Purgatory Level Analysis

Every soul will be judged and the good will go to heaven and the damned will go to hell. The sculpture vividly expresses the emotional intensity of what the afterlife will look like. On the left-side the sculpture shows “heaven” the figures show that they are at peace because they know their souls have been saved. The children are laughing and the angels are blowing their trumpets with joy in anticipation of Christs’ return. As for the right-side it tells of what “Hell” maybe like, demons are weighing the souls and claiming them. It shows people suffering, crying and realizing that they’re going to hell for

I hope to see museums make more concerted efforts to educate the public. Too many exhibits are of the “passive, didactic looking” than like the engaging Object Stories program (Dartt, Murawski). Exhibits should seek to tell untold narratives, and programs should be places of communication and cross-cultural encounters. For too long, difficult confrontations have been avoided, both inside the museum, and by dominant communities

After arriving and going through the security screenings, I proceeded to go down the stairs, entering the exhibit itself. Before even observing anything specific, it was immediately realized that this was no typical museum. Most people know that upon arrival, but only when you first enter the exhibit do you realize that this museum is not one that inspects the past, but one that reminds us of it.

For my enrichment report, I decided to take a trip to the Los Angeles County Museum. However, I was trapped with the challenging choice of choosing only one museum for my cultural visit. Since, there are so many prodigious and amazing museums to choose from to visit in the county. But, I have heard many great feedbacks about the Los Angeles County Museum of Art from fellow classes mates, friends and family. So, I finally, had my destination set to and planned a visit to the Los Angeles County Museum of Art. Upon my visit my attention was already fixated on the unique building layout and the many arts exhibited located all around the outside of the museum building. There were several building that housed the many different art exhibits. Such as the first building I walked into, after purchasing a ticket. This building was called the “Ahmanson” building, which housed voluminous and diverse art of the European, Islamic, South and Southeast Asian Art, Art of the Ancient World, Art of the Pacific and Others. There were also many special exhibitions that was hosted at the time of my visit, such as the modern art gallery and Rifkin Gallery for German Expressionism. One of the sculpture centered in the middle of the building of the “Ahmanson” building called “Smoke” really caught my attention. As it quite an enigmatic and stunning metal sculpture that mesmerizes illusions based on your interpretation and perspective of the piece.

Together, the museums from the college, trustee offices, and the woman’s apartment act as an effective method to convey the narrator’s views of power and how others duped him into thinking differently from what he believed. Often the narrator is not allowed to view the museum settings he encounters without the preconceived ideas from others like Dr. Bledsoe and the Brotherhood, which together impacts the narrator’s thoughts on his own invisibility. The narrator’s preconceived notion of power and success is what really draws the narrator to form his observations in the museum settings. Without these elements from the museums, portions of the narrator’s narrative towards his path of disillusionment would be incomplete. The museum setting collectively showcases the narrator’s thoughts on his perception of power and authority. Therefore, from Ellison’s various influences of art and museum settings, the narrator’s museum observations reflect the perception of the struggles of invisibility and views of disillusionment the narrator gains from authoritative

Amongst my visit, I was a little confused on what I was doing, but I decided to get out of the car and proceed walking to the building. When I entered the building there was a tall guy who greeted me, he wore an outfit similar to a boys scout leader. He then asked me if it was my first time attending and I said yes. There was a couple coming through the door, so he greeted them both and then told us a little about the exhibit. He then instructed us on how to see all of the exhibit and gave us a map/brochure. I then walked away and started to look around on my own. At first what caught my attention is the models and some of the things written on the walls. I then noticed that even though I was reading it, I was not retaining the information, so then I started to

Thomas More. The painting is rich with the earthy tones of emerald, garnet, and bronze. Around his neck dangles a gold necklace of the Tudor Rose, and atop his head lay the same hat frequently worn by Justice Scalia. His eyes gaze forward, mesmerized with the great beyond. A month ago, my bloodshot eyes did the same, 1200 miles away. Sitting on the stiff pew of Pensacola Beach’s St. Thomas More Catholic Church, I stared at the priest during his homily in a battle to stay awake. My mother nudged me as my head fell faster than man, glaring at me as she unfolded the prayer kneeler. “Just twenty more minutes until lunch,” I pondered. Every glance at the painting now permeates my nose with the aromas of frankincense, myrrh, and blackened

Upon walking into the first level of the museum there are five glass cases, each contain artifacts that’s relate to the main reasons why people migrate, these reasons being: Freedom, A better life, War and Conflict, Family and Disaster each glass, I saw artifacts that belonged to the people who came to this country, objects that were the reason people migrated and models of the life people either had or wanted when they made the ultimate decision to migrate. When walking further into the darkly lit room your eyes are drawn to a wall that has video projected onto it, each video segment covers the five topics as mentioned previously, this is the first example of how narratives are framed throughout the exhibit. Throughout the museum there are interactive exhibits that portray stories of migrants and

One reason why I chose this article/memorial to write on was the complexity of emotions and ideas that played a factor in the decision of picking the memorial that was eventually designed by Peter Eisenman. The tour guide mentioned that each block was the same length and width but were tilted at different angels, different heights and on a different slope. Also mentioned, that there was an odd number of blocks (2,711) for the unknown exact number of murdered Jewish people. The first trip I made to this site was alone without the class, as I went through it was a sense of loneliness, almost a sense of dread, confusion, feeling of emptiness and overwhelming sense of being small. Then going through this memorial for a second time it evoked a sense of unknowing, isolation and feeling of being so small and nameless. There was a different set of emotions evoked at both visits of the memorial, which adds to the complexity of this memorial for me. In the discussion the class had at the memorial, everyone had different feelings towards the experience of the memorial. It also links to Roger Simon’s Remembering Otherwise, trying to connect the past to the

Many different cultures have a belief about what happens after we die. One example is the belief of Heaven Hell and Purgatory, this idea is represented different ways in most beliefs around the world. One of the most historical beliefs similar to these beliefs is Greek mythology. Although it is not popularly followed any more, Greek mythology inspires, and is featured in many things around the world. Such as sports teams, such as titans trojans etc, brands such as nike and more. The afterlife associated with this belief is called Hades, which is runned by the lord Hades.

In the survivor’s exhibit, I got more of a sense of how inhumane the perpetrators were but in the SS guard’s exhibit it was as if it made me step back and realize these people were humans. In fact, I found in the perpetrator’s exhibit that they did not become these monstrous villains until after the training they were subjected to, to become guards with the Nazi organization at the concentration camp. It was brought to light that it was this socialization of the guards that at the very least amplified the possibility of brutality that the guards could inflict on the prisoners at Ravensbrücke. It is important that I can look at this juxtaposition of the perpetrator and survivor/victim exhibits to learn about both sides of the Holocaust. It is also good to learn from the perpetrator’s exhibit, as Roger Simon says in Remembering Otherwise excerpt; that a past with difficult knowledge could influence an individual’s present life (pg.10). The past works in tandem with the present and future, so I must understand the past of both the perpetrators and survivor/victims perspectives to, in a way, stop if from happening in the present and future. This contrasting affect of having both perpetrator and

Perhaps the best place to begin a consideration of Purgatorio is not its beginning but its middle. In cantos 16-18, the central three of this the central canticle, we learn about love and free will, perhaps the two principles most important to an understanding of the whole of the Comedy. Because our modern novelistic tradition of structure has led us to expect our plots to be arranged climactically, we tend to find this kind of geometric construction artificial and surprising, even though the practice was fairly common in medieval literature. Dante had himself already experimented with this kind of structure in La Vita Nuova. La Chanson of Roland, to cite another well-known example, seems by our standards to drag on

I think that the most memorable exhibit that caught my eye was the one that simulated a hospital labor and delivery room. The plaque outside of the exhibit read “Mother-to-be forced to live in personal hell: The woman you see in the exhibit has been put here as punishment for attempting suicide after giving birth to a stillborn. As punishment for her attempted crime, the woman is hooked up to an IV which pumps a serum into her bloodstream that inhibits normal cognitive functions, causing her to have reoccurring hallucinations of the birth of her dead child. Because the serum is not perfected yet, she is also hooked up to a machine that uses electro-stimulation to simulate the pains of labor.”

Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.

Freedom is the ability one has to choose. Freedom is without consequence, fear of transgression, and lacks regret. Freedom is a fork in the road—a trail that leads to fortune in a field of traps. Humans have freedom and hold it as children do crayons, straying beyond the lines of purpose only to get lost in meaningless scribbles. Dante condemns these actions in his poem Purgatory. Dante invents a fictitious location in afterlife, liberating souls that have become prisoners of their own disarray. With a collection of paradoxes, vivid imagery, and active examples, Dante establishes a thorough process in which souls can be cleansed of the past and stride to their future. Purgatory is far from a place of punishment; it is rather a place