Humanities

This document is an excerpt from the Massey Commission Report (1951). In the year 1949, a commission was set up to encourage the awareness in arts, social sciences, humanities and letters. The members of the commission were appointed by the federal government by commonly applied to the Royal Commission on National Development in the Arts, Letters and Sciences, appointed by the federal government with Vincent Massey, the chancellor of the University of Toronto as it head.

The other members of the commission included “Arthur Surveyer, a civil engineer of Montreal; Norman A.M. MacKenzie, president of the University of British Columbia; the Most Rev Georges-Henri Lévesque, dean of the Faculty of Social Sciences, Laval U; and Hilda Neatby, professor of history at the University of Saskatchewan” (Kallmann 2006 in The Canadian Encyclopedia).

The document does offer some background understanding of the period it was produced in. The document concerns mainly the measure taken to remedy the lack of importance accorded to humanities and social studies in the curriculum, until then in the Canadian educational front. It is known from the previous chapters that the three R’s i.e. Reading Writing and Arithmetic were given the utmost importance in the schools of Canada with sciences in general, being neglected.

The document explicates that the lack had been recognized even prior to the formation of the commission, in the establishment of National Research Council for scientific studies.  It seemed to have met with some success too, as indicated by the words “that the success of National Research Council in encouragement of scientific studies offered an example that should perhaps be followed”.

The audience of the document was, obviously, the general public of Canada. The commission conducted research in four major cities of Canada, between the months August 1949 and July 1950. Hundreds of petitions were received and heard in these four cities, and on the basis of these briefs, experts were called in to prepare and include special studies that imparted more knowledge of the sciences.

However, the Massy commission has rejected emulation of the National Research Council   in setting up the National Council for the Humanities and Social Sciences. The document proceeded to give the reason for rejection too, as that “the implied parallel” between the two was “misleading.” Furthermore, it held the earlier National Research Council partially responsible for the current crisis, since the scientific studies were “isolated” into a “separate body” and also because they were subjected to “too rigid techniques and methods of organization.”

The purpose of the document was to encourage studies in humanities and social sciences, by establishing “flexible schemes of scholarships and grants” which will aid the Canadian people to have scientific education; and “international exchanges” especially under world bodies such as the UNESCO (United Nations Educational, Scientific, and Cultural Organization) and importantly “closer contacts with France and Great Britain”. It has to be remembered that during this period Quebec was given autonomy in cultural issues and hence was successful to a large extent in preserving the French identities and cultural awareness in its population, causing greater divide between itself and other English dominated areas of Canada.

It must be said that Massey commission was largely successful in its intent and purpose, because most of the commission’s recommendations were executed by the federal government in the subsequent years, despite opposition from the French provinces.

Source: Report Royal Commission on National Development in the Arts, Letters, and Sciences

1949-1951. (Ottawa: King’s Printer 1951):376-7 and Kallmann, Helmut – The Canadian Encyclopedia. “Massey Commission” In The Encyclopedia of Music in Canada. Retrieved on 28 Oct 2006. https://www.thecanadianencyclopedia.ca/en/article/massey-commission-emc

Architectural Humanistic disciplines

Question 1:Compare the zikkurat of Ur from Mesopotamia civilisation and pyramids of Teotihuacan from Mesoamerica civilisation in footings of stuffs, and seek to explicate how the natural environments could act upon the dominant architectural development.

The Ziggurat of Ur is the most constituted staying spiritual constructions from the Sumerian Era. Located in contemporary Iraq, it is an huge stepped pyramid, nevertheless merely the first grade remains. The zikkurat was a spiritual construction incorporating a temple composite every bit good as other unidentified possible comfortss that served the ancient metropolis of Ur. In the second century BC a new unidentified civilisation ascended edifice several immense stepped pyramids, now known as the pyramids of Teotihuacan located in contemporary Mexico. The Pyramid of the Sun was built around 200 A.D, one of the largest edifice in Mesoamerica. Construction of the smaller pyramid of the Moon, was non completed until 450 A.D.

The building of The Ziggurat of Ur consisted of assorted natural stuffs found locally, these were sourced from The Mouth of Euphrates. Similar the belongingss of the stuffs used at Teotihuacan are shared as the environing environment consist of a boggy basin. The nucleus of the zikkurat is dumbly filled with extended clay bricks, walls were thick to counterbalance for the infirmity of clay, most likely the bricks contained a clay compound with the proviso of straw/reeds to beef up. Much like this the Pyramids of Teotihuacan aren’t built of solid rock, alternatively they consist of clay and rock debris infill and utilize the manner of talud-tablero ( holding both inclining and unsloped panel subdivisions ) for structural strength, nevertheless both enhance the stableness to counter excess weight, by profiting from the inclining planes. The Pyramids addition great advantage being covered with beds of cut rock able to drive practically any signifier of wet, this being sourced from the nearby cragged part accessed through the canoe channel web. On the other manus, the zikkurat adopted a technique of utilizing beds of brick to be separated by reeds leting drainage throughout and go forthing through weep holes ; whilst the side and patios of the construction consist of Sun baked clay bricks to add a constituent of waterproofing. Furthermore, clay from the river bed was used as a signifier of howitzer to counterbalance for the comparative strength of clay and protection from air current and rain. Much like this the Pyramids adopted their chief building stuff as a mixture of dirt and H2O, similar to clay, as it was readily available in this country and hold a unafraid constituent.

In my sentiment both constructions showed solidness through the creative activity of inward inclining walls, making the feeling of looking ageless. The chief maps were simply to back up a comparatively little topographic point of worship nevertheless the sheer tallness provided an feeling, sacredly, culturally and commercially through religious nutriment ; hence both constructions portion similar orientations to the Sun.

Question 2:Describe how Chinese Scholar Garden ( Wangshi Garden ) and Nipponese Moss Garden ( Saiho Jemaah Islamiyah ) usage different workss as important stuffs of design, and explicate their background societal contexts ( doctrines ) severally.

The Chinese Scholar have created a scenic garden manner designed in order to show the harmoniousness bing between adult male and nature, a illumination compacted environment built for pleasance and to affect ; a so called Miniature Universe. A typical layout entails an enclosed walled country dwelling of pools, stone formations/variations, and a diverse scope of workss ; making carefully composed scenery. Nipponese Moss Gardens, are premeditated designs for a balance of diversion, aesthetic pleasance, contemplation and speculation. These illumination designs frequently were in a extremely abstract and conventional mode, composed around an entwined way fluxing through the garden, leting observation of cardinal elements. Nipponese Moss Gardens were, at first, developed under the influences of the Chinese Scholar Gardens. Finally development came through the grasp and coaction of their ain aesthetics, in the signifier of Nipponese stuffs and civilization.

‘The Four Nobles’ refer to four workss: the plum, the orchid, the bamboo, and the chrysanthemum^{[ 1 ]}, which withhold many symbolic significances. The plum tree is non deemed peculiarly dramatic nor that of its flower, nevertheless its ability to exudate this ambitious status, devises this blunt contrast and serves as a metaphor for interior beauty and a low presence. The Orchid represents and exemplifies simple elegance, a delicate signifier with no inclination towards force, with its visual aspect in spring this is deemed to mean humbleness and aristocracy. The shaft of bamboo is hollow, with it huge capableness to defy immense weights and force per unit areas through strength and flexibleness, this yielded the baronial qualities of the Chinese Scholar, low, lissome and yet surprisingly strong ; this besides came to resemble incarnation and resiliency. Finally the chrysanthemum signifies calm and virtuousness as it defies the fall hoar and most workss wither and die ; it enables a religious Utopia for one to link with nature through bravery.

Nothing in a Nipponese garden is left to opportunity, each component is chosen consequently for its symbolic significance ; mosses strongly show the landform and impression of an island. These are collaborated with the apprehension of their aesthetic and symbolic significance to either fell unwanted sights, or to resemble an acquired constituent. Moss is frequently utilized to organize a dynamic composing because of its adaptability and bendability ; with the purpose to invent a carefully controlled world, an idealized version of the natural universe, stripped to its indispensable. Moss creates the kernel of implicit in breakability and mutableness, developing an feeling to promote contemplation and response. The Nipponese believe it to be a symbol of infinity, versatility and resiliency resembled by the coexistence of ocular strength and physical breakability, able to last and stay resilienteven in rough conditions, including terrible cold and drouth.

^{[ 1 ]}Hong Jiang ( 2011 )The Plum Blossom: A Symbol of Strength,Available at: hypertext transfer protocol: //www.theepochtimes.com/n2/china-news/the-

( Accessed: 19 January 2014 ) .

Question 3:Compare and contrast two domed spiritual edifices, Hagia Sophia in Istanbul and Selimiye Mosque in Edirne in footings of overall signifier, layout, construction, and map.

Hagia Sophia was established in 537 AD. It is considered be one of the historical greats for its beauty and domineer with many symbolic mentions to it impressiveness and spiritualty ; It marks the startup of Byzantine architecture. The construction was the most praised and celebrated church in all Christendom for many old ages. After the corruptness of Constantinople, it was adapted to a mosque with few minor add-ons, of all time since it has been an inspiration and an model design for many of the Islamic mosques. Likewise, Edirne is known for its beautiful mosques, but none rather every bit much as the Selimiye Mosque. Considered as one of the highest achievements of Islamic Architecture, the mosques was constructed in 1575 and at present dominates the skyline of Edirne. The Mosque is non a comprehensive composite, nevertheless facilitates many comfortss, created through a more modest attack.

The Hagia Sofia contains a huge inside embedded in a complex construction, all assembled from brick and howitzer. It contains two floors centered on a elephantine nave all located beneath a vaulted basilica ; with the full construction oriented on the northwest-southeast axis. The dome sits between two semi-domes at the Centre of the church, partly supported by a gallery of 40 arched Windowss. The weight of the dome is carried on four concave pendentives enabling its dealing onto equal arches, finally administering through four significant wharfs. To guarantee the burden can be suspended the wharfs were reinforced with buttresses. This design allows the aisles to be significantly taller than the galleries therefore its consequence from below is that of a weightless dome that seems inherit the symbolism of the sky and celestial spheres.

The elegance and rudimental elements of Hagia Sophia inspired the architecture of Selimiye Mosque, nevertheless can non be to the full isolated to the footings of Byzantine architecture ; the construction held a much greater cultural embroidery. Much like Hagia Sophia the construction contains ; suspended arches, semi-domes, buttresses and a immense encompassing dome with an array of uninterrupted Windowss. However, in topographic point there is an octangular support created through eight pillars, the weight of the dome bears on these carried through the arches to the buttresses alternatively of straight to the walls, enabling the dome to be stabilised. The domes of Selimiye are more elevated, doing it to look much more dominant than Hagia Sophia of which has a much flatter contour, although the dome height itself is greater. The effects of the supporting elements are non seeable in the inside of Selimiye, this is composed to enrich characteristics of architectural mass and infinite. The construction is chiefly constructed of cut rock making a pure position through clean lines.

If ever there was a period of enlightened absolutism on European soil, it has to be the 150 year-long period from 1600 A. D. to 1750 A. D. , which witnessed the rebirth of grand styles in art, sculpture, painting and literature. The ideas of monarchism were rejuvenated during this era as the issues of social contract and individual liberty frequented the thinking minds. In fact the thinking renaissance had already been set in motion by eminent philosophers and rulers, including Joseph II and Maria Theresa of Austria, Louis XIV of France, Frederick II of Prussia and many others.

Also known as the Baroque period, this phase is noted for its spectacular growth and development across all vertices, especially in artistic realms. What singles out the Baroque from other periods in European history was its dynamism of cultural expressions. The creation of art was unrestrained and raw in nature. From a political perspective, the British Commonwealth under the leadership of Oliver Cromwell thrived in trade and commerce, and secularism emerged after the brutal bloodbath of the Middle Ages.

The royal court of England was receptive to the refreshing counter-reformatory changes that occurred in the intellectual sphere of this period. Our current course of discussion goes beyond just the social, political or religious scenarios that characterized the Baroque era. Rather we attempt to seek the culminating point to have come out of the intellectual revolution of the time, expressing itself in threefold directive of literature, music and art.

To achieve our objective, we have picked up three authoritative works distinctive of the Baroque era – Orfeo by Claudio Monteverdi for music, The Flaming Heart by Richard Crashaw for literature and The Last Supper by Jacopo Tinteretto for artwork. The rest of this essay is going to elaborate on how the profound philosophies and witticism of the Baroque period were manifested in these three masterpieces. Music in the Baroque featured a discernible style and mode of expression unique to this era only.

It was converged on a diverse breed of artistic expressions to form a continuum of aesthetic principles rooted in visual and literary arts. First performed in 1607, Orfeo by Claudio Monteverdi is deemed as the signature musical composition of the Baroque. The grandeur of this Italian opera dissolved the geographical barriers and traversed far and wide to all corners of Europe. Composed on the themes of the Greek legend of Orpheus, Orfeo celebrates the freedom of spirit of the Baroque through its forceful dramatic appeal and impeccable orchestration.

The compelling intellectual sensitivity of the Baroque literature is best manifested in The Flaming Heart, an English poem by Richard Crashaw. This poem captures the extravagance of poetic imagination both in content as well as in form. As argued by Summers and Pebworth (175), The Flaming Heart is comparable to The Ecstasy of St. Teresa by Bernini in its vividly descriptive expression of personal emotions. As the poem nears the end, it weaves a state of the mind for the reader, which is left unexplored by Bernini (Summers et al. 175): “By all of him we have in thee,

Leave nothing of my self in me: Let me so read thy life that I Unto all life of mine may die. ” (The Flaming Heart 2009) The Baroque elements in Crashaw, as argued by Healy (1), are reflected in his “tendency to adopt the fallacious view…”. Indeed, the period in question was stripped off all sorts of polished sophistication and the style of expression was more inclined to counter reformatory impulses than to “judgments about taste” (Healy 2). The Last Supper by Jacopo Tinteretto concerns the Biblical allusion to the spiritual act of communion.

As a groundbreaking work of manneristic painting, a genre that evolved in the Baroque traditions, this piece of artwork speaks volumes for the ingenuity of painters belonging to the Venetian school during the Italian Renaissance. The quintessential baroque features in The Last Supper are manifested through Tinteretto’s offbeat use of perspective and lighting effects. Similar to all other artistic genres of the baroque, the manneristic painting too was characterized by freedom of expression and intricacies of ornamentation.

In case of The Last Supper, these aspects were brought to life by brisk brushstroke technique on canvas (The Last Supper by Jacopo Tinteretto 2002-2009). Etymologically the term ‘baroque’ implies abnormality and extravagance. Now it has been historically proved that any productive age is bound to be fueled by these traits rather than orderly and genteel ones. It is quite clear from the above discussion that the Baroque era was the golden period in the history of Europe in terms of authentic art movements. Literary compositions, musical experimentations and painting reflected the erratic but extremely creative spirit of the age.

Works Cited

1. Healy, Thomas F. Richard Crashaw. Leiden: Brill Archive, 1986.
2. Summers, Claude J. , and Ted-Larry Pebworth. The wit of seventeenth-century poetry. Columbia: University of Missouri Press, 1995.
3. “The Flaming Heart. ” Poemhunter. com. 23 April 2009. 23 April 2009
4. “The Last Supper by Jacopo Tinteretto. ” DirectEssays. com. 2002-2009. 23 April 2009