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After Pieter Bruegel the Elder.

The club closed in 1987, but Folsom never stopped gilding the Park in his trademark warm yellow light. That light is more celestial than ever in the 10-by-7-foot Naked Lunch—and the "dancer" more detached. The glowing point of a pyramid of figures, the blonde sits on the stage, shielding herself with one pulled-up leg, the other tucked under her. Fanned out beneath her are one harried waitress and 15 male patrons, but the dancer's gaze is riveted on a handsome young man in a leather jacket front and center. A tableful of people who've given Folsom good reviews—including the Washington Post's Henry Allen and Hank Burchard, and Channel 9's Gordon Peterson—ignore the dancer and share a laugh in the direction of the waitress. She is taking money from the leather-jacketed man, who has a huge cloven hoof and a tiny horn. Behind the stage, George Custer eyes the blonde, and alone at a side table Folsom sketches the room. He has just swallowed his drawing ink instead of his whiskey, a gag Folsom cheerfully admits he stole from his first art hero, Jack Davis of Mad magazine.

UNDERWORLD’S prologue takes its title from Pieter Bruegel’s THE TRIUMPH OF DEATH.

The natural world portrayed in Watson and the Shark is a far better prediction of how humans view the world today than the novel, The Old Man and the Sea.

Pieter Bruegel The Elder, Christ, Halo, Monsters" data-reactid="28"

Pieter Bruegel The Elder, Goats, Renaissance, Tattoo Ideas, Medieval" data-reactid="239"

All literature contains gaps like these (lawyers, after all, are often hired to find loopholes in supposedly airtight legal discourse), but careful readers can identify them and determine where and when such gaps can be filled and how to do so. Indeed, the history of biblical interpretation could almost be described as a history of gap-filling, and the tower of Babel story is no exception. So, while the text of Gen 11:1–9 does not clearly indicate what the problem is, that has not prevented subsequent readers and interpreters from doing so. Such tendencies are present in modern interpretations, and are evident already in very early texts. The book of Jubilees, for instance, says that the people built the tower in order to “ascend on it into heaven” (Jub 10:19). goes further, saying that the people not only wanted to ascend into heaven but wanted to pierce it—that is wage war against heaven and God, an explanation also found in the Babylonian Talmud ( 109a), Philo of Alexandria, 3 Baruch 2:7, and one of the Aramaic translations of Genesis (Neophyti) . Such interpretations are not outlandish—or at least they are not completely fabricated out of thin air. They are fabricated in the sense that they are constructed, but early interpreters typically constructed their interpretation on the basis of other biblical texts. In the case of the war-on-heaven idea, interpreters often referred back to the story of Nimrod in , which also mentions Babel, (re)interpreting the obscure statement about Nimrod there as indicating something evil or devious about him—he was proud, arrogant, or sinful. Kugel summarizes the “transformation” of in such early interpretations as follows:

The much more tranquil background, with its peaceful church, cozy snow-covered buildings, and clear blue sky give a peaceful atmosphere to this part of the painting. The lines here are rounded and reassuring, the colours bright and cheerful. As noted above, the man’s red jacket is the most dominant colour. The other peasants wear muted, dark colours, and the child’s clothing is almost indecipherable. The viewer’s eye is led immediately to the red jacket of the man and then on to the details of the violent conflict surrounding the inn. Only later does the viewer’s eye move on to the more tranquil background of the sky, farm buildings, and church—typical of a peaceful rural village. The blue sky, light ochre buildings and the terracotta-coloured church, all covered with crisp white snow, give the painting its arresting quality; in part it is full of motion, tension and urgency, yet at the same time it presents a peaceful winter country scene.

Auden's Musee des Beaux Arts and Pieter Bruegel's The Fall of Icarus

Auden's Musee des Beaux Arts and Pieter Bruegel's The Fall of Icarus W.H.

The formal properties of the painting are what really engage the viewer’s attention. The viewer’s eye is immediately drawn to the center of the picture by the dominant figure of the husband, highlighted not only by his size but also by his bright red jacket, which contrasts the much more subdued palette used in the rest of the painting. The actions of the more prominent figures give the painting a series of clear lines—to the right these lines are sharp and even violent. The lines of the woman’s arm, the man’s almost drawn sword, the violent gestures and sharp farm implements the men are fighting with outside the tavern, and the horizontal lines of the dead trees evoke a sense of unease and urgency within the painting.

provides the first comprehensive account in English of the Musin Rebellion, an attempt to overthrow King Yŏngjo (1694–1776; r. 1724–1776), and the largest rebellion of eighteenth-century Korea. The rebellion proved unsuccessful, but during three weeks of fighting the government lost control of over a dozen county seats and the rebels drew popular support from the inhabitants of three southern provinces. The revolt profoundly unsettled the early years of Yŏngjo's reign and had considerable influence on the subsequent course of factionalism. In this keenly reasoned study, Andrew David Jackson investigates the causes, development, suppression, legacy, and significance of the bloody Musin Rebellion.
The Musin Rebellion had its roots in the factional conflicts surrounding Yŏngjo's troubled succession to the throne. Jackson analyzes an aspect of the conflict previously neglected by researchers, namely the rebels managed to create an armed rebellion. He argues that the rebellion should be understood in the context of other attempts on power by factional members that occurred over a hundred-year period leading up to 1728. By exploring the political and military context of the event, the book demonstrates that the Musin Rebellion was not driven by systemic breakdown, regionalism, or ideology, but was a failed attempt by political players to take control of the court. Central to the eruption of violence in 1728 was the intervention of key rebel plotters, several of whom were serving officials with access to state military resources. The book provides an in-depth view of factional politics in the Chosŏn court, and the final section deals with the rebel legacy, bringing to the fore issues about managing, forming, and directing the historical memory of the rebellion.

Auden and Pieter Bruegel were both keen observers of the ordinary.
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Last Meals Lapham s Quarterly fussy in krak w blogger Pieter Bruegel

Cheerful propaganda showing how well women perform manual or technical tasks when men are away at war included images intended to boost morale on the home-front. So-called “landgirls” or "farmerettes" (rural Rosie-the-riveters) did whatever it takes, not just raking, to harvest the hay in the absence of enough males, either during wars which took the men away for years or in their aftermath (literally "after mowing") which took them away for ever. The Landgirls in the first picture are obviously intended to serve as pinups more than peasants, their bikinis hardly practical in the prickly hay. The young girls in the center, evacuees from the city, seem oblivious to the battles in which Britain was engaged in 1941. The Bavarian women make hay in the traditional style near the end of the war, against signs of modernity which promise reconstruction and renewal. The first of the following "aftermath" trio of images shows a German hayfield from the 1920s full of heavily dressed women filling in for the men lost in the Great War. In the second, a woman bundles a hay-like material in a Japanese farmyard. The third, a postwar image from Hanover is notable both for the unusual mix of draft-animals -- both oxen and horses are harnessed to the hay wagons -- and for the number of women at work. Of the thirteen figures, at least eleven are female, a stark reflection of the shortage of male labor in the postwar period. Compare these relatively matter-of-fact documentary photographs with the Soviet paintings, earlier in this essay, on similar themes.

The Procession to Calvary by Pieter Bruegel the Elder my daily

The shapes of women and their rakes in the works of most hay artists seem like tranquil triangles, even before pioneer photographers had to pose men and women statically with their implements to avoid the blur of movement. More recently, twentieth century cameras allowed action shots of women working energetically, with rakes or forks. Below, an intriguing, anonymous image, entitled "Pitching hay on holiday" is focused on women happily using pitchforks on their vacation, even before the war when many of their gender would be for more urgent reasons keeping farms productive. To the left of this are two illustrations of blur, the first presumably unintentional -- Sydney Newton's formal pose of Edwardian haymakers, in which the youngest of the four figures standing still for the slow film fidgets itself into blurred gender -- and the second by the famous Irish dramatist Synge perhaps to emphasize the action. To the right, Ted Spiegel's fine quintet of rakes, held by a woman and four children radiate like solar rays, from the pile of hay they're tedding. The latter's energetic action, bright color and opportunistic composition would have been impossible in the earlier days of documentary photography.

MHSchool: Seeing Like a Writer - Pieter Brueghel the Elder

The following group of women haymaking images reflects some of the complexity and contradictions of Soviet painting. Basmanov's expressionist trio from the eve of the World War II represents three archetypal activities of women in the hayfields: raker, water-carrier, and forker, while at left behind them are equally simplified shapes suggesting haycocks. Thirty years later, the Latvian Ozols has a more realistic portrait of a woman haymaker reminiscent of the nineteenth century Venetsianov, but with a busy, equally documentary background of haycocks and other workers. Finally, the late Soviet Tatarnikov depicts a voluptuous woman with a rake standing incongruously in an uncut field too golden to be potential hay. The lively clouds and flowing grass recall the style of such American regionalists as Thomas Hart Benton.

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