From the Middle age up until the 18th Century‚ the discourse of the practice of art was predominantly practiced by men. There were only two women recorded down in art historical literature in Spain during that time frame1. One of this women was the famous sculptor Luisa Roldan while the other was Josefa de Ayala‚ known for her paintings that incorporates a hybrid of styles and a highly personal expression of talents that makes her unique as an artist during that time period. My paper will explore
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this video game tells the tale of an imaginative dystopia that can only be seen above the clouds; Bioshock Infinite’s story is based off a city that soars across the sky. The feeling that may strike readers whom gaze at the ad of the game could present a sense of fear and confusion. As one gazes upon the ad it tends to raise more questions than answers for the viewer. This ad is portrayed as a man being attacked by a human head with the body of a robotic behemoth in the streets of the city. The first
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this is another example of the effective emotive language used in the feature article. The demand gaze in “Photograph 2” pictures Paul wearing his defence force uniform‚ looking into the eyes of the audience. This visual assists the audience to connect with Paul and discover his change in attitude. As well as highlighting his high level of discipline also reflected by this uniform. The use of a demand gaze in this particular photograph provides a connection with the second paragraph (paragraph 2) from
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grandfather’s picture in the State Library in Brisbane. What stood out was their "gaze" and is what mainly inspired Vernon Ah Kee. His great grandparents lived on Great Palm Island in North Queensland. Vernon Ah Kee stated "if you did something wrong on one of the other missions or reserves‚ you were sent to Palm island" meaning that it was similar to a prison‚ which is why his great grandparents had their unique and distinctive "gaze" of emptiness and shame. Artwork Vernon Ah Kee Hallmarks of the Hungry
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a lot of facial expressions that are involved within a conversation. It was predicted by Karim N’Diaye‚ David Sander‚ and Patrik Vuilleumier that “perceived self-relevance of fearful faces would be higher with averted gaze--signaling nearby danger; whereas conversely‚ direct gaze would be more relevant for angry faces--signaling aggressiveness”. They observed these behavioral patterns for emotional intensity ratings‚ as well as for functional magnetic character imaging activation in the amygdala
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Everything in my reality—the activities I engage in‚ the friendships I acquire‚ the family I love‚ the beliefs I form (about art‚ politics‚ religion‚ morality‚ the afterlife)—are predicated upon the assumption that my life is truly and authentically mine to live‚ not something counterfeit or staged. I am the author that gives meaning to my reality. I am‚ so to speak‚ the star of the show. In Peter Weir’s film about the ultimate “reality” TV show The Truman Show (1998)‚ the ever ominous “what is real”
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side by side but I noticed them stop and discuss something standing face to face. It seemed as though one was relieved to hear some kind of news and gave the other a hug. This was the only touch that I saw. During the conversation that they had‚ their gaze was quite attentive‚ as it seemed it was of great importance. Other than that‚ they didn’t look at each other long so I would say they were good friends. A group of two males that I saw were about the same age as the above-mentioned group and
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lonely. 4. to shudder - to shiver - to tremble. 5. fear - terror - horror. 6. to cry - to weep - to sob. 7. to walk - to trot - to stroll. 8. to stare - to gaze - to glare. 9. to desire - to wish - to want. 10. to like - to admire - to worship. 2) Find the dominant synonym in the following synonymic sets. Explain your choice. 1. to glare - to gaze - to peep - to stare - to look - to glance. 2. to glimmer - to glisten - to blaze - to shine - to flash - to gleam - to sparkle. 3. to astonish - to puzzle
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The 1960s was a time of great change for women as everything began to change socially‚ politically and culturally. The Pill had been approved and the sexual revolution had begun. Women began to fight for many things in their art‚ taking back the male gaze‚ reclaiming the female body for women; showing the female experience using their own bodies in their art which became‚ as said by Norma Broude and Mary D. Garrard in The Power of Feminist Art “some of the most radical and provocative
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image and tells reviewer what field is it. The image in Figure 1 is considered as an narrative image because the participant‚ Suu Kyi‚ is looking at the viewer. That eyeline creates a reactional processes between her and viewers. This connection by eye gaze represents the participant as “doing something to [viewer]” (Kress and van Leeuwen‚ 1996‚ pp. 56-57). Interpersonal matafunction Interpersonal matafunction is about how the actions of the participants effects the engagement of
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