Analysis : ' The Panther Panel On The People Of Chauvet '

To survive, it is a necessity that you are capable to source basic necessities creatively. ‘Lion’ explores poor children in Calcutta, rummaging for food and water. The text engages the audience with detailed visual imagery, highlighting Saroo trying to find basic necessities in order for him to stay alive. The streets of Calcutta are full of desperate children trying to scavenge for food from little shops and stalls. Saroo is faced with situations in this dangerous setting which he must overcome in order to survive. Saroo had recounted having the challenge of finding food and having the knowledge what is safe or not safe to eat. Saroo describes desperate children, foraging for necessities such as food and water, ‘Sometimes I’d raced for a bit of flatbread. Children as desperate as I struggled over scraps... we were like wild dogs fighting over a bone.’ p.49. The simile and very detailed visual imagery educate and captures the reader in the moment. The reader is

John Marsden’s and Shaun Tan’s epic picture book, “The Rabbits”, is an allegorical fable about colonisation, told from the perspective of the natives. An unseen narrator describes the coming of ‘rabbits’ in the most minimal detail, an encounter that is at first friendly and curious, but later darkens as it becomes apparent that the visitors are actually invaders. My chosen image (above), embodies the overall style of the book which is deliberately sparse and strange. Both text and image conveys an overall sense of bewilderment and anxiety as native numbat-like creatures witness the environmental devastation under the wheels of a strange new culture, represented by the rabbits.

Wendy and Peter are wild, unruly children, and the African Veldt and its lions are mirroring the wildness of the children within the wildness of the Veldt

Throughout history, many different cultures illustrate their history and their beliefs through various artistic objects that they create. These artifacts allow historians to better gage their lifestyle, their beliefs, and how their society operated. One example of this is the “Drum Beater” sculpting created by Karoo Ashevak that is especially famous for its illustrations of the shamans and the spirits. In this research paper, Karoo Ashevak’s “drum beater” will be dissected and analysed; from the Inuit culture itself, to the physical features of the sculpting, as well as the significance and symbolism of the sculpting as it relates to the Inuit culture.

Louv uses strong imagery to describe how to connection that people have with the environment has changed over the years. He describes how “[they] used [their] fingers to draw pictures on fogged glass as [they] watched telephone poles tick by,” in a time where there was no technology and they had to entertain themselves. By painting a picture of this experience it shows how time has changed

It was dragon.b. It was a hound.c. It was a lion.d. It was a rattlesnake. 11. What did Montag believe had been done to the animal?a. It had been programmed to beg for money.b. It had been programmed to do tricks.c. It had been programmed to attack the elderly.d. It had been programmed to act against Montag. 12. Clarisse was part of the old society where talking and thinking were appreciated. How was this viewed by the others?a. She was revered as a holy one.b. She was thought to be insane.c. She was considered anti-social.d. She was tolerated with amusement. 13. Where did Clarisse get most of her information about the way life used to be?a. Her uncle told her.b. She watched old videos.c. She learned it in history class.d. She had secretly read her grandmother's diaries, which she had hidden in her room. 14. Who was Captain Beatty?a. He was Montag's boss at work.b. He was a retired naval officer. He often told old sea stories.c. He was the mayor.d. He was Clarisse's uncle. 15. How did the firemen know which houses had books?a. The books all had bar codes on the back covers. These could be read for up to one mile away by a special computerized

J. Baird Callicott and Priscilla Solis Ybarra are both professors at the University of North Texas and the situation they are explaining is that the wilderness was once seen as a wild place filled with beasts that couldn’t be tamed. They include the view points and work of great foresters like

We capture, contain, and control the very wildness of these animals, we so admire them for. We decorate a large bucket of water, or a box of bars to resemble a shallow shadow of the wilderness they should be in. These animals held captive in collective groups as a means to entertain us. We are trading the wonder of nature, seen in it’s own wilderness area for animal showmanship and entertainment. Losing the remarkable sensations of hope and renewal we experience, as we stand in a wilderness land, quietly observing animals and nature in the wildly beautiful and raw lands. The absence of our own lack of realization that nature and the wild places we call the wilderness are under attack. They are in danger of being beyond repair. It overwhelms the senses, and is not to be tolerated.

events, as well as the basic nature of the issue which involves a mesmerizing animal and its

In order to compose this assignment, I visited the University of South Florida Contemporary Art Museum (CAM). The USF Contemporary Art Museum is a compact museum on campus located near the Dance buildings and the Theatres. The museum opened its establishment in 1989 and has offered a wide range of art from around the world including the United States, Africa, Europe, and Latin America (usfcam.usf.edu). In order to keep students engaged in the art, the museum changes its exhibits a couple times a year. Currently, the exhibition on display is entitled Extracted and incorporates “the extraction and circulation of natural resources around the globe” (Megan Voeller). Despite the museum being not large in size, I was able to attain a sense of nature through photographs, sculptures, video messages, and banners produced from artists including Otobang Nkanga, Marina Zurkow, Claire Pentecost, Mary Mattingly and Daniel Shiffman. The social angle most strongly related to the exhibit on display at this time is nature and culture. Extracted was motivated by relationships between humans and the environment referring to “complex technical processes behind oil drilling and mining or industrial agriculture” (Megan Voeller). Most of the artists focus their work on nature including the environment, ecosystems, and life itself.

The author utilizes the interactions between the animals and the vacant houses to depict the impact that the abandonment has on the houses. When the humans were present within the houses, they owned outdoor cats which came in when they were hungry. This is true because cats invented a system of communication with humans which is what one calls meowing. The cats, upon realizing that no humans were

In order to maximize clarity, she chose to dissect these articles one at a time, and in order of how she presented her thesis points. For instance, she discusses a photo essay entitled “Revolution on the Prairies,” and argues the first point in her thesis: that the Still Photography Division’s portrayal of Canadian landscapes as economically prospective effects national identity . She again mentions that camera angles make the land feel vast and plentiful, but also create a powerful gaze of ownership over the land. She likewise furthers a previous point made about how this possessive gaze on the landscape is Euro-centric by using the portrait of a Euro-centric farmer, the photo-essays narrative subject, as evidence. He “gazes” over the farmland from a powerful angle, and implies that his gaze is specific to his position as a colonial-settler farmer . The author continues to present evidence for the second part of her thesis, in which the NFB representation of landscape is racialized, and the landscape’s meaning transforms depending on who the subject of the photo-series is. To illustrate this, she discusses a different article published by the NFB that is specific to an Aboriginal narrative. The photo-essay, entitled, “Age-Old Hunt For Fabled Fish of Canada’s North: SAPOTIT – Where the Char Run Big,” helps illustrate the author’s issue that in contrast to the open, plentiful relationship that Euro-centric people had with Canada’s landscapes in the Still Photography Division’s work, Aboriginal people did not have any power. Instead, Payne argues that photo-essays on Aboriginal subjects changed the way the Still Photography Division shot and displayed the landscape. With respect to the Aboriginal subjects, the Aboriginals were displayed with friendliness and child-like interaction with land that made the groups appear primitive and like “Others” or “outsiders” to a

Deep within the forest, destiny brings two young Native American lovers closer together after a series of unforeseen tragedies, but not without the help of nature and the animals within the woods. In the novel, The Translation of Dr. Apelles, specifically within the storyline related to Bimaadiz and Eta, animal imagery for the pair are associated with the hope and love for their relationship while animals for the other villagers relate to violence, these animals are a plot device that drive the storyline ensuring that Bimaadiz and Eta remain a couple and eventually marry. Animal symbolism associated with the hope for and love within Bimaadiz and Eta’s relationship is seen in their interactions with wolves, deer, moose, and a pack of dogs. Contrastingly, other villages interactions with these animals symbolize violence and oftentimes death.

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

The first exhibit I encountered was the black bears. Their thick, glistening fur was reflecting the light on and off as they paced the entire patch of land. Walking back and forth, the bears footprints could be seen in the dirt as they slowly wove a path into the land. One bear was just lying around in the blistering sun barely moving. No trees, no bushes, and no pools of water to allow the animals to cool down. The more I looked, the more I noticed how barren the display was. I couldn’t stop thinking how sad the entire place looked when I compared it to the bears’ natural habitat, how artificial the habitat probably seemed to the bears, and how in most cases this life was the only one the bears would ever know. There was just a round prison with limited space, in which three enormous bears lived. Most bears in the wild are solitary creatures who only come together for mating season, but here they were forced to spend all day with each other. Forcing myself to continue, I made my way to the the tigers.