Fascinating Rulers Of The Roman Empire And Early Middle Ages

Trey Counterman Professor Baldwin 3/22/15 Fascinating Rulers of the Roman Empire and Early Middle Ages Throughout the Roman Empire and Early Middle Ages countless rulers existed who have captivated the interest of many historians. These compelling leaders led the way to change and progress with new building reforms and art that is still acknowledged as revolutionary today. Three of the fascinating rulers who captivated the interests of historians are Augustus, Nero, and Justinian. During each of their reigns, these rulers inspired new law codes, economic reforms, artistic innovations, and religious reform. While each ruler possessed unique skills and beliefs, each emperor had similarities in how they came to power. Art flourished and building forms renovated the various cities in The Roman Empire and Early Middle East under the reign of Augustus, Nero, and Justinian. The first emperor of Rome was Augustus. Augustus came to power after the assassination of his adopted father, Julius Caesar, who was in actuality, his great-uncle. He possessed political skills, and was a master of propaganda. His main goal was to restore the Roman Republic and avoid any traps set by monarchy (The West: A Narrative History pg. 157). During his reign, art and agriculture flourished. Augustus incorporated law codes which restored peace to the area. Augustus put in place the Julian Laws. The intentions of the Julian Laws were to make an attempt to increase the population andShow MoreRelatedThe Early Middle Ages And Early Medieval Period Essay1435 Words   |  6 Pagescall the late antiquity, early middle ages, and the early modern period. These periods were all crucial in the formation of modern government, philosophy, culture as well as many other aspects and qualities of society today. 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Nujood And Family Roles Nujood Essay - 1376 Words

Nujood and Family Roles Nujood grew up in Yemen with her father, mother and many siblings. Her father also had another wife named Dowla who had five children and Nujood would refer to her as her aunt. Her mother bore 16 children, but lost four. Since there was no doctors in their city her mother had all her children at home with little help. Nujood’s siblings were Jamila, Mohammad, Mona, Fares, Haifa, Morad, Abdo, Assil, Khaled and Rawdha. At the time Nujood’s family was living in Khardji. This town was very secluded and Nujood referred to it as microscopic. Ironically, this is where she felt at peace and happy. Her daily routine would be to go out to the river and play with the other children. The girls didn’t go to school because the walking route was about two hours away and her father did not the girls to venture out by themselves. So the women in her family were illiterate. It seemed like none of these setbacks bothered the family though. The men would go work out in the fields while her brothers went to school. Her brothers would gather branches after school to prepare the fire for their clay oven. Her mother and two older sisters would go out into the river to fetch water, clean pots and prepared the meal for the family. Nujood couldn’t wait till she was older so she could be with her mother and sisters. The family had a well working system and was living a simple life. That all changed when Nujood was about two or three. Their family had a scandal on their hands andShow MoreRelatedChild Marriages: A human rights issue2995 Words   |  12 Pages In 2008, such a young girl welcomed the world into her home, culture and personal struggles when she became the first woman to get a divorce in Yemen. She was nine years old. In Nujood Ali and Delphine Minoui’s book, I am Nujood, age 10 and Divorced. Nujood describes her trials, â€Å"I’m a simple village girl whose family had to move to the capital, and I have always obeyed the orders of my father and brothers. Since forever, I have learned to say yes to everything†(Ali, 18). Girls often consideredRead MoreThe Women Behind The Veil2301 Words   |  10 PagesDamion Broomfield Professor Joseph Walker English 306 May 2, 2016 The Women behind the Veil In a patriarchal society were the father or the man of the household decides for the family, women are quite often forced into prescribed gender roles. This is true for the women in Iran’s contemporary culture. For this purpose, the veil, which is worn by Iran women, is often identified as a symbol of obedience, respect or modesty which is otherwise an example of an oppressed patriarchal society. AuthorRead MoreThe Women Behind The Veil2291 Words   |  10 PagesThe Women behind the Veil In a patriarchal society were the father or the man of the household decides for the family, women are quite often forced into prescribed gender roles. This is true for the women in Iran’s contemporary culture. For this purpose, the veil, which is worn by Iran women, is often identified as a symbol of obedience, respect or modesty which is otherwise an example of an oppressed patriarchal society. Author Marjane Satrapi’s novel Persepolis, exposes the regime behind this

The Maya Essay Example For Students

The Maya Essay The Maya were a dominating society of Mesoamerica, rich in culture, community, and art. While life may not be completely interpretable yet, much in known about how these societies were constructed, and how their religion dominated their lives. Much is generally made of their massive stonework, their ceremonial complexes, and ritual sacrifices, but their small jade, ceramic, and stone sculpture deserves as much attention as the works of much larger size have received. The Maya, inhabiting southern Mexico, Guatemala, and northern Belize, began to settle in communities around 1500 b.c. By A.D. 200, these communities had grown into large cities with expansive areas of temples, pyramids, ball courts, and plazas.1 Pre classic Maya sculpture developed under the geographic expansion of the inhabitants into a variety of ecosystems, inspiring technical and artistic change. The highland inhabitants may have been earlier in initiating stone sculpture.2Figure 8, an anthropomorphic mushroom figure found in Guatemala may have been a symbol of fertility, judging by its shapes connotation. Other regional sculpture includes figurines with swollen bellies, accentuated sexual regions, and even pregnant animal depictions. This could be because of the association of maternity and fertility with nature and Mother Earth. The Classic Period of the Maya began to develop around A.D. 250 and flourished through A.D. 900. Around that time was the start of the Post Classic Period, which was conquered by the Spanish in the early 16th century.3The information about the classification of these cultures is not strong in that it may be considered inappropriate to call certain periods Classic, Pre Classic, Post Classic, etc. because the rise and fall of Mayan cities was an overlapping sensation, and the establishment of a certain style would appear at many different times throughout the domination of the culture. For classification of the purposes of this paper, however, the division of the culture is used. Small Mayan sculpture has been discovered at a variety of locations. An Early Classic jade piece, 4 1/4 tall, of the Bird-Monster God (fig. 9), was found at Copan, Honduras. This tiny, sculpted piece of a deity features human hands and feet, with the figure seated cross-legged, fists clenched. He wears beaded necklaces and ear plugs. He appears to have four eyes or two eyes and two mouths, and perhaps this mean he is wearing the costume of this deity, and it is a man that sits disguised. Because maize was considered sacred during the Classic Maya period, that god was a prominent figure in Mayan sculpture. The peoples belief that maize was ground with water to create the flesh and blood of the first human is essentially what prompted such revere of this particular deity. A stone figure of the Maize God, from Copan, depicts ritualized gesture and contemplation. Figure 10 is a figurine of a ruler dancing with maize, from Guatemala. According to Mary Ellen Miller, the Maize God dances as the mother-father- a primary source of human life.4Some characteristics of this god include the enormous rack on his back, with small creatures wedged into a frame, usually wearing a betted hipcloth or skirt, and generally wearing a carved spiny oyster shell to give a symbolic vagina.5 Rulers were also depicted during this time in sculpture. Figure 11 is a funerary vessel with a portrait head to embody the man as eternally youthful. While figure 12 is an incense burner depicting the rule r sitting on a Cauac Monster throne. This also represents the ruler as an eternal youth figure. The throne symbolizes earth, rocks, and mountains. Late Classic Maya sculpture demonstrates the freedom that artists now had to develop original style. According to Coe, their art is essentially a painterly one, narrative and Baroque, tremendously involved with ornament and grotesques.6Sculpture had evolved quite a bit from previous works, now lending itself to more ornate qualities. Two examples of this appearance hail from the island, Jaina, a small limestone island off the coast of Campeche. The use of the island appears to be as a necropolis for the leaders and noble of the mainland Puuk communities. The first example is the Fat God (fig. 13). He is wearing a feathered war costume, carrying a shield and the other is of a seated man (fig. 14), holding an object of some sort. Greater technique is involved here. Figures are not all self-contained. Both of these small pieces have carved a reas jutting out of the main sculpted body, and jewelry is more three-dimentional than ever. There is more attention to detail and greater individuality among the characters. It took a long time before explorers and archaeologists were able to truly understand Mayan culture. Nothing could really be told of early life accurately before the glyphs were deciphered to reveal their meanings. The translation revealed a whole Mayan history inscribed on stelae, monuments, sculpture, and on paper. Suddenly, the characters depicted in Mayan culture were known as the deities they represented and what purposes they served to the people who created them. Now it was known why maize was depicted so much in their art, how the calendrical system worked, and the purpose behind the religious sacrifices performed regularly throughout their existence. .u7857cf8f7d0f0c70badd0a4f92f24517 , .u7857cf8f7d0f0c70badd0a4f92f24517 .postImageUrl , .u7857cf8f7d0f0c70badd0a4f92f24517 .centered-text-area { min-height: 80px; position: relative; } .u7857cf8f7d0f0c70badd0a4f92f24517 , .u7857cf8f7d0f0c70badd0a4f92f24517:hover , .u7857cf8f7d0f0c70badd0a4f92f24517:visited , .u7857cf8f7d0f0c70badd0a4f92f24517:active { border:0!important; } .u7857cf8f7d0f0c70badd0a4f92f24517 .clearfix:after { content: ""; display: table; clear: both; } .u7857cf8f7d0f0c70badd0a4f92f24517 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7857cf8f7d0f0c70badd0a4f92f24517:active , .u7857cf8f7d0f0c70badd0a4f92f24517:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7857cf8f7d0f0c70badd0a4f92f24517 .centered-text-area { width: 100%; position: relative ; } .u7857cf8f7d0f0c70badd0a4f92f24517 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7857cf8f7d0f0c70badd0a4f92f24517 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7857cf8f7d0f0c70badd0a4f92f24517 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7857cf8f7d0f0c70badd0a4f92f24517:hover .ctaButton { background-color: #34495E!important; } .u7857cf8f7d0f0c70badd0a4f92f24517 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7857cf8f7d0f0c70badd0a4f92f24517 .u7857cf8f7d0f0c70badd0a4f92f24517-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7857cf8f7d0f0c70badd0a4f92f24517:after { content: ""; display: block; clear: both; } READ: Juvenile Delinquency EssayBefore the discovery of the meanings of the glyphs, it was thought that the Maya were a peaceful, egalitarian society, content to live comfortably off of their land. Now we know of the elite and the non elite, the slavery, and the division of land; the culture as it really was. Though the Maya continue to live in Mesoamerica, the other cultures died out. The Maya today still wear similar clothing, and believe in their cultures religious past, most have converted to Roman Catholicism because of the influence of the Spanish missionaries. The Maya has left behind a fascinating study of culture. Not only can we admire the beauty of the art and architecture remaining, but many types of learning can be combined for an interdisciplinary approach to deciphering these societies. Anthropologists, sociologists, archaeologists, and art historians have come together to recreate the truth in the past of Mesoamerica. As time passes, we know more and more about how life really was, and speculation leads to actuality of events as scientists decipher the glyphs and symbols of the past. Interpreting smaller sculpture is a way to see objects as both aesthetic and utilitarian. While larger works may dominate a mass of space, smaller works may be admired for the intricate detail and time spent on such tony proportions. I have always been fascinated with miniature works, because such small scale takes a truly steady hand and sharp eyes to create. Seeing the evolution of Mesoamerican sculpture shows how it evolved from simple, self-contained form, to three-dimentional masterpieces. BibliographyBritannica.Com. Aztec.http://www.britannica.com/eb/article?eu=11691tocid=0, 1999-2001. Britannica.Com. Maya. http://www.britannica.com/eb/article?eu=52853tocid=0, 1999-2001. Britannica.Com. Olmec. http://www.britannica.com/eb/article?eu=1615tocid=0, 1999-2001. Britannica.Com. Teotihuacan. http://www.britannica.com/eb/article?eu=73592tocid=0, 1999-2001. Brumfiel, Elizabeth M. Figurines and the Aztec State: Testing the Effectiveness of Ideological Domination. In The Ancient Civilizations of Mesoamerica, eds. Michael E. Smith and Marilyn A. Masson, 468-482. Oxford: Blackwell Publishers, 2000. Clancy, Flora Simmons. Sculpture in the Ancient Maya Plaza.: The Early Classic Period. Albuquerque: University of New Mexico Press, 1999. Coe, Michael C. Mexico: From the Olmecs to the Aztecs. London: Thames Hudson, 1994. Coe, Michael C. The Maya. New York: Thames Hudson, 1999. De la Fuente, Beatriz. Order and Nature in Olmec Art. In The Ancient Americas: Art from Sacred Landscapes, ed. Richard F. Townsend, 121-133. Chicago: The Art Institute of Chicago, 1992. Miller, Mary Ellen. The Image of People and Nature in Classic Maya Art and Architecture. In The Ancient Americas: Art from Sacred Landscapes, ed. Richard F. Townsend, 159-169. Chicago: The Art Institute of Chicago, 1992. Miller, Mary Ellen. The Art of Mesoamerica from Olmec to Aztec, 2nd ed. London: Thames and Hudson, 1996. Reilly III, F. Kent. Art, Ritual, and Rulership in the Olmec World. In The Ancient Civilizations of Mesoamerica, eds. Michael E. Smith and Marilyn A. Masson, 369-399. Oxford: Blackwell Publishers, 2000. Valdes, Juan Antonio. The Beginnings of Preclassic Maya Art and Architecture. In The Ancient Americas: Art from Sacred Landscapes, ed. Richard F. Townsend, 147-57. Chicago: The Art Institute of Chicago, 1992.Words/ Pages : 1,391 / 24