Shalmaneser III

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    Assyrian Art Analysis

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    Innumerable works of art found in any of the myriad ancient artistic eras have specific purposes and are created with methods common in their particular setting. Many works dated to the period of Assyrian art (1363-612 BCE) share similar patterns of stylistic execution and representative meaning. The Relief of a Winged Divinity, an Assyrian artwork found in the throne room of the Northwest Palace of King Ashurnasirpal II in Nimrud, Iraq, presents a shallowly carved, highly detailed figure, probably representing the king, on a large slab of gypseous limestone accompanying lines of inscribed cuneiform, resembling an orthostat. The most remarkable aspect of this low relief is how the artist utilized common techniques of Assyrian art to create the work’s intricate details, symbolizing and emphasizing the king’s influencing power and godlike qualities. In accordance with the importance of the stylistic and symbolic representation, the relief displays an unnaturalistic human figure with attached wings, similar to how a mythical creature or ancient god would be portrayed. Although the human portion of the figure represents a proportional male, the eye sockets are unrealistically large. Furthermore, features such as the heavily muscled arm and the poised position accentuated by the man 's silhouette suggest that, besides the lack of realism, the human portion of the figure is idealized. The figure’s right arm, which is bent in an upward, shifting angle, has very defined muscles.…

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    Standing majestically with a gaze protruding from a body of “white limestone and alabaster…” (MET), the Human-headed winged lion measures up to 10 feet and 3 ½ inches in height. Also referred to as the Lamassu, the sculpture is adorned with a “horned crown” that represents a spiritual holiness. Despite the crown’s intention to convey a state of “divinity”, it is in my observation to point out how outwardly phallic the top of the Lamassu head appears. It may be a vague symbol of masculine power…

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    Striding lion from Near East, Mesopotamia, Babylon, Iraq. Neo-Babylonian Period, 604-561 BCE. The striding lion with an open mouth was lined the Processional Way to the Temple of Marduk from Ishtar Gate at Babylon. The size is 41 3/4 in. by 91 5/16 in. Glazed bricks. The striding lion is a symbol of Ishtar, the goddess of Love and War. All 120 lions were protecters of Babylon and at the same time were leading the way from Ishtar Gate to the Marduk Temple. Neo-Babylonian used animals as symbols…

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    The Assyrian kings, who governed many societies and realms, were leaders of inflexible publicity to enhance their lands, which they conveyed through drawings and in inscribing. The kings custom-built relief sculptures that praise the authority and leaders. In the Metropolitan Museum of Art, in section 401, there lies the Assyrian Reliefs, which reconstructs the palace rooms of Ashuranasirpal II at Nimrud. Initially radiantly dyed, they once beautified the vast palace of the great Assyrian kings…

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    The two plays show two spectrum of main characters one being that Richard III is also the antagonist of the story, as he is the one doing most of the betrayal. While on the other hand Othello was never a bad guy just a man that was caught between loyalty between his own wife and a man he himself trust his life with being Iago. ”To entertain these fair well-spoken days, I am determinèd to prove a villain” (1.1.29-30) From the beginning of Richard III we know that Richard wants to be a villain by…

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    The film, as an entity, contains many elements, from the narrative to the mise-en-scène to the editing of the film. Robert Spadoni discusses many of the elements of film in his book A Pocket Guide to Analyzing Films. One element he briefly examines is the utilization of the prop and how the prop becomes a motif. To further explore this concept, this essay will consider Alfred Hitchcock’s Psycho. In this film, Hitchcock subjects Marion Crane to the voyeur through his placement of the owl in…

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    initiation of WW1. Upon Wilhelm’s birth, his British grandmother, Queen Victoria, sent one of her doctors to deliver her grandson. The dramatic birth caused great nerve damage and Wilhelm suffered the consequences of a paralysed arm for the rest of his life. His disability limited his childhood as he was constantly enduring futile treatments to improve not only his posture, but his poor physiological state. Wilhelm’s dysfunctional relationship with his British mother was the result of his…

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    The experiences you have while watching a film are very interesting. Typically within a film, you, the viewer, is presented with a problem or situation and it is up to you to come up with the solution. These situations may have good results or bad, but it is always up to the viewer to discover the solution. Discovering a solution is not always easy. Historian David Bordwell believes that the narration in a film cues and constrains its viewer .Directors always find ways to confuse a viewer by…

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    Psycho IV: The Beginning

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    I am sure there are some people out there that will be like "What?! Psycho had sequels?" Yes, Psycho did have sequels, 3 in fact, along with two TV series, one that is about to start its X season. The fourth in the series, the one that is on review today, is titled Psycho IV: The Beginning. Written by returning screenwriter of the first Psycho is XXX. Anthony Perkins also returns as Norman Bates, along with Henry Thomas playing the younger Norman in flashbacks. The movie attempts to tell the…

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    Hatshepsut Analysis

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    This paper will employ close visual analysis of the Ancient Egyptian sculpture, Large Seated Statue of Hatshepsut dated 1473-1458 B.C, Dynasty 18 describing how the pose of the figure, the queens facial expressions/ features, the portrayal as a male and the medium of the work relate to the queens confidence in her royal power, her achievements and her adaptions to conform to the conventions (art and Egyptian ideology of kinship) of this period. Upon entering the gallery at Metropolitan museum…

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