Monday, August 08, 2011
Sunday, August 07, 2011
Expectations of MPhil Social Science Cluster Group
Following are the expectations of the MPhil Social Science Cluster Group from the academic writing module suggested in the session on 6 August 2011.
Related to Writing
Write in organised way
Issue of literary jargon
Punctuation
Structure of academic writing
Nature of academic writing/difference
bw 'popular' and academic writing
Language of credibility
Conventions of research writing
What not to do in academic writing
Vocabulary of research
Citation in thesis
How to sound scholarly
How to edit
How to quote
Foot note
Presenting ideas systematically
Concise writing
Thesis – structure, presentation
Writing and article for peer review
journal
Learn the essentials of academic
writing
On academic writing
Different kinds of academic writing
On Researching
How to read a research article/
critical reading
Reviewing literature
How to take notes
Other suggestions
Give Practice
How to present papers
Do justice to the basic topics
Not related
Decoding visual representation
Use data
Problem statement
Except the last section the rest of the suggestions will be considered during the sessions on academic writing.
Saturday, August 06, 2011
MPhil Social Science Cluster - Academic Writing Assignment
Dear Social Science Cluster M.Phil. students,
As part of your CIA may I request you to submit the following assignment?
Submit a research proposal of not more than 5 pages, in the following format.
- Tentative Title
- Introduction to the Research Topic (About a 100 words)
- Objectives
- Methodology
- Literature Review (About 300 words- Briefly mention the key studies done so far in the area of your research topic, leading to you research question)
- Chapter Overview (Each chapter description should be a separate paragraph of about 25-50 words giving the blue print of the paragraph)
- Select Bibliography (Key studies in your area which you will refer. It should have single and multiple author books, single and multiple author journal articles, online articles, unpublished dissertations, and JSTOR or Ebscor articles. There should be 15-20 bibliographic entries. For bibliographic entry, either use APA or Bluebook, depending on your area.)
Once the proposal is ready, please open a google document file and paste the proposal and share the document with me (anil.pinto AT christuniversity.in) and with all your social science cluster classmates. Please ensure that you enable the 'view' option while sharing the document.
Please write your full name and MPhil registration number at the top left-hand corner for first page.
Please write your full name and MPhil registration number at the top left-hand corner for first page.
Last date for sharing of the assignment is Wednesday, 15 August 2011, 12 midnight. The date will not be extended under any circumstances.
If you have any clarification to seek you may post it in the comment section below this post.
------------------------------------------------------------------------
Objectives of the Assignment
- To help you formulate a prototype of your proposal
- To make testing a learning process
- To help you learn the possibilities of utilising online digital technologies in research
- To create a platform for peer feedback
- To evaluate your learning
- To promote self-learning and peer learning
Evaluation Criteria
Visual structure of the proposal, incorporation of classroom inputs, following of assignment guidelines, strength of the proposal, language
20-25 - A good proposal meeting all the requirements of evaluation criteria
15-25 - General adherence to the evaluation criteria with some drawbacks
10-15 - All seven parts of the proposal written but with mistakes or incomplete parts
00-10 - Some parts of the proposal not included, more than 10 grammatical error, more than 10 spelling errors, extremely weak proposal. ( In this case the assignment will be rejected with a chance to resubmit in three days from the time of announcement of marks. However, the repeat assignment will not be awarded more than 55% of marks)
Max Marks: 25
Early-bird incentive
Those who submit the assignment by Friday 12 August 2011, 12 midnight, additional 2 marks will be awarded, subject to maximum marks limit.
Friday, August 05, 2011
MPhil Mgt Cluster - Academic Writing Assignment
Dear Management Cluster M.Phil. students,
As part of your CIA may I request you to submit the following assignment?
Submit a research proposal of not more than 5 pages, in the following format.
As part of your CIA may I request you to submit the following assignment?
Submit a research proposal of not more than 5 pages, in the following format.
- Tentative Title
- Introduction to the Research Topic (About a 100 words)
- Objectives
- Methodology
- Literature Review (About 300 words- Briefly mention the key studies done so far in the area of your research topic, leading to you research question)
- Chapter Overview (Each chapter description should be a separate paragraph of about 25-50 words giving the blue print of the paragraph)
- Select Bibliography (Key studies in your area which you will refer. It should have single and multiple author books, single and multiple author journal articles, online articles, unpublished dissertations, and JSTOR or Ebscor articles. There should be 15-20 bibliographic entries. For bibliographic entry, either use APA or Bluebook, depending on your area.)
Once the proposal is ready, please open a google document file and paste the proposal and share the document with me (anil.pinto AT christuniversity.in) and with all your Management Cluster classmates. Please ensure that you enable the view option while sharing the document.
Please write your full name and MPhil registration no at the top left-hand corner of the first page
Please write your full name and MPhil registration no at the top left-hand corner of the first page
Last date for sharing of the assignment is Wednesday, 10 August 2011, 12 midnight. The date will not be extended under any circumstances.
If you have any clarification to seek you may post it in the comment section below this post.
------------------------------------------------------------------------
Objectives of the Assignment
- To help you formulate a prototype of your proposal
- To make testing a learning process
- To help you learn the possibilities of utilising online digital technologies in research
- To create a platform for peer feedback
- To evaluate your learning
- To promote self-learning and peer learning
Evaluation Criteria
Visual structure of the proposal, incorporation of classroom inputs, following of assignment guidelines, strength of the proposal, language
20-25 - A good proposal meeting all the requirements of evaluation criteria
15-25 - General adherence to the evaluation criteria with some drawbacks
10-15 - All seven parts of the proposal written but with mistakes or incomplete parts
00-10 - Some parts of the proposal not included, more than 10 grammatical error, more than 10 spelling errors, extremely weak proposal. ( In this case the assignment will be rejected with a chance to resubmit in three days from the time of announcement of marks. However, the repeat assignment will not be awarded more than 55% of marks)
Max Marks: 25
Early bird incentive
Those who submit the assignment by Monday 8 August 2011, 12 noon, additional 2 marks will be awarded, subject to maximum marks limit.
Visual structure of the proposal, incorporation of classroom inputs, following of assignment guidelines, strength of the proposal, language
20-25 - A good proposal meeting all the requirements of evaluation criteria
15-25 - General adherence to the evaluation criteria with some drawbacks
10-15 - All seven parts of the proposal written but with mistakes or incomplete parts
00-10 - Some parts of the proposal not included, more than 10 grammatical error, more than 10 spelling errors, extremely weak proposal. ( In this case the assignment will be rejected with a chance to resubmit in three days from the time of announcement of marks. However, the repeat assignment will not be awarded more than 55% of marks)
Max Marks: 25
Early bird incentive
Those who submit the assignment by Monday 8 August 2011, 12 noon, additional 2 marks will be awarded, subject to maximum marks limit.
Wednesday, August 03, 2011
National Conference on "Trending" Hospitality by t...
National Conference on "Trending" Hospitality by t...: "'Trending” Hospitality is an effort to deliberate and discuss contemporary issues affecting modern hospitality business. The aim i..."
Tuesday, August 02, 2011
Theories of Art after Minimalism and Pop: Michael Fried
Anu James
1124106
Thesis statement: When I was asked to participate in the discussion, it was suggested that I begin with a few words about my essay “Art and Objecthood”, which I wrote almost exactly twenty years ago.
Keyword: Art and Objecthood.
Topic statement: When I wrote it in early 1967, it was the culmination of a series of essays on recent developments in what has come to be called color-field painting, plus the sculpture of Anthony Caro- a body of work that seemed to me then, and continues to do so today, the most important and distinguished painting and sculpture of our time.
Supporting ideas: Observations- minimalist pieces- the art of the painters and sculptures- the radically abstract and antitheatrical art.
Topic sentence: These were part of the series of opposition that the essay attempts to set in place- between “presentness” and “presence”, instantaneous and duration, abstraction and objecthood.
Supporting sentence: The extent to which hostile responses- “Art and Objecthood”- tend not to be deconstructive in approach- but rather to attack the “positive” terms in the interests of “negative” terms.
1124106
Thesis statement: When I was asked to participate in the discussion, it was suggested that I begin with a few words about my essay “Art and Objecthood”, which I wrote almost exactly twenty years ago.
Paragraph 1:
Topic Statement: “Art and Objecthood” has been the focus of a great deal of discussion,
most of it hostile, which in view of the dominant trends of the art world during the past two decades makes perfect sense, but more than a little of it uncomprehending.
Supporting statement: Michael Fried want to make a few remarks about the original motivation of “Art and Objecthood”.
Keyword: Art and Objecthood.
Paragraph 2:
Topic statement: When I wrote it in early 1967, it was the culmination of a series of essays on recent developments in what has come to be called color-field painting, plus the sculpture of Anthony Caro- a body of work that seemed to me then, and continues to do so today, the most important and distinguished painting and sculpture of our time.
Supporting ideas: Observations- minimalist pieces- the art of the painters and sculptures- the radically abstract and antitheatrical art.
Keyword: Literalist art- theatrical.
Paragraph 3:
Topic sentence: These were part of the series of opposition that the essay attempts to set in place- between “presentness” and “presence”, instantaneous and duration, abstraction and objecthood.
Supporting sentence: The extent to which hostile responses- “Art and Objecthood”- tend not to be deconstructive in approach- but rather to attack the “positive” terms in the interests of “negative” terms.
Keyword: Deconstruction.
Paragraph 4:
Paragraph 4:
Topic sentence: Another reason for writing “Art and objecthood” as well as “Shape as Form”, the essay on Frank Stella that proceeded it, might be characterized as at once historical and theoretical.
Supporting Sentence: “Modernist Painting” in particular by its notion- that modernism in the arts involved- a process of reduction according to which dispensable conventions were progressively discarded until in the end one arrived at a kind of timeless and irreducible core.
Supporting Sentence: “Modernist Painting” in particular by its notion- that modernism in the arts involved- a process of reduction according to which dispensable conventions were progressively discarded until in the end one arrived at a kind of timeless and irreducible core.
Keyword: Modernist Painting.
Paragraph 5:
Paragraph 5:
Topic sentence: “Art and Objecthood”’s claim is that what it calls theatre is now the enemy of art; and what I want to insist is that while that may be wrong, the word “now” can’t be overlooked.
Supporting sentence: Earlier art- considered overtly theatrical- but rather proposing that contemporary work that didn’t understand itself.
Supporting sentence: Earlier art- considered overtly theatrical- but rather proposing that contemporary work that didn’t understand itself.
Keyword: Theatrical.
Paragraph 6:
Paragraph 6:
Topic sentence: The whole question is further complicated by the fact the issue of theatricality defined as a pejorative term implying the wrong sort of consciousness of an audience originally arouse around the middle of the 18th century in France.
Supporting statement: The antitheatrical arguments of “Art and Objecthood” belong to a larger historical field than that of abstraction versus minimalist art in 1967.
Supporting statement: The antitheatrical arguments of “Art and Objecthood” belong to a larger historical field than that of abstraction versus minimalist art in 1967.
Keyword: Antitheatrical arguments.
The Painting of Modern Life: Timothy J. Clark
Ritwika Pandey
1124121
1. Paragraph 1:
Topic sentence: The art of Manet and his followers had a distinct 'moral aspect' visible above all in the way it dovetailed an account of visual truth with one of social freedom.
Key Ideas: The artists depended for its force on something more than painterly hedonism or simple appetite for sunshine and colour.
2. Paragraph 2:
Topic Sentence: In its unconventionalized, unregulated vision, in its discovery of a constantly changing phenomenal outdoor world of which the shapes depended on the momentary position of the casual or mobile spectator, there was an implicit criticism of symbolic social and domestic formalities, or at least a norm opposed to these.
Key Ideas: We have many pictures in Early Impressionism of informal and spontaneous sociability, of breakfast, picnics, promenades, boating trips, holidays and vacation travel – projection of bourgeois recreation in 1860s and 1870s – also reflect the new aesthetic devices and the conception of art as a medium of individual enjoyment.
3. Paragraph 3:
Topic Sentence: The Contexts of bourgeois sociability shifted from community, family and church to commercialized or privately improvised forms – the streets, the cafes and resorts – the resulting consciousness of individual freedom involved more and more an estrangement from older ties; and those imaginative members of the middle class who accepted the norms of freedom, but lacked the economic means to attain them, were spiritually torn by a sense of helpless isolation in an anonymous indifferent mass.
Key Ideas: Individual enjoyment becomes rare in Impressionist art – private spectacle of nature is only left – social groups break into isolated spectators.
4. Paragraph 4:
Topic Sentence: The actual bourgeois’s being brought to enjoy the Impressionist painting, and to revel in its consonance with his day-to-day experience, is no doubt marvellous; but it does not seem to me much more than a metaphor, and is surely not warranted by what we know of this painting’s first purchasers and enthusiasts.
Key Ideas: Schapiro believes that once upon a time the bourgeoisie, or at least its enlightened members, really did delight in an ‘informal and spontaneous sociability’ – later estrangement and isolation came – ‘commercialized or privately improvised forms’ – informal and spontaneous sociability depicted in Manet’s Dejeuner sur L’herbe.
5. Paragraph 5:
Thesis Statement: The form of new art is inseparable from its content.
6. Paragraph 6:
Topic Sentence: Any social order consists primarily of classifications.
Key Ideas: Society is a set of means for solidarity, distance, belonging and exclusion – things needed pre-eminently for the production of material life – fix an order in which men and women can make their own living – have confidence in what they do – trivialize the concept of ‘social formation’ – the ‘economic life’ – the ‘economy’, the economic realm, sphere, level, instance, or what-have-you – is in itself a realm of representations.
7. Paragraph 7:
Topic Sentence: Social practice is that complexity which always outruns the constraints of a given discourse; it is the overlap and interference of representations.
Key Ideas: Social practice – the notion of social activity outlined so far can be sustained only if the world of representations does not fall into systems or ‘signifying practices’. – society is the battle field of representations – representations are continually subject to the rest of a reality – test of social practice – a test that consolidates or disintegrates our categories and eventually makes and unmakes a concept.
8. Paragraph 8:
Topic Sentence: In capitalist society, economic representations are the matrix around which all other organized.
Key Ideas: The class of an individual – his or her effective possession of or separation from the means of production - is the determinant of social life – in the nineteenth century often the presence of class as the organizing structure is gross and palpable – it is possible to expand the concept of class and include facts other than the economic facts – here we are clearly dealing with a class and a set of ‘class characteristics’ still in the making.
9. Paragraph 9:
Topic Sentence: It is clear that reality designated at the time – in the 1870s, say – as petit bourgeois included men and women whose trades had previously allowed them a modicum of security in the city’s economic life, but who had been robbed of that small safety by the growth of large scale industry and commerce.
Key Ideas: Class will in any case necessarily be a complex matter – there is never only one ‘means of production’ in society for individuals to posses or be denied – a shift of attention from putting stress on the material means occurred – new set of proposals was possible without the effect of bad faith – Mallarme said that painting shall be steeped again in its cause.
10. Paragraph 10:
Topic Sentence: Doubts about vision became doubts about almost everything involved in the act of painting; and in time the uncertainty became a value in its own right; we could almost say it became an aesthetic.
Key Ideas: In the Symbolist magazines of the late 1880s – in which the preference of painting for the not known, the not arranged, and the not interpreted was taken largely as an article of faith – painting has a subject – art seeks out the edges of things, of understanding – its favorable modes are thus irony, negation, deadpan, the pretence of ignorance or innocence – highest wisdom is knowing that things and pictures do not add up.
11. Paragraph 11:
Topic Sentence: The terms of modernism are not to be conceived as separate from the particular projects – the specific attempts at meaning – in which they are restated.
Key ideas: Notorious history of modernism’s concern for ‘flatness’ – two dimensions of the picture surface every time the painters after Courbet recover them – that literal presence of surface went on to become an form of art.
12. Paragraph 12:
Topic Sentence: Flatness was constructed as a barrier put up against the viewer’s normal wish to enter a picture and a dream, to have it be a space apart from life in which the mind would be free to make its own connections.
Key Ideas: Painting would replace or displace the real world – flatness was considered a part of modernity.
13. Paragraph 13:
Topic Sentence: Flatness was therefore in play – as an irreducible, technical fact of painting – with all of these totalizations, all of these attempts to make it a metaphor.
Key Ideas: The painters we most admire insisted also on its being awkward, empirical quiddity; but ‘also’ is the key word here- their particularity was what made flatness a matter to be painted.
14. Paragraph 14:
Topic Sentence: Circumstances of modernism were not modern and only became so by being given the forms called ‘spectacle’.
Key Ideas: Are we to take Impressionism’s repertoire of subjects and devices as merely complicit in the spectacle – lending it consistency or even charm – or as somehow disclosing it as farce or tragedy.
15. Paragraph 15:
Topic Sentence: Rediscover the force of these terms – light, looking, strict adherence to the facts of vision – since they have nowadays become anodyne.
Key Ideas: Are we supposed to give up believing in the ‘painting of light’? – simple determination of these artists to look and depict without letting the mind interfere too much? - wondering since where the traditional notion of impressionism gone.
16. Paragraph 16:
Topic Sentence: A matter of looking at Impressionist pictures again and being struck by their strangeness.
Key Ideas: It gives the impression of something seen and translated by the feeling rather than with every form defined.
17. Paragraph 17:
Topic Sentence: These criticisms are ungenerous, but they point to things in the paintings which truly are odd and ought to be recognized as such.
Key Ideas: The painters job is representing in a way which barely makes sense – the individual marks are scratched and spread into one another as if they had been worked overlaid almost cancelled out - even the painter would find it obscure.
18. Paragraph 18:
Topic Sentence: A space had to be kept between painting and representing: the two procedures must never quite mesh.
Key Words: The word ‘painting’ in a crude material way, would stand for the notion of what the paint could stand for effectively – the established equivalents in paint are always false – they are short cuts for the hand and eye and brain which tell us nothing that we do not already know; and what we know already is not worth rehearsing in paint.
19. Paragraph 19:
Topic Sentence: Painting was now supposed to be about seeing and the painter determined to stick to the look of a scene at all cost.
Key Ideas: Realist intentions are at work here – it involved a set of fragile and unprecedented equations between the painted and the visible.
20. Paragraph 20:
Topic Sentence: Painting is not uniquely an archaeological art and that it accommodates itself without effort to “modernity’.
Key Ideas: This writer’s confidence somewhat misses the point of the pictures he is describing – we must allow art to effect its own naturalization to costume – It is yet to be seen what the attractive new category meant and what kind of accommodation can art make with it.
1124121
1. Paragraph 1:
Topic sentence: The art of Manet and his followers had a distinct 'moral aspect' visible above all in the way it dovetailed an account of visual truth with one of social freedom.
Key Ideas: The artists depended for its force on something more than painterly hedonism or simple appetite for sunshine and colour.
2. Paragraph 2:
Topic Sentence: In its unconventionalized, unregulated vision, in its discovery of a constantly changing phenomenal outdoor world of which the shapes depended on the momentary position of the casual or mobile spectator, there was an implicit criticism of symbolic social and domestic formalities, or at least a norm opposed to these.
Key Ideas: We have many pictures in Early Impressionism of informal and spontaneous sociability, of breakfast, picnics, promenades, boating trips, holidays and vacation travel – projection of bourgeois recreation in 1860s and 1870s – also reflect the new aesthetic devices and the conception of art as a medium of individual enjoyment.
3. Paragraph 3:
Topic Sentence: The Contexts of bourgeois sociability shifted from community, family and church to commercialized or privately improvised forms – the streets, the cafes and resorts – the resulting consciousness of individual freedom involved more and more an estrangement from older ties; and those imaginative members of the middle class who accepted the norms of freedom, but lacked the economic means to attain them, were spiritually torn by a sense of helpless isolation in an anonymous indifferent mass.
Key Ideas: Individual enjoyment becomes rare in Impressionist art – private spectacle of nature is only left – social groups break into isolated spectators.
4. Paragraph 4:
Topic Sentence: The actual bourgeois’s being brought to enjoy the Impressionist painting, and to revel in its consonance with his day-to-day experience, is no doubt marvellous; but it does not seem to me much more than a metaphor, and is surely not warranted by what we know of this painting’s first purchasers and enthusiasts.
Key Ideas: Schapiro believes that once upon a time the bourgeoisie, or at least its enlightened members, really did delight in an ‘informal and spontaneous sociability’ – later estrangement and isolation came – ‘commercialized or privately improvised forms’ – informal and spontaneous sociability depicted in Manet’s Dejeuner sur L’herbe.
5. Paragraph 5:
Thesis Statement: The form of new art is inseparable from its content.
6. Paragraph 6:
Topic Sentence: Any social order consists primarily of classifications.
Key Ideas: Society is a set of means for solidarity, distance, belonging and exclusion – things needed pre-eminently for the production of material life – fix an order in which men and women can make their own living – have confidence in what they do – trivialize the concept of ‘social formation’ – the ‘economic life’ – the ‘economy’, the economic realm, sphere, level, instance, or what-have-you – is in itself a realm of representations.
7. Paragraph 7:
Topic Sentence: Social practice is that complexity which always outruns the constraints of a given discourse; it is the overlap and interference of representations.
Key Ideas: Social practice – the notion of social activity outlined so far can be sustained only if the world of representations does not fall into systems or ‘signifying practices’. – society is the battle field of representations – representations are continually subject to the rest of a reality – test of social practice – a test that consolidates or disintegrates our categories and eventually makes and unmakes a concept.
8. Paragraph 8:
Topic Sentence: In capitalist society, economic representations are the matrix around which all other organized.
Key Ideas: The class of an individual – his or her effective possession of or separation from the means of production - is the determinant of social life – in the nineteenth century often the presence of class as the organizing structure is gross and palpable – it is possible to expand the concept of class and include facts other than the economic facts – here we are clearly dealing with a class and a set of ‘class characteristics’ still in the making.
9. Paragraph 9:
Topic Sentence: It is clear that reality designated at the time – in the 1870s, say – as petit bourgeois included men and women whose trades had previously allowed them a modicum of security in the city’s economic life, but who had been robbed of that small safety by the growth of large scale industry and commerce.
Key Ideas: Class will in any case necessarily be a complex matter – there is never only one ‘means of production’ in society for individuals to posses or be denied – a shift of attention from putting stress on the material means occurred – new set of proposals was possible without the effect of bad faith – Mallarme said that painting shall be steeped again in its cause.
10. Paragraph 10:
Topic Sentence: Doubts about vision became doubts about almost everything involved in the act of painting; and in time the uncertainty became a value in its own right; we could almost say it became an aesthetic.
Key Ideas: In the Symbolist magazines of the late 1880s – in which the preference of painting for the not known, the not arranged, and the not interpreted was taken largely as an article of faith – painting has a subject – art seeks out the edges of things, of understanding – its favorable modes are thus irony, negation, deadpan, the pretence of ignorance or innocence – highest wisdom is knowing that things and pictures do not add up.
11. Paragraph 11:
Topic Sentence: The terms of modernism are not to be conceived as separate from the particular projects – the specific attempts at meaning – in which they are restated.
Key ideas: Notorious history of modernism’s concern for ‘flatness’ – two dimensions of the picture surface every time the painters after Courbet recover them – that literal presence of surface went on to become an form of art.
12. Paragraph 12:
Topic Sentence: Flatness was constructed as a barrier put up against the viewer’s normal wish to enter a picture and a dream, to have it be a space apart from life in which the mind would be free to make its own connections.
Key Ideas: Painting would replace or displace the real world – flatness was considered a part of modernity.
13. Paragraph 13:
Topic Sentence: Flatness was therefore in play – as an irreducible, technical fact of painting – with all of these totalizations, all of these attempts to make it a metaphor.
Key Ideas: The painters we most admire insisted also on its being awkward, empirical quiddity; but ‘also’ is the key word here- their particularity was what made flatness a matter to be painted.
14. Paragraph 14:
Topic Sentence: Circumstances of modernism were not modern and only became so by being given the forms called ‘spectacle’.
Key Ideas: Are we to take Impressionism’s repertoire of subjects and devices as merely complicit in the spectacle – lending it consistency or even charm – or as somehow disclosing it as farce or tragedy.
15. Paragraph 15:
Topic Sentence: Rediscover the force of these terms – light, looking, strict adherence to the facts of vision – since they have nowadays become anodyne.
Key Ideas: Are we supposed to give up believing in the ‘painting of light’? – simple determination of these artists to look and depict without letting the mind interfere too much? - wondering since where the traditional notion of impressionism gone.
16. Paragraph 16:
Topic Sentence: A matter of looking at Impressionist pictures again and being struck by their strangeness.
Key Ideas: It gives the impression of something seen and translated by the feeling rather than with every form defined.
17. Paragraph 17:
Topic Sentence: These criticisms are ungenerous, but they point to things in the paintings which truly are odd and ought to be recognized as such.
Key Ideas: The painters job is representing in a way which barely makes sense – the individual marks are scratched and spread into one another as if they had been worked overlaid almost cancelled out - even the painter would find it obscure.
18. Paragraph 18:
Topic Sentence: A space had to be kept between painting and representing: the two procedures must never quite mesh.
Key Words: The word ‘painting’ in a crude material way, would stand for the notion of what the paint could stand for effectively – the established equivalents in paint are always false – they are short cuts for the hand and eye and brain which tell us nothing that we do not already know; and what we know already is not worth rehearsing in paint.
19. Paragraph 19:
Topic Sentence: Painting was now supposed to be about seeing and the painter determined to stick to the look of a scene at all cost.
Key Ideas: Realist intentions are at work here – it involved a set of fragile and unprecedented equations between the painted and the visible.
20. Paragraph 20:
Topic Sentence: Painting is not uniquely an archaeological art and that it accommodates itself without effort to “modernity’.
Key Ideas: This writer’s confidence somewhat misses the point of the pictures he is describing – we must allow art to effect its own naturalization to costume – It is yet to be seen what the attractive new category meant and what kind of accommodation can art make with it.
Monday, August 01, 2011
The Muse-An International Journal of Poetry (ISSN 2249–2178) call for submissions
'The Muse-An International Journal of Poetry' (ISSN 2249–2178) is calling for submission of original and unpublished (both print and online) poems, research papers on poetry and book reviews of latest poetry books for December 2011 issue. Last date of Submission is November 10, 2011. Website : www.themuse.webs.com, Email:
themuseindia AT gmail.com .
Submission Guidelines:
1. Work submitted for publication must be original, previously unpublished (both print and online, not even published on blogs,literary or discussion forums or social networking sites), and not under consideration for publication elsewhere.
2. Send 1 to 5 poems and a brief biodata. A cover letter would be nice but is not mandatory.
3. The research papers should be not less than 3000 words. References should be prepared strictly following MLA Stylesheet (7th edition).
4. E-mail your poems, essays and research papers to themuseindia AT gmail.com . Response time varies from 2 to 12 weeks.
5. With poem/ research paper the poet/author is requested to submit a statement of originality of work.
for more details visit : www.themuse.webs.com
Pradeep Chaswal
Chief Editor
The Muse-An International Journal of Poetry (ISSN 2249–2178)
www.themuse.webs.com
themuseindia AT gmail.com .
Submission Guidelines:
1. Work submitted for publication must be original, previously unpublished (both print and online, not even published on blogs,literary or discussion forums or social networking sites), and not under consideration for publication elsewhere.
2. Send 1 to 5 poems and a brief biodata. A cover letter would be nice but is not mandatory.
3. The research papers should be not less than 3000 words. References should be prepared strictly following MLA Stylesheet (7th edition).
4. E-mail your poems, essays and research papers to themuseindia AT gmail.com . Response time varies from 2 to 12 weeks.
5. With poem/ research paper the poet/author is requested to submit a statement of originality of work.
for more details visit : www.themuse.webs.com
Pradeep Chaswal
Chief Editor
The Muse-An International Journal of Poetry (ISSN 2249–2178)
www.themuse.webs.com
MPhil Research Methodology Class - Management Cluster
Today's Class
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