Telling My Story of Humanities

There's a fine line between learning the values of humanities in a classroom where you have direct access to professors and students who can show guidance in your success, but since some cannot be concluded in classrooms, online courses have provided a unique different system where we have direct access to everything from the nationwide database, that includes resources from schools, and social media that televises teaching concepts including humanities, therefore shows me why this system helped provide me the best resources to succeed and show me how to appreciate the learning of humanities, and some of those come from certain artifacts that cannot be presented in direct contact with professors or students.

Reff, Daniel T. Plagues, Priests, and Demons : Sacred Narratives and the Rise of Christianity

        in the Old World and the New. Cambridge University Press, 2005.

Daniel T. Reff's "Plagues, Priests, Demons - Sacred Narratives" Novel Cover

Located by Folsom Lake College, Published 2005

        • Important to know the history as well as the change that evolves with the nature of Christianity, Daniel Reff’s illustration provides a guidance not just in the studies of anthropology, but he lays out a concept in which the reader can first learn the impact of how Christianity was effected and then beginning to rise in a form which coincided with both the roman empire and the studies of colonial Mexico. A significant topic that showed me as a viewer to learning the ways of Christianity, was the impact in which infectious diseases was taking over the Roman Empire. With this understanding, Reff simulates a form in which new beliefs and practices were deemed to new ideas of indigenous religions that could be accommodated to help rebuild the form of Christianity.

Shakespeare, William, et al. The Tragedy of Hamlet, Prince of Denmark. Updated edition., 

        Simon & Schuster Paperbacks, 2012.

Shakespeare's "The Tragedy of Hamlet, Prince of Denmark" Novel Cover

Published by New York : Simon & Schuster, 2012

        • In pursuit of learning the psychological characteristics of Hamlet, the author provides a unique pattern of which course of nature, an individual must take in order to avenge his father’s death. Which is what explaining the conflict of Hamlet becoming internal with the ability to wrestle on something based on his uncertainty, in which he feels very strongly to act upon. As a result to the reader, it teaches them that this uncertainty cannot be solved and that it creates side-effects of horrific resolutions evolving around the characters in the play, which also provides a unique system in Shakespeare’s style of creating plays.

EVALUATION OF HUMANITIES

        Looking back on the time that went into the development of this course, and now gathering all of the information that a student can evaluate and appreciate what they learned in a certain amount of time. It can become overwhelming for certain individuals including myself. From the beginning, it became clear to me that this course was meant to understand human geography and the nature of modern religions, almost like a history class, but there is more to it than what has been given in this course. One of those topics that was covered was the course of understanding the early renaissance and how certain religions such as Christianity helped rebuild the system for all religions across the world. I can refer back to one of the first articles I searched when understanding religions, and that was the matter in which Christianity “emerges in the face of a bewildering postmodern world where unity of any sort – religious, political, economic, ideological is contested” (Phillips, 2011). Its these types of arguments that allowed me to fully grasp the exploration of certain regions that provided guidance to help bring back important systems to this world and provide references for future generations to come. In some way, it can say that I accomplish the goal, but it became more of a progressive process, which could entail that I gained knowledge of humanities ethnics by leaps and bounds every week we discussed certain topics in relation to humanities. So overall, my goals in learning humanities provided a supply of leaping experiences that stood out to be more than I anticipated in learning.

"What are the Humanities? What Makes Us Human?" by Being Human Festival, YouTube, Published 13 November, 2020

        Since Christianity was something that I was never familiar with in learning the concept of humanities, it allowed me to look back and remind myself of what I had already learned before it came time to start this course. One of those can be the tragedy of Hamlet, because coming from high school and transitioning into college, where Hamlet was a required topic to learn about in high school, and now taking what I learned and apply that into evaluation of humanities, it only makes you that more interested in what can be acknowledged. Learning Hamlet in high school was something unique where you could analysis each character and present your theory of the play, but in this course, it allows you to go further into the reading process of what Hamlet’s intentions were in the middle of a crisis with certain family members and friends, that allow you to analysis what the author’s potential aspect for the entire play. And this is just another explanation for what each of the lessons has been taught to all of us learning humanities. In conclusion, to what has already been taken from this class and how we have evolved in that time frame, it showed me as a student, as a reader and as a analysis that you can never stop learning the true aspirations of human learning, where humanities evolves around every humanoid event or topic that has come to past and provide a concept of systematic learning that can be taught later in the future for the next generation, which is another reason why you can learn as much as you want in humanities, but you can fully grasp everything that it provides because we continue to evaluate our potential learning with new ideas and forms.

"Renaissance: William Shakespeare", Binogi, YouTube, Published 06 February, 2017

        • And lastly, the most important value that I can take from this class is the fact that we got to engage in certain communitive activities, where we can listen to each and give our evaluations of each other’s opinions on activities relating to the value of humanities, which ultimately makes me believe that the true potential value in humanities to progressing each other’s values in what we feel is important to express as far as humanities go.

Work Cited

Reff, Daniel T. Plagues, Priests, and Demons : Sacred Narratives and the Rise of Christianity

        in the Old World and the New. Cambridge University Press, 2005.

Shakespeare, William, et al. The Tragedy of Hamlet, Prince of Denmark. Updated edition., 

        Simon & Schuster Paperbacks, 2012.

Gary A. Phillips. “Responsibility, and the Question, ‘What Is Christianity?’: <em>The 

        Cambridge Dictionary of Christianity</Em>.” Journal of World Christianity, vol. 4, no. 1, 

        2011, pp. 21–26, https://doi.org/10.5325/jworlchri.4.1.0021. Accessed 15 May 2022.

Binogi, "Renaissance: William Shakespeare (English) - Binogi.com", YouTube,

        Published 06 February, 2017

Being Human Festival, "What are the Humanities? What Makes Us Human?", YouTube, 

        Published, 13 November, 2020

Blogging Museum Visit

When going to a museum, there are certain artifacts that you may find interesting, some that you may not know even existed, and then there’s always that one piece that catches your eye, and makes you want to look and study the facts behind the creation of that certain piece. When it came time to examining the artwork of all paintings provided in this week’s presentation, one particular caught my eye, and stood out more than any other. That particular artist was Anthony Van Dyck, who created a number of portraits, but the one that stood out was his creation of the “Christ on the Cross”, and to describe it “The image of Christ as a solitary figure nailed to the Cross, envisaged with his head and eyes raised heavenward at the extreme moment of his suffering” (Jaffé, 1958). With this meaning, it was meant to represent an important religion of Jesus’ sacrifice, where his death was decided by crucifixion, and part of this symbolism was due to the nature of Christianity where Christians believed it could bring them human kindness in the form of redemption. Because of this, it becomes clear to my mind of the time period where Dyck was creating his portraits, because 1618 and 1627, Dyck was traveling from London to Italy and became influenced by Peter Paul Reubens who wanted Dyck to examine and relate his nature of work to a number of executions that were taking place in Italy. And ultimately, part of the reason why this piece of Dyck’s creation stands out above the rest is because in this particular setting, he wanted to resemble his youth of him and his father where his father never supported and wasn’t around with Dyck when he was growing up, which is why he wanted to present the use of loneliness in this “Christ on the Cross”, which explains why a number of his other works present more than one character in each of them. Theoretically, loneliness was part of the theme that Dyck wanted to incorporate in someone’s execution.

Anthony Van Dyck - "Christ on the Cross" 1627, 

Illutsrated by the Carmen Thyssen Collection, 

https://www.museothyssen.org/en/collection/artists/dyck-anthony-van/christ-cross

Even though Dyck wanted to incorporate a different tone to the theme of the crucifixion in his design and creation, it only becomes a major influence for what the original work holds in value for the nature of Christianity. In the idea of the crucifixion, there were two major contributors to the idea, which were the Reubens and also Guido Remi. There works present the same tone and theme, but became the idea that was taught to become an inspirational form of how the European Baroque became to be in the creation of the Western Christendom. This is where the idea for the article became to the center piece to Dyck’s creation, because in Michael Jaffé’s article “Rubens' 'Christ on the Cross'”, it explains the nature and ideas that went into the making of the original painting of the Crucifix. One of the best examples that we mentioned was how the use of the Christ was meant to show the expression of dramatic and illusions of what life was like for the Reubens living in Italy and present it in the form of evaluation. An interesting form from the article presents a unique factor where “Christ is shown unadorned by the crown of mockery or the halo of divinity as the stricken hero, victorious and alone” (Jaffé, 1958). By realizing these ideas of events set by the Reubens, it shows the reader that this painting can be honored by the maturity that went into the Reubens mind of creation, for which can express the true nature of baroque imagination, and a certain ikon, in which now has become an inspiration for a number of artists, including Anthony Van Dyck. Even though his name was not the essential idea of Jaffé’s article, he was mentioned through the inspiration that went into the idea of the Crucifixion, also important to note because Dyck’s form provided a unique form of expression and maturity into other artists who were inspired by the Reubens success. 

Portrait of Anthony Van Dyck - "Self-Portrait with a Sunflower" 1633

https://www.anthonyvandyck.org/self-portrait-with-a-sunflower/

Since Dyck’s creation became an inspiration to the original form of the Reuben’s crucifixion, it just goes to show the true nature that many artists can express about their way of life in the form of art. Because we learned that Dyck’s ideal form was to create a form of execution which he witnessed and valued his thoughts through his time in Italy, and symbolic nature of inspiration in Jaffé’s article which he described in the forms which the Reubens expressed that the nature of his Christ was presented to be a dramatic tone of loneliness and redemption, because Christianity was a ideal form of belief for Reubens and they wanted to express their value of opinion. As he mentions “Between the figure in the life study and in the painting, the differences of modelling and expression can be best observed by detail comparison” (Jaffé, 1958). Because of this, it became the inspiration for the next generations to come. Including myself in this process was part of my overall theme for why it is important to take these lessons and values given upon us and express our true nature of how it has impacted us in a way that makes these certain artifacts special than any other. Because when valuing this painting of Dyck’s version, it showed a form of emotion and relief in my eyes because knowing that the man was going to die, he was going to die knowing that stood for what he believed in and knew by standing for his belief that he was going to be in god’s hand wherever the next journey took him. Because of these alternative ideas and symbolic forms of ideas, it allowed me to express a form of encouragement and happiness to stand up and except the nature of forms that bring to us in the learning development and express my true nature and redemption for why I felt this painting was special to me to present.

"Van Dyck: The Man, the Artist and his Influence" 

Created by National Portrait Galley & Published 26 January, 2015

Work Cited 

Jaffé, Michael. “Rubens’ ‘Christ on the Cross.’” The Burlington Magazine, vol. 100, no. 658, 1958, pp.                 

               21–22, http://www.jstor.org/stable/872382. Accessed 12 May 2022.

Jacobs, Lynn F. “Rubens and the Northern Past: The Michielsen Triptych and the Thresholds of 

                Modernity.” The Art Bulletin, vol. 91, no. 3, 2009, pp. 302–24, http://www.jstor.org/

                stable/40645509. Accessed 12 May 2022.

National Portrait Gallery. "Van Dyck: The Man, the Artist and his Influence". YouTube.  

                https://www.youtube.com/watch?v=rfMVd__dkOM&t=8s

Who is Countess Almaviva in "Marriage of Figaro"?

Countess Almaviva 

Portrayed by Ellie Dehn, Located at the Royal Opera, Photograph by Mark Douet, 2015

In order to understand the nature of events in Mozart’s “The Marriage of Figaro”, you have to understand Mozart’s first play that portrays Figaro’s play as a sequel, because technically, the roles that contradict the theme for one individual’s performance, tends to be the exact opposite of what he was accustom too. Which is why, the character in Mozart’s play that should be the ideal one to explore and analyze is the character of Countess Almaviva, who is portrayed as a womanizing husband who seeks to deceive another important character Figaro’s fiancé Suzanne. Countess Almaviva’s version in Mozart’s first play “The Barber of Seville” is appeared to be an outmaneuvering man who was intended to win one particular’s person interest in love, and with the help of Figaro, he was able to find love with Rosine, who was a heroine. But in this play, the role of the countess appears to be more controversial, with his methods of trying to seduce Susanna and guide him with the estimates of faithfulness. Most of these values can be further estimated with the help of Tili Boon Cuille who provides her comparisons of the two plays written by Mozart. One of those important quotes includes “The Countess’ physical imprisonment in Barber deepens into emotional entrapment in Marriage, and by the end of five acts of intrigue one rather wished she would let her wayward husband stew instead of forgiving him in a heartbeat” (Cuille, 2014). This was important due to the intentions of Mozart’s earlier plays where people didn’t feel he was providing enough drama for it be dramatic in some sense, which is why from learning these values of the countess, Mozart was aiming for more features in the countess’ performance, and ultimately why I choose his character for the theme of this presentation.

Performance of Countess Almaviva, voiced by Valerie Evans, YouTube

To go further with that understanding, it was more important to read the play first, then begin watching the entire play on video because in the reading, it appeared to me that the countess appears to be a desolated person but also a very distinguished woman. This can be supported with the statements of her trying to resent her husband from a dashing behavior, but more importantly, she does not want to let any other people know that she is appealing to women who are very young. This can be supported, because according to Richard Andrews, he claimed during a scene with Suzanne and the countess who are discussing certain behaviors with her husband that turn out to be divergent and jealousy. In Andrews article he quotes “she is more judgmental, perhaps more feminist, in her opinion of the behavior of ‘modern husbands’ in general” (Andrews, 2001). This goes with regards of the countess’ actions towards her people because it can show that she was tricking her husband into comprehending her development of love for him was more essential than his desire for more physically charming women. In regards to the role of the countess, this just goes to show that she was an intellectually and philosophical character that explores the idea of accommodating her pursuit of happiness with the need of preserving her social high standers and love joined together. 

Countess Almaviva showing determination to the Count in Act III,

Located at Seattle Opera's YAP, 2005

With all of these circumstances about the intellectual character of the Countess, and throughout the rest of the play, it becomes very crucial to analyze and understand what predicts the accommodations of the play’s theme and irony. This was all mostly represented towards the end of the play. Even though the Count was having an affair it also revealed a scenario of Figaro’s jealousy where the countess decides to switch clothes with Susan which will allow the Countess to seduce the Count which was her husband. In regards to this sequence, it provides a unique accommodation for Figaro suspected that his wife was having an affair and in doing so also believed that the countess was suppose to be Susan. To help present this claim, a quote from the play in which the Countess discusses the plan with Susan, “But forgetting all respect for your friend Figaro, and for the Countess your Godmother, likewise, you are endeavoring here to seduce her favorite woman!” (Holcroft, 1784). This provides the necessity details of both the dramtic irony that takes place in act five of the play and the role of Countess Almaviva’s actions because it depicts an unorganized situation for which only the audience would know at the time when this would occur and the characters would not know what was to come. Plus, it gives the audience an ultimate idea that the Countess was deemed to portray a type of villain for the play that was critical of the dignified corruption and would contradict the nature of the play for it’s low case morality. 

Work Cited

CUILLÉ, TILI BOON. Theatre Journal, vol. 66, no. 4, 2014, pp. 621–24, http://www.jstor.org/stable/24580476. Accessed 8 May 2022.

Andrews, Richard. “From Beaumarchais to Da Ponte: A New View of the Sexual Politics of ‘Figaro.’” Music & Letters, vol. 82, no. 2, 2001, pp. 214–33, http://www.jstor.org/stable/3526059. Accessed 8 May 2022.

Holcroft, Thomas. “The Follies of the Day; or the Marriage of Figaro”. Pierre-Augustin Caron de Beaumarchais. Published 1784. https://oll.libertyfund.org/title/holcroft-the-marriage-of-figaro-or-the-follies-of-a-day