French Notes

Photographs are special because you can tell an entire story with them without using a single word, it can convey emotions, and feelings. Photographs make connections, photographs can show challenges in our world along with celebrating the greatness in the world.

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

Bach’s pieces “combine profound expression with clever musico-mathematical feats, such as fugues and canons in which the same melody is played against itself in various ways.” There are multiple symbols throughout Bach’s Passacaglia and Fugue in c minor. The two major symbols instituted in the work are the themes of the passacaglia and the fugue. The passacaglia is represented in the first three sections of the piece, while the fugue is present in the last two sections.

occurred before that of the main vb.; if the main vb. is a past tense, then the inf.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

There are the tourists—those who seek temporary relaxation, or famous sights. There are the travelers—those who wander, without aim, for the love of moving. There are the explorers—those seeking adventure, the thrill of unearthing things rarely seen.

In Ceremony, Leslie Silko ties the concept of transitions into the book. Transitions are used to describe and show the change that Tayo is going through during the whole book, or his ceremony. They show Tayo’s progress in his ceremony and also show his change of thinking. Silko mentions transitions when she wrote, “[Tayo] had only seen and heard the world as it always was: no boundaries, only transitions through all distances and time” (229). This shows that Tayo’s world revolves around transitions. They can happen anywhere, at any time. Silko also mentions the concept of transitions in the book when Betonie tells Tayo that “it is a matter of transitions. You see; the changing, the becoming must be cared for closely” (120). This

In the book The River by Gary Paulsen they use again and again moments a lot. He uses the again and again moments well because the again and again moments actually mean something. They mean a lot and in pack to the story.

The photograph is a very powerful medium. The French painter Paul Delaroche exclaimed upon seeing an early photograph “from now on, painting is dead!” (Sayre, 2000). Many critics did not take photography seriously as a legitimate art form until the 20th century. With the

With the rise of city living, many felt a sense of loss and disconnect with nature. The public trend for more outdoor recreational activities increased during this time too. In response, the government, railroad owners as well as operators of tourist destinations hired artists and photographers to create print materials that promoted land for leisure, retreat and places for all to enjoy (Elliot, 2006; Meister, Chamberlain & Brown, 2006; Porter, 2013; Spaulding, 1995). Photos along with postcards and other materials used symbolic representations of nature to promote open spaces and places for leisure. They constructed a narrative whereby Americans traveled to national parks and wilderness areas as an escape from deep economic pursuits. Like

I am from Peru, a country that is glorified for its beauty and history, but one of its most beautiful and reputed sites is that of Macchu Picchu. Tourists from around the world travel to see Macchu Picchu. Macchu Picchu, in fact, has been rated as one of the New Seven Wonders of the World. It is treasured by UNESCO, and continues to inspire and awe millions of people. A few years ago, I took my daughter to see the site since I wanted to give her a special treat. The following essay describes the history and beauty of the place so that I can, to some extent, relay my indescribable feelings of a magical place to the reader.

Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

on the second day we went walked in world’s most famous avenue Champs-ELysees. It was a great street to those who love walking and shopping. I bought few souvenirs for my family and friends in England.

Paris is like no other place on earth, its beauty is indescribable, the amount of famous structures is astounding, and is attraction draws many tourists there every year. My experience touring Paris will always be on of my favorite memories. Everywhere I looked, it was as if I was in a dream. There was so much elegance in such simple structures it seemed unrealistic. Wherever I went, it seemed as if the magnificence only grew with each passing step.