully appropriated the ideas of Calvin, and the direction of spiritual affairs, the organs of which were the â€Å"ministers of the word† and â€Å"the consistory†, was founded on a solid basis. No doctrinal controversy arose after 1564. The discussions concerned questions of a practical, social, or ecclesiastical nature, such as the supremacy of the magistrates over the pastors, freedom in preaching, and the obligation of the pastors to submit to the majority of the campagnie des pasteurs. Beza obtruded his will in no way upon his associates, and took no harsh measures against injudicious or hot-headed colleagues, though sometimes he took their cases in hand and acted as mediator; and yet he often experienced an opposition so extreme that he threatened to resign. Although he was inclined to take the part of the magistrates, he knew how to defend the rights and independence of the spiritual power when occasion arose, without, however, conceding to it such a preponderating influence as did Calvin. His activity was great. He mediated between the compagnie and the magistracy; the latter continually asked his advice even in political questions. He corresponded with all the leaders of the Reformed party in Europe. After the St. Bartholomew’s Day Massacre (1572), he used his influence to give to the refugees a hospitable reception at Geneva. In 1574 he wrote his De jure magistratuum (Right of Magistrates), in which he emphatically protested against tyranny in religious matters, and affirmed that it is legitimate for a people to oppose an unworthy magistracy in a practical manner and if necessary to use weapons and depose them. Without being a great dogmatician like his master, nor a creative genius in the ecclesiastical realm, Beza had qualities which made him famous as humanist, exegete, orator, and leader in religious and political affairs, and qualified him to be the guide of the Calvinists in all Europe. In the various controversies into which he was drawn, Beza often showed an excess of irritation and intolerance, from which Bernardino Ochino, pastor of the Italian congregation at Zurich (on account of a treatise which contained some objectionable points on polygamy), and Sebastian Castellio at Basel (on account of his Latin and French translations of the Bible) had especially to suffer. With Reformed France Beza continued to maintain the closest relations. He was the moderator of the general synod which met in April, 1571, at La Rochelle and decided not to abolish church discipline or to acknowledge the civil government as head of the Church, as the Paris minister Jean Morel and the philosopher Pierre Ramus demanded; it also decided to confirm anew the Calvinistic doctrine of the Lord’s Supper (by the expression: â€Å"substance of the body of Christ†) against Zwinglianism, which caused a very unpleasant discussion between Beza and Ramus and Heinrich Bullinger. In the following year (May, 1572) he took an important part in the national synod at Nimes. He was also interested in the ontroversies which concerned the Augsburg Confession in Germany, especially after 1564, on the doctrine of the Person of Christ and the sacrament, and published several works against Westphal, Hesshusen, Selnecker, Johannes Brenz, and Jakob Andrea. This made him, especially after 1571, hated by all those who adhered to Lutheranism in opposition to Melanchthon Jeanne d’Albret, also known as Jeanne III or Joan III, was the queen regnant of Navarre from 1555 to 1572. She married Antoine de Bourbon, Duke of Vendome, and was the mother of Henry of Bourbon, who became King of Navarre and of France as Henry IV, the first Bourbon king. She became the Duchess of Vendome by marriage. She was the acknowledged spiritual and political leader of the French Huguenot movement, and a key figure in the French Wars of Religion. The power struggle between Catholics and Huguenots for control of the French court and France as a whole, led to the outbreak of the French Wars of Religion in 1562. Jeanne and Antoine were at court, when the latter made the decision to support the Catholic faction, which was headed by the House of Guise; and in consequence, threatened to repudiate Jeanne when she refused to attend Mass. Catherine de’ Medici, in an attempt to steer a middle course between the two warring factions, also pleaded with Jeanne to obey her husband for the sake of peace but to no avail. Jeanne stood her ground and staunchly refused to abandon the Calvinist religion, and continued to have Protestant services conducted in her apartments. When many of the other nobles also joined the Catholic camp, Catherine had no choice but to support the Catholic faction. Fearing both her husband’s and Catherine’s anger, Jeanne left Paris in March 1562 and made her way south to seek refuge in Bearn. When Jeanne had stopped for a brief sojourn at her husband’s ancestral chateau in Vendome on 14 May to break her lengthy homeward journey, she failed to prevent a 400-strong Huguenot force from invading the town. The soldiers marauded through the streets of Vendome, ransacked all the churches, maltreated the inhabitants, and pillaged the ducal chapel, which housed the tombs of Antoine’s ancestors. In consequence, her husband adopted a belligerent stance with her. He issued orders to Blaise de Lasseran-Massencome, seigneur de Montluc to have her arrested and returned o Paris where she would subsequently be sent to a Catholic convent. She resumed her journey after quitting Vendome and managed to elude her captors, safely passing over the frontier into Bearn before she could be intercepted by the seigneur de Montluc and his troops. At the end of the year, Antoine was fatally wounded at the siege of Rouen and died before Jeanne could obtain the necessary permission to cross over enemy lines, in order to be at his bedside where she had wished nurse him. His mistress instead was summoned to his deathbed. Jeanne henceforth ruled Navarre as the sole queen regnant; her sex being no impediment to her sovereignity. Her son Henry subsequently became â€Å"first prince of the blood†. Jeanne often brought him along on her many progresses through her domains to oversee administrative affairs. Jeanne haughtily refused an offer of matrimony issued by King Philip II of Spain who had hoped to marry her to his son, on the condition that she return to the Catholic faith. Jeanne’s position in the conflicts remained relatively neutral in the beginning, being mainly preoccupied with military defences, given Navarre’s geographic location beside Catholic Spain. Papal envoys arrived and tried to coerce and threaten her into returning to Catholicism and abolishing heresy within her kingdom. Her response was to coldly reply that â€Å"the authority of the Pope’s legate is not recognised in Bearn†. At one stage there was a papal plot led by Pope Pius IV to have her kidnapped and turned over to the Spanish Inquistion. Jeanne was summoned to Rome to be examined for heresy under the triple penalty of excommunication, the confiscation of her property, and a declaration that her kingdom was available to any ruler who wished to invade it. This last threat alarmed King Philip, and the blatant interference by the Papacy in French affairs also enraged Catherine de’ Medici who, on behalf of Charles IX, sent angry letters of protest to the Pope. The papal threats never materialised. During the French Court’s royal progress between January 1564 and May 1565, Jeanne met and held talks with Catherine de’ Medici at Macon and Nerac. When the third religious war broke out in 1568, however, she decided to actively support the Huguenot cause. Feeling that their lives were in danger from encroaching French Catholic and Spanish troops, Jeanne and Henry sought efuge in the Protestant stronghold of La Rochelle. As Minister of Propaganda, Jeanne wrote manifestos and composed letters to sympathetic foreign rulers, requesting their assistance. Jeanne had visualised the province of Guyenne as a â€Å"Protestant homeland† and played a leading role in the military actions from 1569 to 1570 with the aim of seeing her dream come to fruition. Whilst at La Rochelle, she assumed control of the fortifications, finances, Intelligence gathering, and the maintaining of discipline amongst the civilian populace. She used her own jewellery as security in a loan obtained from Queen Elizabeth I of England, and oversaw the well-being of the numerous refugees who sought shelter within La Rochelle. She often accompanied Admiral de Coligny to the battlefield where the fighting was at its most intense; together they inspected the defences and rallied the Huguenot forces. Jeanne also established a religious seminary in La Rochelle, drawing the most learned Huguenot men in France within its walls. Following the Huguenot defeat on 16 March 1569 at the Battle of Jarnac where Jeanne’s brother-in-law, Louis I de Bourbon, Prince de Conde was killed, Gaspard de Coligny assumed command of the Huguenot forces nominally on behalf of her son Henry and Conde’s son, Henri I de Bourbon, Prince de Conde. Jeanne had established them as the legitimate leaders of the Huguenot cause. After her funeral, which was conducted according to the rites of the Protestant Church, a cortege bearing her body travelled through the streets of Vendome. She was buried beside her husband at Ducal Church of collegiale Saint-Georges. The tombs were destroyed when the church was sacked in 1793 during the French Revolution. Her son Henry succeeded her, becoming King Henry III of Navarre. In 1589, he ascended the French throne as Henry IV; founding the Bourbon line of kings. Don Fernando Alvarez de Toledo y Pimentel, 3rd Duke of Alba was a Spanish general and governor of the Spanish Netherlands, nicknamed â€Å"the Iron Duke† in the Low Countries because of his harsh and cruel rule there and his role in the execution of his political opponents and the massacre of several cities. In 1567, Philip, who was a zealous opponent of Protestantism, sent Alba into the Netherlands at the head of an army of 10,000 men, with unlimited powers for the extirpation of the heretics. Alba quickly erected a tribunal, the Council of Troubles, which soon became known to the Calvinists as the â€Å"Council of Blood,† to try all persons who had been engaged in the late commotions that the rule of Philip had excited. During the ten years it operated, thousands of people were executed. The precise number is disputed: Dutch sources cite 18,000 victims, while Spanish accounts mention only a few hundred. About 12,000 casualties can be considered as the most accurate estimate, of which 1,083 were executed. Alba imprisoned the Count of Egmont and the Count of Hoorn, the two popular leaders of the dissatisfied Dutch nobles, and had them condemned to death even though they were Catholics. Alba attempted to raise money by imposing the Spanish alcabala, a tax of 10% on all sales (â€Å"tenth penny† tax) on the Low Countries, and this aroused the opposition of many Catholic residents as well. The exiles from the Low Countries, who called themselves Geuzen (French gueux, â€Å"beggars†), encouraged by the general resistance to his government, fitted out a fleet of privateers, and after strengthening themselves by successful depredations, seized the town of Den Briel (Brielle). Thus Alba, by his unrelenting harshness, became the unwitting instrument of the future independence of the seven Dutch provinces. On 22 August, Alba, accompanied by a body of select Spanish troops, made his entry into Brussels. He immediately appointed a council to condemn without trial those suspected of heresy and rebellion. On 1 June 1568, Brussels witnessed the simultaneous decapitation of twenty-two noblemen; on 6 June followed the execution of the Counts of Egmond and Hoorne. The fleet of the exiles, having met the Spanish fleet, defeated it and reduced Holland and Mons. The States of Holland, assembling at Dordrecht in 1572, openly declared against Alba’s government, and marshaled under the banners of the prince of Orange. Alba’s preparations to defeat the gathering storm were made with his usual rapidity and vigour, and he succeeded in recovering Mons, Mechelen and Zutphen, under the conduct of his son Don Fadrique. All three cities were sacked and many civilians killed. With the exception of Zeeland and Holland, he regained all the provinces; and at last his son stormed Naarden, massacring every man, woman and child, proceeded to invest the city of Haarlem, which, after standing an obstinate siege, was taken and pillaged. Their next attack was upon Alkmaar; but there they were met with such desperate resistance that Alba was forced to retire. William II, Prince of Orange was sovereign Prince of Orange and stadtholder of the United Provinces of the Netherlands from 14 March 1647 until his death three years later. William II, Prince of Orange, was the son of stadtholder Frederik Hendrik of Orange and Amalia of Solms-Braunfels. William the Silent had been succeeded in the position of stadtholder and as commander of the Dutch States Army by his son Maurits of Nassau, who in turn was followed by his brother Frederick Henry. William II’s ancestors governed in conjunction with the States-General, an assembly made up of representatives of each of the seven provinces but usually dominated by the largest and wealthiest province, Holland. On May 2, 1641, William married Mary Henrietta Stuart, the Princess Royal, the eldest daughter of King Charles I of England and Queen Henrietta Maria in the Chapel Royal, Whitehall Palace, London. In 1648 he opposed acceptance of the Treaty of Munster, despite the fact that it recognized the independence of the Netherlands. Secretly, William opened his own negotiations with France with the goal of extending his own territory under a centralized government. In addition, he worked for the restoration of his brother-in-law, Charles II, to the throne of England. In 1650 William II became involved in a bitter quarrel with the province of Holland and the powerful regents of Amsterdam, like Andries Bicker and his cousin Cornelis de Graeff over troop reduction following the Treaty of Munster. William opposed the reduction in the size of the army which would diminish his powerbase. This resulted in William putting eight members (oa. Jacob de Witt) of the provincial assembly in prison in the castle of Loevestein. In addition he sent his cousin Willem Frederik of Nassau-Dietz with an army of 10 thousand troops with the aim of taking Amsterdam by force. Bad weather foiled this campaign. After having served as stadtholder of Holland, Zeeland, Utrecht, Guelders and Overijssel for only three years, he died of smallpox in 1650. His son William was born one week after his death. This was the beginning of the First Stadtholderless Period for the provinces Holland, Zeeland, Utrecht, Guelders and Overijssel. His son succeeded him in 1672 as stadtholder and later, in 1689, also became king of England. Pope Saint Pius V, born Antonio Ghislieri, was Pope from 1566 to 1572 and is a saint of the Catholic Church. He is chiefly notable for his role in the Council of Trent, the Counter-Reformation, and the standardization of the Roman liturgy within the Latin Church. Pius V declared saint Thomas Aquinas a Doctor of the Church and patronized prominent sacred music composer Giovanni Pierluigi da Palestrina. As Cardinal Ghislieri he gained a reputation for putting orthodoxy before personalities, prosecuting eight French Bishops for heresy. He also stood firm against nepotism, rebuking his predecessor Pope Pius IV to his face when he wanted to make a 13-year old member of his family a cardinal and subsidise a nephew from the Papal treasury. In affairs of state, Pius V excommunicated Elizabeth I of England for schism and persecutions of English Catholics during her reign. He also arranged the formation of the Holy League, an alliance of Catholic states. Although outnumbered, the Holy League famously defeated the Ottomans, who had threatened to overrun Europe, at the Battle of Lepanto. This victory Pius V attributed to the intercession of the Blessed Virgin Mary and instituted the feast, Our Lady of Victory. St Pius V recognized attacks on papal supremacy in the Catholic Church and was desirous of limiting their advancement. In France, where his influence was stronger, he took several measures to oppose the Protestant Huguenots. He directed the dismissal of Cardinal Odet de Coligny and seven bishops, nullified the royal edict tolerating the extramural services of the Reformers, introduced the Roman catechism, restored papal discipline, and strenuously opposed all compromise with the Huguenot nobility. Pius V died on 1 May 1572. He was succeeded by Pope Gregory XIII. In 1696, the process of Pius’s canonisation was started through the efforts of the Master of the Order of Preachers, Antonin Cloche. He also immediately commissioned a representative tomb from the sculptor Pierre Le Gros the Younger to be erected in the Sistine Chapel of the Basilica di Santa Maria Maggiore. The pope’s body was placed in it in 1698. St Pius V was beatified by Pope Clement X in the year 1672, and was later canonized by Pope Clement XI on 24 May 1712. Pope St Pius V also helped financially in the construction of the city of Valletta, Malta’s capital city by sending his military engineer Francesco Laparelli to design the fortification walls. Albrecht Wenzel Eusebius von Wallenstein, actually von Waldstein, was a Bohemian soldier and politician, who offered his services, and an army of 30,000 to 100,000 men during the Danish period of the Thirty Years’ War, to the Holy Roman Emperor Ferdinand II. He became the supreme commander of the armies of the Habsburg Monarchy and one of the major figures of the Thirty Years’ War. A successful generalissimo who had made himself ruler of the lands of the Duchy of Friedland in northern Bohemia, Wallenstein found himself released from service in 1630 after Ferdinand grew wary of his ambition. Several Protestant victories over Catholic armies induced Ferdinand to recall Wallenstein, who again turned the war in favor of the Imperial cause. Dissatisfied with the Emperor’s treatment of him, Wallenstein considered allying with the Protestants. However, Ferdinand had the general assassinated at Eger (Cheb) in Egerland by one of the army’s officials, Walter Devereux. Wallenstein’s particular genius lay in recognizing a new way for funding war: instead of merely plundering enemies, he called for a new method of systematic â€Å"war taxes†. Even a city or a prince on the side of the Emperor had to pay taxes towards the war. He understood the enormous wastage of resources that resulted from tax exactions on princes and cities of defeated enemies only, and desired to replace this with a â€Å"balanced† system of taxation; wherein both sides bore the cost of a war. He was unable to fully realize this ambition; and in fact his idea led to the random exploitation of whole populations on either side, until finally, almost fifteen years after his death, the war had become so expensive that the warring parties were forced to make peace. In any case, Wallenstein’s idea inspired many, among them, Colbert, to â€Å"pluck the goose with a minimum of screeching†. Chapter Review Questions: 1)During the Wars of Religion, politics played an important role in the stances of French leaders. French leaders were persuaded to stand by the religion that would give them the most powerful political stance; they had no interest in the true goals of the religions. Catherine de’ Medici, a relative of Pope Clement VII, married the duke of Orleans at age 14; he would become King Henry II of France. But Henry died after about six years of rule, and his successor, Francis II, died the year after that, leaving Catherine as regent for the 10-year-old Charles IX. Catherine let the Jesuits back into France and, seeing the alarming probability that the Reformation might gain a toehold in France, the Jesuits began circulating provocative rumors (1567) of a Huguenot plot to sack and burn Paris. The Huguenot leader, Admiral Coligny, began to exercise more influence over Charles in matters of state than Catherine, so she used the occasion of a political marriage designed to make peace between Protestants and Catholics — the marriage of Henry of Navarre to Marguerite de Valois — to have Coligny assassinated. The plot failed and Coligny was only wounded, but the Huguenot leaders, assembled in Paris in great numbers for the wedding, were infuriated. Charles vowed punishments for the plotters, but with all the important heretics in one place, Catherine saw her final solution to the Huguenot problem: She browbeat the young King into approving a massacre — for reasons of national security. On Sunday, 24 August 1572, at daybreak, French Catholic troops and Catholic citizens drew blood. An eyewitness described the scene: The slaughter in Paris lasted until 17 September, but spread to the provinces, where it continued until 3 October. Admiral Coligny was among the dead. In all of France about 50,000 were slain — more than twice as many people killed over religion in 40 days, as French revolutionaries killed over politics in three years! When news of this holocaust of French Protestants reached the world, Catherine de’ Medici received the congratulations of all the Catholic powers, and Pope Gregory XIII ordered bonfires lighted and the singing of the Te Deum. Indeed, the Pope’s joy was so great that he commanded a gold medal to be minted, with the inscription, â€Å"Slaughter [strages] of the Huguenots. He then had Giorgio Vasari paint pictures in the Vatican of â€Å"the glorious triumph over a perfidious race. † An ecclesiastical annalist named Strype suggested that the comet of 1572 was a token of Divine wrath provoked by the massacre. But if God was watching, he made no move to turn the events begun on St. Bartholomew’s Day, 1572. The realization that a solution was needed wa s finally realised. 2)Spain became the dominant power in Europe in the 16th century because of the countless gold and treasure from its New World territories. This era is known by the Spanish as El siglo de oro, â€Å"the golden century†. All this money allowed Spain to purchase and develop the best military technology of the time. However Spain’s greatest weakness with all this money was how it ran its very society. Spain had a very feudal society. One’s place in it was determined by your birth. Spain’s nobilty looked down on any labour as beneath them. Any labour or business was viewed as tasks for commoners. As a result, Spanish nobility was expected to live a life of leisure. When the highest and wealthiest portion of your society doesn’t work, all they’re doing is spending money, but not generating any new funds. It was only a matter of time before Spain burned through all its wealth. Spain was also exceedingly intolerant towards other religions. Spain’s period of wealth and dominance corresponded with the Protestant reformation in Europe. The Spanish king Philp II was a very devout Catholic, who viewed the Reformation as heresy and the work of the Devil. Philp made it the goal of his entire reign to suppress the spread of Protestantism. He was only successful with this goal somewhat. Under Philip’s reign Spain became its most powerful, but also started its decline. During his reign the Netherlands revolted against the Spanish Hapsburg crown, Spain experienced costly wars against France and England, and Portugal gained its independence from Spain. Philip II was also successful in that he consolidated Spain’s overseas empire, succeeded in massively increasing the importation of silver in the face of English, Dutch and French privateering, and ended the major threat posed to Europe by the Ottoman navy. During his reign, Spain became the greatest naval power in the Mediterranean. 3)A politique is a ruler who focuses more on what is good for their country than on religion. Also, I don’t know if Henry of Navarre can be called a politique, because the entire reason he became king came from a power struggle between the Huguenots(french protestants) and french Catholics. The same goes for William of Orange, as he was significant as a result of the revolt in the Netherlands against their Spanish rulers. The Spanish attempted to convert the Netherlands, which were largely Protestant, to Catholicism, which was the established religion in Spain. Elizabeth I, on the other hand, was definitely a politique. Elizabeth took the throne after her sister, Mary I died in 1558. Mary had been a staunch Catholic like her mother, Catherine of Aragon, who originally came from Spain. Mary herself took the throne after their younger brother Edward VI died young due to lifelong poor health. Their father, Henry VIII, had established the Church of England, in order to no longer have to answer to the Pope so that he could divorce Catherine and marry Elizabeth’s mother, Anne Boleyn. Mary did not like the Church of England, and so when she took the throne in 1553, she reinstated the Catholic church and had those who refused to convert executed. Elizabeth, by comparison, concentrated more on her foreign relations than on religion, although she did make the Church of England the official religion of England. 4)In 1534 King Henry VIII separated the English Church from Rome. A theological separation had been foreshadowed by various movements within the English church such as Lollardy, but the English Reformation gained political support when Henry VIII wanted an annulment of his marriage to Catherine of Aragon so he could marry Anne Boleyn. Pope Clement VII, considering that the earlier marriage had been entered under a papal dispensation and how Catherine’s nephew, Emperor Charles V, might react do such a move, refused the annulment. Eventually, Henry, although theologically opposed to Protestantism, took the position of Supreme Head of the Church of England to ensure the annulment of his marriage. He was excommunicated by Pope Paul III. Henry maintained a strong preference for traditional Catholic practices and, during his reign, Protestant reformers ere unable to make many changes to the practices of the Church of England. Indeed, this part of Henry’s reign saw the trial for heresy of Protestants as well as Roman Catholics. Under his son, Edward VI, more Protestant-influenced forms of worship were adopted. Under the leadership of the Archbishop of Canterbury, Thomas Cranmer, a more radical reformation proceeded. A new pattern of worship was set out in the Book of Common Prayer (1549 and 1552). These wer e based on the older liturgy but influenced by Protestant principles. The confession of the reformed Church of England was set out in the Forty-two Articles (later revised to thirty-nine). The reformation however was cut short by the death of the king. Queen Mary I, who succeeded him, returned England again to the authority of the Pope, thereby ending the first attempt at an independent Church of England. During Mary’s reign, many leaders and common people were burnt for their refusal to recant of their reformed faith. These are known as the Marian martyrs and the persecution has led to her nickname of â€Å"Bloody Mary†. Mary also died childless and so it was left to the new regime of her half-sister Elizabeth to resolve the direction of the church. The settlement under Elizabeth I (from 1558), known as the Elizabethan settlement, developed the via media (middle way) character of the Church of England, a church moderately Reformed in doctrine, as expressed in the Thirty-nine Articles, but also emphasising continuity with the Catholic and Apostolic traditions of the Church Fathers. It was also an established church (constitutionally established by the state with the head of state as its supreme governor). The exact nature of the relationship between church and state would be a source of continued friction into the next century. 5)Thirty Years’ War , a series of European conflicts from 1618 to 1648, fought primarily in Germany. The war started in Bohemia with a Protestant revolt against the Holy Roman Empire and eventually involved almost all of the countries of Europe. By its final years, religious issues had been submerged and it had become a struggle for power between Austria and Spain on one side and France on the other. Politics determined the outcome of the ar greatly. The Thirty Years’ War rearranged the European power structure. The last decade of the conflict saw clear signs of Spain weakening. While Spain was fighting in France, Portugal — which had been under personal union with Spain for 60 years — acclaimed John IV of Braganza as king in 1640, and the House of Braganza became the new dynasty of Portugal (see Portuguese Restoration War, for furth er information). Meanwhile, Spain was forced to accept the independence of the Dutch Republic in 1648, ending the Eighty Years’ War. Bourbon France challenged Habsburg Spain’s supremacy in the Franco-Spanish War (1635-59); gaining definitive ascendancy in the War of Devolution (1667–68), and the Franco-Dutch War (1672–78), under the leadership of Louis XIV. The Peace of Westphalia was a series of peace treaties signed between May and October 1648 in Osnabruck and Munster. These treaties ended the Thirty Years’ War (1618–1648) in the Holy Roman Empire, and the Eighty Years’ War (1568–1648) between Spain and the Dutch Republic, with Spain formally recognizing the independence of the Dutch Republic. The Peace of Westphalia treaties involved the Holy Roman Emperor, Ferdinand III, of the House of Habsburg, the Kingdoms of Spain, France, Sweden, the Dutch Republic, the Princes of the Holy Roman Empire, and sovereigns of the free imperial cities. The war needed to reach the point of great unrest before it could be resolved with a treaty. 6)It seems â€Å"meaningless† only because the European conflagration lacked a clear point of dispute, not that it lacked any purpose. On the contrary, there were too many points of contention or flash points, far too numerous to even list in a short essay. Once the breaking point was reached on one or some of them, it set off a chain reaction of other open conflicts of long simmering divisions, mostly religious, but those caused by changing balance of powers. This is far from unusual. World War II ended up being a war between two major European alliances for complicated broken treaties and border violations, but was started by a single assassination of an Austro-Hungarian archduke. There was no single principle or cause being fought for in either case. World War II has a simpler narrative, totalitarian states like Germany and Japan attempted to conquer the world, and the good guys resisted and beat them back, but even that belies a deeper complexity in the reasons and chain of events that led to it. The Thirty Years War was fought not for any simple cause, but for too many different reasons, so that for the modern generations, it seems altogether too obscure and frivolous. Nothing could be further from the truth. It was in fact a major realignment of European powers in the aftermath of the battles of the Reformation movement as well as the decline of Spanish Power and the eventual breakup of the Germanic Holy Roman Empire. In fact, the consequences of this breakup has historically lead to both World War I and World War II. In order to fully understand the causes of those major world wars, a thorough understanding of the Thirty Years War is a must. How to cite Ap European History Chapter 12 Review, Papers

Artist and Humanist, Albrecht Durer Essay Example For Students

Artist and Humanist, Albrecht Durer Essay Artist and Humanist, Albrecht Durer is one of the most significant figures in the history f European art outside Italy during the Renaissance Gowing 195. Portraying the questioning spirit of the Renaissance, Durers conviction that he must examine and explore his own situation through capturing the very essence of his role as artist and creator, is reflected in the Self-portrait in a Fur Collared Robe Strieder 10. With the portrait, Durers highly self-conscious approach to his status as an artist coveys his exalted mission of art more clearly than in any other painting. He seems to be less concerned with himself as a person than with himself as an artist, and less with the artist than with the origin and exalted mission of art itself. Strieder 13. In this self-portrait Durer portrays himself in the guise of the Savior. Durers natural resemblance to Christ has been reverently amplified Hutchinson 67. His bearded face is grave, and fringed by lustrous shoulder-lenth hair painted in a dark, Christ-like brown Russell 89. Scholars have called attention to the fact that, the portrait was intended to portray Durer as the thinking artist through emphasis on the enlarged eyes and the right hand. Dueres use of the full-face view and almost hypnotic gaze emphasizes his belief that the sense of sight is the most noble of the five senses. He wrote in the Introduction to his Painters Manual, For the noblest of mans senses is sightà ¢Ã¢â€š ¬Ã‚ ¦ Therefore a thing seen is more believable and long-lasting to us than something we hear Hutchison 68. The position of the right hand held in front of his chest is almost as if in blessing 89 Russell. Joachim Camerarius, a professor who published a Latin translation of two of Durers books, wrote of Durers intelligent head, his flashing eyes, his nobly formed nose, his broad chest, and then noted: But his fingers- you would vow you had never seen anything more elegant Russell 8. Along with his qualities of mind and eye, the gracefully extended fingers in his self-portrait portrays his extraordinary faculty of hand. Camerarius continued: What shall I say of the steadiness and exactitude of his hand? You might swear that rule, square, or compasses had been employed to draw lines which he, in face, drew with the brush, or very often with pencil or penà ¢Ã¢â€š ¬Ã‚ ¦ this consummate artists mind, endowed with all knowledge and understanding of the truthà ¢Ã¢â€š ¬Ã‚ ¦ governed and guided his hand and bade it trust to itself without any other aidsà ¢Ã¢â€š ¬Ã‚ ¦ And this was a subject of greatest wonder to most distinguished painters who, from their own great experience, could understand the difficulty of the thing Russell 8. Symmetrically arranging his serious, handsome face and mass of shoulder length hair deliberately invite comparison with the image of Christ. The idealized arrangement and strict symmetry of the face is based on a construction made up of circle and a triangle, a formula used down to the Byzantine period for images of the Redeemer. The frontal pose and symmetrical composition have recurred in many images of Christ, particularly in the form of the vera icon, or true image Strieder14. No architectural setting appears within the plain, black background of the painting Hutchison 67. The darkened tone and limited but unified color scheme create a mood of sanctity Hutchinson 68. The contours of the face are molded by means of soft light and transparent shadows, almost in an attempt to fathom the inner depths of Durers creative spirit Strieder 147. Set against the dark background, the strong face and chin emanate an impression of energy from the portrait. .u4fc89389a1ad42bab277251b4a6abcc5 , .u4fc89389a1ad42bab277251b4a6abcc5 .postImageUrl , .u4fc89389a1ad42bab277251b4a6abcc5 .centered-text-area { min-height: 80px; position: relative; } .u4fc89389a1ad42bab277251b4a6abcc5 , .u4fc89389a1ad42bab277251b4a6abcc5:hover , .u4fc89389a1ad42bab277251b4a6abcc5:visited , .u4fc89389a1ad42bab277251b4a6abcc5:active { border:0!important; } .u4fc89389a1ad42bab277251b4a6abcc5 .clearfix:after { content: ""; display: table; clear: both; } .u4fc89389a1ad42bab277251b4a6abcc5 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4fc89389a1ad42bab277251b4a6abcc5:active , .u4fc89389a1ad42bab277251b4a6abcc5:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4fc89389a1ad42bab277251b4a6abcc5 .centered-text-area { width: 100%; position: relative ; } .u4fc89389a1ad42bab277251b4a6abcc5 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4fc89389a1ad42bab277251b4a6abcc5 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4fc89389a1ad42bab277251b4a6abcc5 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4fc89389a1ad42bab277251b4a6abcc5:hover .ctaButton { background-color: #34495E!important; } .u4fc89389a1ad42bab277251b4a6abcc5 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4fc89389a1ad42bab277251b4a6abcc5 .u4fc89389a1ad42bab277251b4a6abcc5-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4fc89389a1ad42bab277251b4a6abcc5:after { content: ""; display: block; clear: both; } READ: Mason-Caree, Renaissance Architecture Essay SummaryWithin the background on the right-hand side, the inscription reads I Albrecht Durer of Nuremberg painted myself thus, with undying colors, at the age of twenty-eight years Hutchinson 67. This was a personal verification of the quality of his materials and his craftsmanship. And he had painted his own image in everlasting colors, desiring the hand down an undying image to posterity Strieder 14. Ironically, the self-portrait did more than preserve his image; it helped foster the popular characterization of Durer as a Christ-like master, aloof and awe-inspiring. Albrecht Durer believed that his artistic mission reflected that of Christ. He felt the artists creative spirit was God-given, Russell 89 and saw the ability to create as being innate, a gift and labor linking man to God Gowing 56. Art comes from God, he says. God created all forms of art and the attainment of true, artistic, and lovely execution in painting is hard to come untoà ¢Ã¢â€š ¬Ã‚ ¦ Whoseoever, therefore, falleth short cannot attain a right understanding for it cometh alone by inspiration from above Strieder 14. Durer was deeply religious, troubled by rebellions and abuses he witnessed within the church. Traditional values were beginning to show signs of breaking down with great religious and social upheavals Gowing 56. The artist shared and understood Martin Luthers plea for religious toleration, and for official recognition of the need for reform. There is no doubt that Durers thought and art were affected by the powerful reforming spirit of the age Hutchison 164. Albrecht Durer desired to establish a system of principles that would foster the development of a True Art. He wanted to find out all that he could, to obtain a higher knowledge about everything connected with his art- how to collect knowledge and pass it on to others Streider 12. To further fulfill his spiritual role, Durer pledged to write one last instructional book entitled Food for Young Painters in which he would hand down all his knowledge and experience as his legacy to those able young men who love art more than silver and gold Russell 161. His advice for the young painter was that he be kept from womenà ¢Ã¢â€š ¬Ã‚ ¦ and that he guard himself from all impurity, for nothing weakens the understanding more than impurity. He should be taught how to read and write well, he should be taught to pray to God for The grace of quick perception Hutchinson 111. But the book was never completed before he died suddenly on the sixth of April, 1528 Hutchison 110.

The Light Of Reincarnation Essays - Reincarnation Research

The Light Of Reincarnation The Light of Reincarnation Reincarnation has been the talk for thousands of years. The gospels say when the Christian Master (Jesus) asked Whom say the people that I am?, One answered Jesus was John the Baptist returned. It was well known by then John the Baptist had been decapitated long before. Others said He was regarded as the reincarnation either of Elias or of Jerimias. They both had been dead for centuries. This indicates how popular the subject was then, also among the Romans, Greeks, Egyptians, Irish, and Indians on the American continents, in a time when religion did not concede of the belief in reincarnation. Jesus never denied the truth of reincarnation (Cooper intro. v-vi). In the past, it has been a very controversial issue and will continue to be widely debated. However, reincarnation is the key to our very existence and the truth to life. Reincarnation is the means by which hosts of evolving lives, of all degrees of development, are brought into association with evolving physical forms of all degrees of complexity(Cooper 14). The basic belief is that the soul cannot be reincarnated into the body of an animal. Humans are not reborn directly after they die either(Cooper 20-21). According to Irving S. Cooper, in past lives we have been painfully suffering because we were passionate, willful, and at times cruel. But after many centuries we began to stop wrong-doing. We have grown through contact with the people around us, the regulation of the law, and through the pressure of physical being its self(Cooper 16). There are many objections and logical arguments to the question of reincarnation. One of the objections being: progress can be achieved by humans without having to return to this planet(Cooper 48-51). Some of the logical arguments are: one life on earth is useless in millions of cases, it makes the achievement of perfection attainable(Cooper 59-78). There is however more direct information that favors the belief in reincarnation. Because we cannot remember our past lives, there is no way of knowing if we in fact lived them. However, the first three or four years of our present life have been entirely blocked out of our memory. We know we must have been alive and conscious then because we are alive and conscience today. We do not have any personal proof of the situation as far as memory goes. All details have also been forgotten. Not only in those three to four years but more recently as well, such as earlier today. The brain lets us forget a great amount of detail. For example: we are careful not to put our fingers into boiling water. Why? Not because we have made the mistake recently but because many years ago before we can remember, we suffered painfully when we threw our fingers into the boiling water. It had to have caused such a horrid pain because of our present caution(Cooper 80-83). There are many proofs to reincarnation. Instinct can logically explained by reincarnation. A new born chick, just hatched from the egg, runs for its safety when it sees the shadow of a hawk grace across the ground. The experience from past lifetimes lets the baby chick escape from danger instinctively(Cooper 85). It is said that when a child takes to a certain interest, like music, it is supposedly a sign that in a past life, they were musicians. This is also true when a child grasps certain instruction quickly. Maternal instinct is often times found in girls and sometimes in boys. A child playing with dolls is most likely recalling memories of an actual maternal experience from a past life(Cooper 85). Reincarnation can also be used to explain many otherwise unexplainable things, such as the following: * Ability/ Talent Each person has a certain talent that they have an exceptional ability for naturally. Usually this is a talent that has tied over from many lives. In order to keep a talent in working order, it must be facilitated. If we don't use it in one life and let our opportunities slip by, then in the next life we are impaired by physical inability though still have the yearning for the talent(Cooper 88). * Vice or Virtue The

Lightning Warning Signs You Shouldnt Ignore

Lightning Warning Signs You Shouldnt Ignore Nothing ruins a summer cookout, dip in the pool, or  camping trip  like a thunderstorm. If you are outdoors when a thunderstorm rolls up, it can be tempting  to stall as long as possible before going indoors. But how do you know when its time to stop what youre doing  and head inside? Keep a lookout for certain signs; theyll  warn you when its time to seek shelter indoors and when  lightning  may be about to strike. Signs of Lightning Cloud-to-ground lightning is nearby if you notice one or more of these early signs. Seek shelter immediately to reduce the risk of lightning injury or even death. A rapidly growing cumulonimbus cloud. Although cumulonimbus clouds appear  bright white and  form in sunny  skies,  dont be fooled- theyre the beginning stage of a developing thunderstorm. If you notice them growing taller and taller in the sky, you can rest assured that a storm is in the making and headed your way.Increasing winds  and a darkening sky.  These are telltale signs of an approaching storm.Audible thunder.  Thunder is the sound created by lightning, so if thunder can be heard, lightning is near. You can determine how near (in miles) by counting the number of seconds between a flash of lightning and a thunderclap and dividing that number by five.A severe thunderstorm warning.  The National Weather Service issues a severe thunderstorm warning whenever severe storms have been detected on weather radar  or confirmed by storm spotters. Cloud-to-ground lightning is often the  main threat of such storms. Lightning always occurs during thunderstorms, but it isnt necessary for a storm to be directly overhead for you  to be in danger of a lightning strike. The threat of lightning actually starts  as a thunderstorm approaches, peaks when the storm is overhead, and then gradually diminishes as the storm moves away. Where to Seek Shelter At the first sign of approaching lightning, you should quickly seek shelter, ideally in an enclosed building or other structure, away from windows. If youre at home, you may want to retreat to a central room or closet. If you cannot find shelter inside, the next best option is a vehicle with all of the windows rolled up. If for whatever reason, you are stuck outside, you should make sure to stand away from trees and other tall objects. Keep away from water and anything that is wet, as water is a strong conductor of electricity. Signs of an Immediate Strike When lightning strikes you or the area immediately nearby, you may experience one or more of these warning signs a few seconds beforehand. Hair standing  on endTingling skinA metallic taste in your mouthThe smell of chlorine  (this is ozone, which is produced when nitrogen oxides from lightning interact with other chemicals and sunlight)Sweaty palmsA vibrating, buzzing, or crackling sound coming from metal objects around you If you notice any of these signs, it may be too late to avoid being struck and possibly injured or killed. However,  if you find that you do have time to react, you should run as fast as you can to a safer location. Running limits the amount of time that both of your feet are on the ground at any given  moment, reducing the threat from ground current (lightning that travels outward from the strike point along the ground surface). Sources NOAA. NWS Lightning Safety Page.NOAA. NWS Weather Fatality, Injury, and Damage Statistics (2013, May 6).

Juan Gris, Spanish Cubist Painter

Juan Gris, Spanish Cubist Painter Juan Gris (1887-1927) was a Spanish painter who lived and worked in Paris, France, for most of his adult life. He was one of the most significant cubist artists. His work followed the development of the style through all of its stages. Fast Facts: Juan Gris Full Name: Jose Victoriano Gonzalez-PerezOccupation: PainterStyle: CubismBorn: March 23, 1887 in Madrid, SpainDied: May 11, 1927 in Paris, FranceEducation: Madrid School of Arts and SciencesSpouses: Lucie Belin, Charlotte (Josette) HerpinChild: Georges Gonzalez-GrisSelected Works: Portrait of Pablo Picasso (1912), Still Life with Checkered Tablecloth (1915), Coffee Grinder (1920)Notable Quote: You are lost the moment you know what the result will be. Early Life and Career Born in Madrid, Spain, Juan Gris studied engineering at the Madrid School of Arts and Sciences. He was an outstanding student, but his heart was not in academia. Instead, he chose to focus on the drawing skills that came naturally. In 1904, he began to study with the artist Jose Moreno Carbonero, a past instructor of Salvador Dali and Pablo Picasso. Hulton Archive / Getty Images After adopting the name Juan Gris in 1905, the artist moved to Paris, France. He would stay there for most of the rest of his life after having avoided Spanish military service. In Paris, he encountered some of the leading artists of the emerging avant-garde scene including Henri Matisse, Georges Braque, and Pablo Picasso, as well as American writer Gertrude Stein, who would become a collector of Gris work. During the period, Gris contributed satirical drawings to a wide range of Parisian journals. Cubist Painter In 1911, Juan Gris began to seriously focus on his painting. His initial works reflect the emerging cubist style. Pablo Picasso led the early development of cubism along with French artist Georges Braque. Gris considered Picasso an important mentor, but Gertrude Stein wrote that Juan Gris was the only person whom Picasso wished away. Portrait of Pablo Picasso (1912). Corbis Historical / Getty Images Gris exhibited at the Barcelona Exposicio dArt Cubista in 1912, considered the first group exhibition of cubist artists. His early cubist works are in the style of analytical cubism pioneered by Picasso and Braque. The 1912 Portrait of Picasso is an example of this approach. However, within two years, he focused on synthetic cubism, which used collage techniques extensively. The 1915 Still Life with Checkered Tablecloth illustrates the change. Crystal Cubism The outbreak of World War I in 1914 disrupted the life and work of Juan Gris. Gertrude Stein provided him with financial assistance, and he spent time at Henri Matisses studio in the south of France. In 1916, Gris signed a contract with French art dealer Leonce Rosenberg which helped solidify his financial future. Coffee Grinder (1920). Heritage Images / Getty Images Juan Gris simplification of the geometrical structure of his paintings in late 1916 is a distilled version of cubism. He also blurs the distinction between the background and the central object in the picture. This style has been called crystal cubism. Many observers see the technique as the logical extension of developments in cubism. The first major solo exhibition of the work of Juan Gris took place in Paris in 1919. He also participated in the final major exhibit of cubist painters at the Salon des Independents in Paris in 1920. Later Career In the months following the end of World War I in 1919, Juan Gris became ill from the lung disease pleurisy. He traveled to Bandol on the southeastern coast of France to recuperate. There, he met Russian ballet patron Serge Diaghilev, founder of the Ballets Russes. Juan Gris designed sets and costumes for the dance troupe from 1922 through 1924. La Liseuse (1926). Heritage Images / Getty Images More major international exhibitions followed from 1923 through 1925. During the period, Gris enjoyed the greatest fame that he would know during his lifetime. He delivered the lecture, Des possibilites de la peinture at the Sorbonne in 1924. It outlined his major aesthetic theories. Unfortunately, Gris health continued to decline. In 1925, he began to suffer from cardiac and kidney disease. Juan Gris died of kidney failure at age 40 in 1927. Legacy Still Life with Checkered Tablecloth (1915). Metropolitan Museum of Art / Wikimedia Commons / Creative Commons 1.0 While Pablo Picasso and Georges Braque are given credit for first developing the cubist style, Juan Gris is one of the most distinctive artists who devoted his career to the development of the movements theories. Artists ranging from Salvador Dali to Joseph Cornell acknowledged their debts to the innovations of Juan Gris. His use of brand logos and newspaper type anticipated the development of Pop Art a generation later. Source Green, Christopher. Juan Gris. Yale University Press, 1993.

Describe the empirical and rationalistic arguments for the existence Essay

Describe the empirical and rationalistic arguments for the existence of God - Essay Example Using this framework, rationalists argue that although no one can claims to have ‘seen’ God, there is enough circumstantial evidence to prove his/her existence. For example, the beauty and splendor of the natural world with its own myriad of complexity and design suggests the existence of a benevolent creator. This is the argument some creationists employ to counter evolutionary biologists’ theories of random genetic mutations. The regularity of natural phenomena such as the rising of the Sun, the waxing and waning of the moon, the presence of other life-forms on earth, are all examples of the work of the omnipresent (yet unobservable) creator or God. Rationalists further argue that the tendency for higher animals to exhibit altruistic behaviour and unconditional love can be taken as more proof. At a broader level, the evil forces in the world need a countervailing positive force in the form of God. Empiricists, on the other hand, present complementary lines of th ought. According to Empiricists, some of the transcendental experiences that occur to humans, whereby the realm of consciousness if elevated to another higher level is proof enough of God’s existence. Indeed, most such transcendental experiences coincide with a religious event such as prayer or divine music, making the associations between the two quite strong. These divine experiences of God’s presence are not usually grasped through sense organs in the course of daily life, but require special dedication to the faith and divinity for the revelation to occur.

Analyse the steps towards cost leadership within the production Essay

Analyse the steps towards cost leadership within the production relationship of a modern firm. Be specific and offer some examples - Essay Example For other industries, it is possible to attain economies of scale when the increased volume enables the assignment of resources more efficiently. This is particularly true of costs associated with manpower specialisation, where an increase in volume allows for individuals to be assigned specialised tasks, thus streamlining production methods. This results in improving rate of production without increasing the number of workers. Thus, increasing economies of scale occurs when the marginal increase in a factor of production is less than the marginal increase in the corresponding quantity of products produced. Economies of scope is similar to economies of scale because it aims to increase production faster than the attendant increase in costs. The difference lies in the number of products by which to attain this. Economies of scope seeks to reduce per unit total cost by diversifying the products a firm makes and sells. By increasing the number of product lines and extending the use of inputs (manpower and machinery) over the alternative products, the overall cost per unit of each product line is reduced because of the sharing of fixed costs among the product lines. For instance, Dunkin Donuts’ main product line is its number of variously flavoured donuts; somewhere along the line the firm decided to produce Munchkins, the bite-sized versions of the same flavours as the donuts, they tapped a new type of market demand which preferred the smaller versions. From the production aspect, the same machines and manpower were used to make the new product, thus spreading fixed costs over two product lines. Thus, increasing economies of scope occurs when the sum of the marginal increases in the cost of producing one additional unit in all the product lines is less than the increase in the marginal cost of each product line taken

Axia College of University of Phoenix Essay Example for Free

Axia College of University of Phoenix Essay The purpose and meaning of life, is to live it in the most meaningful way a person can. I work hard on this daily, and try to show the younger generation that life can be so beautiful in a lot of positive ways if you lead it the way you want it. My personal narrative will be away to express myself like I have not done before by using theories in my readings. I am a thirty-year-old man who is very energetic, outgoing, hard working that not only values my life, but everyone else’s as well. The past five years of my life have been a five-part movie that could have big as the Lord of the Rings series. I started school, two businesses, regular job I got promoted, and bought a new house. I have had to take a back seat on being there for all my family, and friends like I am use to, because for once I had to utilize time for myself. My meaning of life stayed the same thru out these years; I think these things have made me more mature on things, and to love myself a little more. The major thing that made me really evolve in the past 5 years I believe is starting school. Six years prior to me starting at UOP I dropped out of college, because I had no clue what I wanted to use my skills for, I was very lost, unhappy, and I was doing nothing for myself it was for everyone else. That single event by enrolling back in school changed my personality over night for the better. The next day I started weeding people out of my life that where imputing nothing but negatives in it. That was defiantly the turning point for me without a doubt. This event came at the right time also in my life since I was in a very dark place at the time, so I guess you can say it was meant to be. Then I started two business ventures that I had wanted to start which proved to me that I could do something for myself to benefit my life and stability. I now have more than enough responsibilities that I did not have before, like keeping my business in order supplies to maintaining my customer relationships. My new house has been the biggest ordeal and not in a bad way it has been extremely difficult to get it to my standards, and since I am so busy I have not taking time just for my house. These challenging changes in my life now are very hard to deal with, but I would not make any changes at all, because this is the happiest I have been. I have been hard on myself, but not to the point of stressing. Happiness proves to be an interesting window through which to view continuity and change in personality (McAdams, 2006). With that said it shows in my everyday life that no matter what I am faced with today my life is a lot better now than then. I took a lot growing up without a father from not being able to afford things I wanted to not having the self-confidence in myself to make change. When you receive that unexpected high grade on a tough assignment, you are likely to feel good, and your well-being shoots way up (McAdams, 2006). Starting my businesses, buying the house, and getting promoted where some very tough assignments in the past five years, but I feel so much better about who I am with a better well being. What roles have religion, race, culture, family, and gender played in the development of my personality, well the major thing that played a role was family. My family pushed me so much to a point where failing would not be expectable in any manner. My girlfriend has never stopped believing in me she always said I will be somebody, and no one can take that from me. My race, and religion beliefs did not have a huge factor in any part of this, but my personality got me sixty percent of what I have today. Looking back on the past seeing the transition that has taking place in my life from five years ago is something in itself to boost my ego. Five years ago without UOP I can honestly say that there is no way I would be where I am now. Life is a wonderful thing to have, we make our own destiny, and being rich or poor should not make us who we are, but being in love with life and our good talents that we possess should play a huge part of what we are. McAdams, D. (2006). The person: a new introduction to personality psychology. (4th ed. ). Hoboken, NJ: John Wiley Sons.

costs and affects of quarrying in National Parks Essay -- essays resea

Mining and quarrying were the backbone of Britain’s economy since the start of the industrial revolution. Due to cleaner methods in energy production, which have been enforced during last 100 years and the course of developments in modern technology, Britain’s principle wealth is now governed mainly by the success of her tertiary businesses synonymous with the larger towns and cities. Nevertheless our standard of living also depends on the supply of aggregates, the most basic of building materials but most commonly used in the construction of buildings, transport networks, tunnels railroads and airports. According to Foster Yeoman (1994) the aggregates industry is five times the size of the domestic coal industry. However, such material often comes from quarries located in areas of high scenic value, which are often National Parks or Areas of Natural Beauty (AONB’s) and is raising cause for concern among environmentalists and local communities, but for different reasons. The National Parks of England and Wales were designated as such under the National Parks and Access to the Countryside Act of 1949. The purposes for which they were designated were to: ‘conserve the natural beauty, wildlife and cultural heritage of its area and to provide for the enjoyment and understanding of its special qualities by the public’ Association of National Park Authorities (ANPA 2001). Furthermore the National Park Authorities (NPAs) are also required to foster the social and economic well being of the communities within the park.’ Scotland however had a much smaller population; therefore the pressures on the land were deemed not to be as great. Consequently places of natural beauty did not warrant the designation of national park status. Nevertheless, the new Scottish Parliament is currently implementing National Park areas throughout Scotland. Described by Simmons (1974) protected landscape is a non-consumptive resource: the crop is of a visual nature and when this has been taken in by the consumer; the source remains the same and it is the aim of the management to perpetuate this attribute. It is the duty of the NPAs (and their governing body ANPA) to promote methods of sustainable development, which is commonly achieved by each NPA having a ‘balanced membership’, consisting of local people and those representing the national interest by virtue of their individual knowl... ...01 http://www.qpa.org/profile_ohme.html  Ã‚  Ã‚  Ã‚  Ã‚  02 May 2001 http://www.peakdistrict.org/Pages/Facts/fz2tour.htm  Ã‚  Ã‚  Ã‚  Ã‚  02 May 2001 http://earth.leeds.ac.uk/~visimp.htm  Ã‚  Ã‚  Ã‚  Ã‚  07 May 2001 REFERENCES Wallis E.  Ã‚  Ã‚  Ã‚  Ã‚  Geofile: UK Mines and Quarries  Ã‚  Ã‚  Ã‚  Ã‚  April 1992   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Edition 194 McGarvie M.  Ã‚  Ã‚  Ã‚  Ã‚  Foster Yeoman 75  Ã‚  Ã‚  Ã‚  Ã‚  Butler & Tanner   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  A Pictorial History  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   1998 Simmons I.G.  Ã‚  Ã‚  Ã‚  Ã‚  The Ecology of Natural Resources  Ã‚  Ã‚  Ã‚  Ã‚  Edward Arnold   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  1974 http://www.anpa.co.uk http://www.yeoman-poland.pl/e_ofirmie2.html http://www.qpa.org/profile_ohme.html

Marketing Visual Merchandising Essay

How visual merchandising helps improving sales and its effects on retailing? ABSTRACT Visual Merchandising is the way or art of displaying goods and products in a manner that is appealing to the eyes of the customer. It sets the context of the merchandise in an aesthetically pleasing fashion, presenting them in a way that would attract the attention and convert the window shoppers into prospects and ultimately buyers of the product. A creative and talented retailer can use visual merchandising to breathe in new life into his store products. Passion for design and creativity are essential and the key to be a good visual merchandiser. A perfect design process and the ability to create ideas that are different are required. Awareness of happenings in fashion world is needed so as to keep up-to-date with the dynamics of the market constantly to ensure whatever merchandise displayed make a good comeback to attract shoppers. Keyword: visual merchandising, window displays, signs, interior displays, cosmetic promotions. 1. Introduction Visual Merchandising has been gaining more importance and attention from retailer of late as part of the emerging marketing industry. Research shows most of the people who went to shopping centre did not have an idea of what to buy or which shop to go, most of them get attracted by the display inside or outside the retailer. â€Å"Seventy percent of consumers in-store purchases are unplanned, which means they came to the store to buy something else,† says Greg Smith, director of communications for the Chicago-based Point Of Purchase Advertising Institute (POPAI). The main goal of display is to showcase the products within the overall display area to attract customers to give in three to five seconds of their attention to the window display The retailer visual message should be conveyed to the customer in that short period of time. It should not be like an unsuccessful TV advertisement, where the product is forgotten altogether and only the concept of the commercial remains in the mind of the viewer. The arrangement of window display should go with the product and should not suppress them to make it discernible to the eye. According to Dolan and Thomas G (2012), It’s important to realize that no matter how much advertising you do on a particular product or brand, most shoppers can be swayed by the in-store display. It is why nowadays it had become a popular trend among retailer to apply visual merchandising in their stores and retailer outlet. 2. Consumer Emotion and Affective Response Emotion is the core factors in affective perspective. It affects an individual’s luminal and subconscious level, and serves as the internal motivator that attracts us to the things that makes us feel good or positively associate with our minds (Williamson, 2002). Individuals tend to focus on information selectively, which is consistent with one’s mood state and later, recall the information that is mood-consistent (Mattila and Wirtz, 2000). Mood-based evaluations are common in individual judgment of products or services (Schwarz, 1997). Russell and Geraldine (1980) assumed that affect is an individual’s internal state comprising of both pleasure and arousal. 3. Visual Merchandising and Consumption Visual merchandising enhances the attractiveness of a store and its perceived image from the viewpoint of customers. A positive mood serves as a contextual cue for evaluating the perceived quality, image of a product and store, and purchase intention (Bakamitsos, 2000). The impact of a pleasant store atmosphere is also positively related to customer satisfaction (Spies et al., 1997). Atmospheric stimuli which please the actual and emotional needs of consumers enhance the degree of consumer participation in a store, leading to favourable purchasing behaviours (Wright et al., 2006). In general, the store exterior and interior are the two major areas covered in Visual Merchandising and a variety of components (colour combination, product placement, lighting arrangement, layout and highlight design, mannequin and props selection, fixtures and fittings selection) are involved in creating a favourable shopping atmosphere. For instance, Babin et al. (2003) found that the combination of colours and lighting plays a critical role in influencing the purchase intention of consumers and store patronage. Intangible store elements, such as sprayed fragrance, can stimulate one’s affective state and help boost mental imagination (Fiore et al., 2000). Chebat et al. (2001) found that appropriate music can affect the cognitive activity of consumers. A positive imagery also helps in associating a better cognitive experience between consumers and products, and intensifying purchase intentions (Macinnis and Price, 1987). However, consumers’ responses can be affected by cultural difference. Chan and Tai (2001) found that Chinese Hong Kong people rely on culture values (e.g. practical realism) to evaluate store displays and less susceptible to environmental cues than American consumers. Also, Chinese cultural values had a direct relationship with store atmosphere evaluation in apparel consumption (Fok and Chong, 1996). For Vietnamese consumers, hedonic shopping motivations were directly related to store atmosphere evaluation in supermarkets (Nguyen et al., 2007). For Korean consumers, different cultural expectations were found in store environment expectations in discount stores (Park, 2005). Therefore, cultural difference is important to influence store atmosphere evaluation. 4. Visual merchandising and Sales Today, customer walks through any mall or large stand-alone store where they moves through a continuos themes promotional mix of visual merchandising. The visual campaign starts with the outside window and continues through the use of end-aisle displays, layout, fixtures, and signage, continuing to the point of purchase displays where one final push is made ( Bell and Ternus, 2002). Once considered ‘’making the store pretty,’’ visual merchandising has become its own department in larger stores. The visual merchandising process promotes sales without the need for a sales associate ( Bell and Ternus, 2002). Research confirms the importance of visual merchandising (Janiszewski, 1998; Mckinly, 2003); it has been found effective in increasing sales (Edwards and Shackley, 1992) and imperative in enchancing store image. Visual merchandising that can be effective include exterior displays, window displays (Edward and Shackley, 1992; Gubernick, 1986), in-store display as well as the separate display components of signage ( Edward and Shackley, 1992) and lighting. Given the possilities of visual marketing, one might expect that all retailers would use it. For many small business owners, however, the need to create visual displays is just one more task (Yu and Muske, 2003). Successful visual merchandising and brand delivery is all about understanding and satisfying customer needs. So the more that a company understands its consumers, brand and competitors, the better it can define and refine its own visual merchandising practice to deliver better solutions instore to improve the customer experience (Mckeever, 2007). 5. Physical In-store Environment It has frequently been suggested that â€Å"good† interior design within a store can maintain customer interest, encourage customers to lower their psychological defences and make a purchase (Kotler, 1974). In examining this potential, the physical in-store environment has been examined in relation to various elements, for example, orienting factors, signage (Bitner, 1992); spatial factors (Bitner, 1992); and ambient conditions (Bitner, 1992), which Kotler (1974) termed â€Å"atmospherics†. These elements are in many ways redolent of the facets of merchandise display identified above. This high degree of congruence between merchandise display facets and the elements identified when concerning the physicality of the in-store environment would appear to add further weight to the use of such â€Å"borrowed† approaches in this research. The work regarding the physicality of the in-store environment focuses on the â€Å"communication† of elements through cues and stimuli that the customer digests through a number of sensory modalities (visual, aural, olfactory, haptic and taste). Within the research on in-store environments it has been suggested that some people are better at â€Å"digesting† environmental stimuli than others (Bitner, 1992). Given that up to 90 per cent of the cues provided by an environment are digested through sight (Edwards and Shackley, 1992) it follows that many environmental cues in the retail context are visually communicated. The twin threads of visual communication and legibility highlighted in the environmental literature echo the sentiments raised in the definition of visual merchandising above. This then further strengthens the links between the visual merchandising and considerations of the physicality of the in-store environment. Therefore, from either perspective, understanding how to communicate product and brand images to customers through individual visual stimuli is vital. 6. Aims of Visual Merchandising They are several aim of the usage of visual merchandising. Successful way of using visual merchandising will be able to send out quality message to potential and prospective customer and also enticing them to buy from the store(Kerfoot et al., 2003). Visual merchandising not only function as a configuration of space, layout and consumer flow, but visual merchandising itself is also a powerful communication and experience enhancer for the customer(Kotler, 1974). * Generate Experience Experience generation pertains to stimulation and management of the entire domain of the consumer’s senses and managing sensuality so as well as to be congruent with the consumer’s desires Visual merchandising able to manage the visual senses whereby affect experience generation in retailing. * Maximize Sales Effective visual merchandising helps in increasing sales through facilitation of consumer sampling and exposing the best of merchandise to the consumer . * Strengthen the Brand Visual merchandising can add brand strength to the retail store brand where the experience occurs if being properly managed. For example, Apple store who use visual merchandising have been a successful icon in the technology market and been known for their merchandise being visualized in their store. * Help Expansion of Product Categories Through Optimizing Display Effective visual merchandising also packs more through optimum display of merchandise. Thereby devouring empty spaces in the retailer where it is not necessary, making it feasible to display larger number of products and product categories, enhancing higher total spending and hence contributes to the profits of the retailer. 7. Diccusion Visual Merchandising was conceptualised in the western countries around the 60s. The basic tenet was to â€Å"differentiate† the brand in question, build â€Å"tactile† attributes at the point-of-sale which will reinforce the product attributes (directly or subtly) & act as a â€Å"call for action†, for the favourably disposed customer to â€Å"touch & feel† the brand experience. By the 90s visual merchandising had scaled the status of â€Å"art† & spilled on to a scientific territory. Organised retail contributed a lot to this development, as they were open to experimenting and it was an adding to the consumer purchasing experience. Visual merchandising is the art and science of retailing. It’s the thoughtful design of the store. It’s the aisle layouts, product adjacencies and the product sets themselves. Visual merchandising understands the target customer’s needs/desires and delivering an environment that encourages spending and increases purchases. Visual Merchandising aids customers’ buying decisions by placing the product where customers expect to find it. VM provides information about the product where it can easily be seen. Seeing, Smelling, Tasting, Feeling, Selling and Merchandising is all tied together. Often time, about a 250% sales increase when retailer offer a â€Å"try before you buy† type sales process and in this condition where visual merchandising had fulfilled all the condition. In this case, visual merchandising definitely has an impact on sales and helping increasing the fortunes of retailer. 8. Conclusion This research investigates how visual merchandising plays an important role in upgrading the fortunes and sales of retailer and the relationship of it between visual merchandising and retailer. It is found that attention should be paid to the overall store displays which include in-store and out-store display to attract consumer and products should be displayed at area which could easily catch up potential and prospective consumer view. Visual merchandising is known as a very common strategies that be used in the trend nowadays as research shows that more than 70% of people who went to a mall haven’t decided what they want to buy so it is important how visual merchandising play a role in luring potential buyer to the retailer. Visual Merchandising is everything that customers sees, both interior and exterior, that creates a positive image of the business and results in attention, interest, desire and action on part of the customer. Creative and great visual merchandising attracts attention, creates interest and invites customer to the store, directly gives impact on the sales of the whole retailer. So it is important how a retailer present the interior and exterior of the store. Furthermore, a good display is also act as a silent salesperson. When salespeople are busy with other consumer or the shop is closed, a strong window display showcases spoke to the consumer itself. 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