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AP European History: Academic Vocabulary Word List: Google Docs Link

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AP European History: Academic Vocabulary Word List: Google Docs Link

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https://docs.google.com/a/cchs.us/document/d/1uhnczyjJ9gCe_O1HzmfHisnm8vfe24i2P1MyEBSHGbc/edit?usp=sharing

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How did the nature of European governments change from the premodern to postmodern?

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How did the nature of European governments change from the premodern to postmodern?

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10 Books that marked Turning Points in European History

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10 Books that marked Turning Points in European History

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Timeline from class 4/27/2016

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Irish Revolution and the IRA’s War for Total Independence

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Irish Revolution and the IRA’s War for Total Independence

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by Patrick Regan

For many years, the Irish had fought the British. The historic fight goes back many years to when Ireland was under British rule as the “Irish Lordship.” It later became a dual monarchy with England in the United Kingdoms of Ireland and England. However, this title meant nothing because the claimer of the Irish throne was King Henry VIII of England. Also, this title was removed when Scotland also joined and colonies were created transforming it into the British Empire. However, this is the main reason for a significant push for Irish Independence. The Irish fought many small wars with the English that were unfortunately quickly stomped out with no result. With the loss of the Irish kingship, the Irish had no actual representation and were seen as lower than British and practically subsume or slaves to the “superior British race.” They fled by the thousands to America to seek better fortune, but found no such results as Americans hated them also.

In 1916, the Irish saw their chance during WWI to be rid of their British oppressors. As Britain and her empire were wrapped in fighting the Germans, many famous Irishmen who are now legends throughout the Republic of Ireland sought freedom for Ireland through the means of a magnificent uprising. These figures include: Patrick Pearse, James Connolly, and Thomas MacDonagh. All leaders were executed by the British military. Patrick and Thomas were only in their late thirties. The people of Dublin, Ireland could only scrap together a citizen army and a group of volunteers numbering roughly 1,250 soldiers total. This, unfortunately, was not enough.  This uprising, which came to be known as the “Easter Uprising” (1916, April 24-29th), was not easily forgotten.

The resilience of the Irish people had resounded in the hearts and minds of the people. They were reminded of the strong and proud people they had once been, free and independent of foreign oppression. They were reminded that the destiny of Ireland belonged to them, not the English. They came to see that people only saw them as the slaves of the British and no more than a rowdy group of people, who were “ethnically British”. But they were not and still are not. The Irish are a free, separate people with their own culture, customs, and language. This dream of freedom would never leave their minds.

In 1919, the Irish waged a full-fledged war against Britain to create an independent Irish Republic. They felt so strongly, they were willing to take on the brutal veterans of WWI and Britain’s fully mobilized military might. Through strength and determination as well as brutal guerilla tactics, they were able to defeat the British soundly. However, the British commit many atrocities and frightened many in the north with a huge Scottish population who were very loyal to Britain. A treaty was signed between Michael Collins, an Irish legend who is considered by many to be the father of modern Ireland, and Winston Churchill himself. The treaty stated that Ireland would only become a commonwealth and Northern Ireland would remain a full territory. This was highly frowned upon by many Irish though.

They were willing to continue the fight and started the Irish Civil War between Pro and Anti-Treaty forces. Even today, it is a misrepresented fact that the fighting is also due mainly to religious differences. Religion had a very small portion of any reason for the fighting. The whole reason for these wars was due to the Irish people being occupied by a foreign government. Of course, pro-treaty forces won, but the cost was heavy. Michael Collins was assassinated and the war made the British see a few flaws and Ireland gained a little more autonomy. The only country at the time to recognize Ireland as a legitimate nation was the Soviet Union. Not even America…

Along the way, the IRA (Irish Republican Army) hung around to carry on the fight with England. They carried out bombings in Britain and even tried to help the Nazi’s (who also recognized Irish Independence) invade England through Ireland if the Nazis promised to help their cause like they did in Spain. Needless to say, the Irish government shut the IRA down and drove out Nazi agents. Later in the 1970’s - 1980’s, the IRA in the North gained a lot of momentum and even started a whole new conflict known as The Troubles. This conflict however was different.

Politically, the IRA had no backing from the Irish government. But, many sympathized with them and many Irish in the US even funded the IRA. Stores run by Irish immigrants would ship money to the IRA and “Whitey Bulger”, the notorious Irish-American mobster, even supplied guns. The British committed many atrocities during this conflict (which infamously included ‘Bloody Sunday’) and the IRA were not so innocent either. As a whole, this conflict did end with the Good Friday Peace Accords. This treaty granted the Republic of Ireland full autonomy and the Irish people in the south finally achieved their goal of full freedom. Unfortunately, the 6 counties of the North: County Down, County Armagh, County Fermanagh, County Derry (or the British name “Londonderry”), County Antrim and County Tyrone still have no freedom and have no autonomy from Britain at all. This is why many groups in Ireland still fight for the cause of full Irish freedom and a united Ireland.

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Existentialism-- The Philosophy of Postmodernism

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Existentialism-- The Philosophy of Postmodernism

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Key Concepts 4.3 states, "During the 20th century, diverse intellectual and cultural movements questioned the existence of objective knowledge, the ability of reason to arrive at truth, and the role of religion in determining moral standards."

After WII, Europeans began to question and abandon modernism. Modernity was a time period that had its roots in the Scientific Revolution, became critical of Christianity in the Enlightenment, and then reached its pinnacle in the 19th and early twentieth century by way of the Industrial Revolution. Europeans saw the great accomplishments of man, using reason and science, to make life easier, healthier, and more "advanced" and the belief was that objective, scientifically verified knowledge was leading humankind into the final stage of progressive history.

Then WWI and WWII happened, and disillusionment with modernity and its promises of man's ability to make the world better, and to know truth absolutely, dissipated. WWII marks the beginning of the Postmodern Era, which most now agree is the age we are also living in today. Postmodernism rejects a belief in absolute truth and is characterized by a rejection of reason, authority, tradition, and old/expert ways of doing things. Instead, it embraces the irrational (remember Nietzsche and Freud?), the rebellious, and even the absurd. Life has no definite meaning, nor does man's nature have an essential substance. Relativism pervades everything. The atheistic existentialists emerge as the new philosophers of this era, and you have read Sartre to know that they were actually optimistic about postmodernism.

The existentialists found liberation and freedom in man having no set nature, in man having no God to answer to or be defined by. They believed that removing the existence of God would remove all people from making excuses; it would make them accountable for their actions. How does man define himself if there is no God, or no words from God passed down in the Scriptures? Man defines himself through his choices. It is his choices that either approve or condemn him. A common way this is often summarized is, "existence precedes essence." Man's existence, his choices, results then in his essence. We see the consequences of this today in the rampant confusion and disagreement over things like, "Does an infant in the womb of his mother constitute a human, a person?"  Or, what defines a man from a woman? What if a man decides he really is a woman?

There is much that a Christian can critique about postmodernism and existentialism: its lack of faith in absolute truth, its destructive sense that people can define morality according to their own opinions and even self desires. If one can man define life, then he can use that definition to oppress, even obliterate, others. The Bible's declaration that man is made in the image of God gives man a dignity (remember Mirandola's Oration on the Dignity of Man?) that no interpretation of existentialism can ever give. Man is made in the image of God, and so all human life is sacred.

There are, however, two things that postmodernists and existentialists did get right.
First, they realized that modernity/modernism had exalted man's reason as the ultimate standard for truth, and that this was an error. Reason is a gift from God, but it is limited and also is affected by sin. Modernism rejected faith in revelation, in miracles, in a knowledge and wisdom that often defies the "wisdom of man." Second, existentialism was actually founded by a Christian philosopher Soren Kierkegaard. [His name is cool; it is Danish.] Kierkegaard developed this philosophy based on human choice and action in response to the apathetic Christians he saw every day in 19th century Denmark. He watched nearly all those around him, who were born into the state Lutheran Church,  attend church religiously, but did not have a personal relationship with God. They professed to be Christians, and yet by their actions, they lived as atheists. They were the crowd of people who mocked Nietzsche's madman, who did not realize they had "killed God" and could not understand what this would mean.

As a Christian myself, I appreciate that Kierkegaard was trying to teach people what faith really means. Faith is a personal choice and its followed by actions. [Those two words--choice and action--are the most common among all existentialists.]

I was reminded on social media (very recently:) that Kierkegaard wrote a lot about faith and some of his existentialist ideas undermine things like the inerrant nature of the Scriptures. He also painted faith as a blind leap, when we know that our faith is not taken blindly or despite of things in the Bible. However, I think the quote below represents his instance that true faith leads to action, which shows his roots in existentialism.

“The matter is quite simple. The Bible is very easy to understand. But we Christians are a bunch of scheming swindlers. We pretend to be unable to understand it because we know very well that the minute we understand, we are obliged to act accordingly. Take any words in the New Testament and forget everything except pledging yourself to act accordingly. My God, you will say, if I do that my whole life will be ruined. How would I ever get on in the world? Herein lies the real place of Christian scholarship. Christian scholarship is the Church’s prodigious invention to defend itself against the Bible, to ensure that we can continue to be good Christians without the Bible coming too close. Oh, priceless scholarship, what would we do without you? Dreadful it is to fall into the hands of the living God. Yes it is even dreadful to be alone with the New Testament.”

Soren Kierkegaard, Spiritual Provocations

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Margaret Thatcher on Socialism, her last speech in Parliament

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Margaret Thatcher on Socialism, her last speech in Parliament

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These brief exchanges took place during Margaret Thatcher's last speech in the House of Commons on 22 November 1990. Read the complete transcript for this speech here: http://www.margaretthatcher.org/speeches/displaydocument.asp?docid=108256

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This video shows some of the fascist ideas Hitler capitalized on, as well as shows his charismatic style of public speaking.

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Early nazi meeting with Hitler and Goebbels. Third and final part.

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Spanish Civil War in Modern Art: Guernica by Picasso

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Spanish Civil War in Modern Art: Guernica by Picasso

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Guernica (Spanish: ; Basque: ) is a large 1937 oil painting by Spanish artist Pablo Picasso. It is one of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history. It is exhibited in the Museo Reina Sofía in Madrid.

The grey, black, and white painting, on a canvas 3.49 meters (11 ft 5 in) tall and 7.76 meters (25 ft 6 in) across, portrays the suffering wrought by violence and chaos. Prominently featured in the composition are a gored horse, a bull, screaming women, a dead baby, a dismembered soldier, and flames.

Picasso painted Guernica at his home in Paris in response to the 26 April 1937 bombing of Guernica, a town in the Basque Country in northern Spain that was bombed by Nazi Germany and Fascist Italy at the request of the Spanish Nationalists. Upon completion, Guernica was exhibited at the Spanish display at the 1937 Paris International Exposition and then at other venues around the world. The touring exhibition was used to raise funds for Spanish war relief. The painting soon became famous and widely acclaimed, helping to bring worldwide attention to the Spanish Civil War that took place from 1936 to 1939.

In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was commissioned by the Spanish Republican government to create a large mural for the Spanish pavilion at the 1937 Paris World's Fair. This piece was to help raise awareness of the war and raise necessary funds. Picasso, who had last visited Spain in 1934 and would never return, was the Honorary Director-in-Exile of the Prado Museum.

Picasso worked somewhat dispassionately from January until late April on the project's initial sketches, which depicted his perennial theme of an artist's studio. Then, immediately upon hearing reports of the 26 April bombing of Guernica, poet Juan Larrea visited Picasso's home to urge him to make the bombing his subject. Days later, on 1 May, Picasso read George Steer's eyewitness account of the attack, which originally had been published in both and The New York Times on 28 April, and abandoned his initial idea. Acting on Larrea's suggestion, Picasso began sketching a series of preliminary drawings for Guernica.

Guernica in ruins, 1937

During the Spanish Civil War the Republican forces, made up of communists, socialists, anarchists, and others with differing goals, united in their opposition to the Nationalists, led by General Francisco Franco, who sought to establish a fascist dictatorship. The Nationalists perceived Guernica, a quiet village in the province of Biscay in Basque Country, as the northern bastion of the Republican resistance movement and the center of Basque culture.

On Monday, 26 April 1937, warplanes of the Nazi Germany Condor Legion, commanded by Colonel Wolfram von Richthofen, bombed Guernica for about two hours. In his 30 April 1937 journal entry von Richthofen noted that when the squadron arrived "there was smoke everywhere" from the attack by three aircraft, and since nobody could see the roads, bridges, and suburbs "they just dropped everything right into the center. The 250s toppled a number of houses and destroyed the water mains. The incendiaries now could spread and become effective. The materials of the houses: tile roofs, wooden porches, and half-timbering resulted in complete annihilation."

Monday was Guernica's market day, and many of its inhabitants were congregated in the center of town. When the main bombardment began the roads were already full of debris and the bridges leading out of town destroyed, and they were unable to escape.

Guernica, the capital of Biscay, was 10 kilometers from the front lines and in-between the front lines and Bilbao. A Republican retreat towards Bilbao, or an advance towards it, had to pass through it. von Richthofen's 26 April 1937 diary entry states Guernica was targeted "...to halt and disrupt the Red withdrawal which has to pass through here." The following day, Richthofen wrote in his diary, "Guernica burning". The nearest actual military target, a war product factory on the village's outskirts, went through the attack unscathed, so the attack was widely condemned as a terror bombing.

Most of Guernica's men were away fighting on behalf of the Republicans, and at the time of the bombing the town was populated mostly by women and children as reflected in Picasso's painting. Art theorist Rudolf Arnheim writes:

The women and children make Guernica the image of innocent, defenseless humanity victimized. Also, women and children have often been presented by Picasso as the very perfection of mankind. An assault on women and children is, in Picasso's view, directed at the core of mankind.

The Times journalist George Steer propelled this event onto the international scene, and brought it to Pablo Picasso's attention, in an eyewitness account published on 28 April in both The Times and The New York Times. On the 29th it appeared in . Steer wrote:

Guernica, the most ancient town of the Basques and the centre of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders. The bombardment of this open town far behind the lines occupied precisely three hours and a quarter, during which a powerful fleet of aeroplanes consisting of three types of German types, Junkers and Heinkel bombers, did not cease unloading on the town bombs weighing from 1,000 lbs. downwards and, it is calculated, more than 3,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from above the centre of the town to machinegun those of the civilian population who had taken refuge in the fields."

Picasso lived in Paris during its World War II German occupation. A widely repeated story is that a German officer saw a photo of Guernica in Picasso's apartment and asked, "Did you do that?", and Picasso responded, "No, you did."

On 11 May the canvas is ready, and immediately the composition is laid down as a linear structure that covers the whole surface. Work on the mural is accompanied by more than thirty studies for the details. The rough plan exists from the beginning, but it takes three weeks before the picture receives its final form. The bull's head remains where it was first put, but the body is turned around to the left. On 20 May the horse lifts its head. The body of the soldier stretched on the floor from left to right changes position on 4 June, then head and hand take on their finished shape.

Guernica was painted using a matte house paint specially formulated at Picasso's request to have the least possible gloss. American artist John Ferren assisted him in preparing the monumental canvas, and photographer Dora Maar, who had been working with Picasso since mid-1936 photographing his studio and teaching him the technique of cameraless photography, documented its creation. Apart from their documentary and publicity value, Maar's photographs "helped Picasso to eschew color and give the work the black-and-white immediacy of a photograph", according to art historian John Richardson.

Picasso, who rarely allowed strangers into his studio to watch him work, admitted influential visitors to observe his progress on Guernica, believing that the publicity would help the antifascist cause. As his work on the mural progressed, Picasso explained: "The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death."

Picasso worked on the painting for 35 days, and finished it on 4 June 1937.

The scene occurs within a large room. On the left, a wide-eyed bull, with a tail suggesting rising flame and smoke as if seen through a window, stands over a grieving woman holding a dead child in her arms. The woman's head is thrown back and her mouth is wide open. A horse falls in agony in the center of the room, with a large gaping hole in its side, as if it had just been run through by a spear or javelin. The horse appears to be wearing chain mail armor, decorated with vertical tally marks arranged in rows.

A dead and dismembered soldier lies under the horse. The hand of his severed right arm grasps a shattered sword, from which a flower grows. The open palm of his left hand contains a stigma, a symbol of martyrdom derived from the stigmata of Christ. A bare light bulb in the shape of an all-seeing eye blazes over the suffering horse's head.

To the horse's upper right a frightened woman's head and extended right arm reach through a window. As she witnesses the scene she carries a flame-lit lamp in her right hand, and holds it near the bare bulb. Below her a woman in shock staggers from the right towards the center while looking into the blazing light bulb with a blank stare.

Daggers that suggest screaming have replaced the tongues of the horse, the bull, and the grieving woman. To the bull's right a dove appears on a cracked wall through which bright light from the outside shines.

On the far right of the room there is a fourth woman, her arms raised in terror. Her wide-open mouth and thrown back head echo the grieving woman's. She is entrapped by fire from above and below, her right hand suggesting the shape of an airplane.

A dark wall with an open door defines the right side of the room.

A "hidden" image formed by the horse appears in Guernica: The horse's nostrils and upper teeth can be seen as a human skull facing left and slightly downward.

Another hidden image is of a bull that appears to gore the horse from underneath. The bull's head is formed mainly by the horse's entire front leg which has the knee on the ground. The leg's knee-cap forms the head's nose. A horn appears within the horse's breast.

Interpretations of Guernica vary widely and contradict one another. This extends, for example, to the mural's two dominant elements: the bull and the horse. Art historian Patricia Failing said,

"The bull and the horse are important characters in Spanish culture. Picasso himself certainly used these characters to play many different roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough. Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career."

When pressed to explain the elements in Guernica, Picasso said,

...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.

In The Dream and Lie of Franco, a series of narrative sketches Picasso also created for the World's Fair, Franco is depicted as a monster that first devours his own horse and later does battle with an angry bull. Work on these illustrations began before the bombing of Guernica, and four additional panels were added, three of which relate directly to the Guernica mural.

According to scholar Beverly Ray, the following list of interpretations reflects the general consensus of historians: "The shape and posture of the bodies express protest"; "Picasso uses black, white, and grey paint to set a somber mood and express pain and chaos"; "flaming buildings and crumbling walls not only express the destruction of Guernica, but reflect the destructive power of civil war"; "the newspaper print used in the painting reflects how Picasso learned of the massacre"; "The light bulb in the painting represents the sun"; and "The broken sword near the bottom of the painting symbolizes the defeat of the people at the hand of their tormentors".

Alejandro Escalona said, "The chaos unfolding seems to happen in closed quarters provoking an intense feeling of oppression. There is no way out of the nightmarish cityscape. The absence of color makes the violent scene developing right before your eyes even more horrifying. The blacks, whites, and grays startle you-especially because you are used to see war images broadcast live and in high-definition right to your living room."

In drawing attention to a number of preliminary studies, the so-called primary project, that show an atelier installation incorporating the central triangular shape which reappears in the final version of Guernica, Becht-Jördens and Wehmeier interpret the painting as a self-referential composition in the tradition of atelier paintings such as Las Meninas by Diego Velázquez. In his chef d'oeuvre, Picasso seems to be trying to define his role and his power as an artist in the face of political power and violence. But far from being a mere political painting, Guernica should be seen as Picasso's comment on what art can actually contribute towards the self-assertion that liberates every human being and protects the individual against overwhelming forces such as political crime, war, violence and death.

Spanish flag marking the place of exhibition of Picasso's painting Guernica in Paris during the World Expo in 1937 (Agfacolor).

A replica (built in Barcelona in 1992) of the pavilion of the Spanish Republic at the 1937 Paris International Exhibition.

Guernica was unveiled and initially exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, where Nazi Germany and the Soviet Union had huge pavilions. The Pavilion, which was financed by the Spanish Republican government at the time of civil war, was built to exhibit the Spanish government's struggle for existence contrary to the Exposition's technology theme. The Pavilion's entrance presented an enormous photographic mural of Republican soldiers accompanied by the slogan:

We are fighting for the essential unity of Spain.

We are fighting for the integrity of Spanish soil.

We are fighting for the independence of our country and for the right of the Spanish people to determine their own destiny.

The display of Guernica was accompanied by a poem by Paul Éluard, and the pavilion displayed by Joan Miró and Mercury Fountain by Alexander Calder, both of whom were sympathetic to the Republican cause.[citation needed ]

At Guernica's Paris Exhibition unveiling it garnered little attention. The public's reaction to the painting was mixed. Max Aub, one of the officials in charge of the Spanish pavilion, was compelled to defend the work against a group of Spanish officials who objected to the mural's modernist style and sought to replace it with a more traditional painting that was also commissioned for the exhibition, Madrid 1937 (Black Aeroplanes) by Horacio Ferrer de Morgado. Some Marxist groups criticized Picasso's painting as lacking in political commitment, and faulted it for not offering a vision of a better future. In contrast, Morgado's painting was a great success with Spanish Communists and with the public. The art critic Clement Greenberg was also critical of Guernica, and in a later essay he termed the painting "jerky" and "too compressed for its size", and compared it unfavorably to the "magnificently lyrical" The Charnel House (1944-1948), a later antiwar painting by Picasso.

Among the painting's admirers were art critic Jean Cassou and poet José Bergamín, both of whom praised the painting as quintessentially Spanish. Michel Leiris perceived in Guernica a foreshadowing: "On a black and white canvas that depicts ancient tragedy ... Picasso also writes our letter of doom: all that we love is going to be lost..." Jean Cocteau also praised the painting and declared it a cross that "[General] Franco would always carry on his shoulder."

Guernica, for which Picasso was paid 150,000 francs for his costs by the Spanish Republican government, was one of the few major paintings that Picasso did not sell directly to his exclusive contracted art dealer and friend, Paul Rosenberg. However, after its exhibition Rosenberg organised a four-man extravaganza Scandinavian tour of 118 works by Picasso, Matisse, Braque, and Henri Laurens. The tour's main attraction was Guernica.[citation needed ]

From January to April 1938 the tour visited Oslo, Copenhagen, Stockholm, and Göteborg. Starting in late September Guernica was exhibited in London's Whitechapel Art Gallery. This stop was organized by Sir Roland Penrose with Labour Party leader Clement Attlee, and the painting arrived in London on 30 September, the same day the Munich Agreement was signed by the leaders of the United Kingdom, France, Italy, and Germany. It then travelled to Leeds, Liverpool, and, in early 1939, Manchester. There, Manchester Foodship For Spain, a group of artists and activists engaged in sending aid to the people of Spain, exhibited the painting in the HE Nunn & Co Ford automobile showroom for two weeks. Guernica then returned briefly to France.

After Francisco Franco's victory in Spain, Guernica was sent to the United States to raise funds and support for Spanish refugees. It was first shown at the Valentine Gallery in New York City in May 1939. The San Francisco Museum of Art (later renamed the San Francisco Museum of Modern Art) gave the work its first museum appearance in the United States from 27 August to 19 September 1939. New York's Museum of Modern Art (MoMA) then mounted an exhibition from 15 November until 7 January 1940, entitled: Picasso: 40 Years of His Art. The exhibition, which was organized by MoMA's director Alfred H. Barr in collaboration with the Art Institute of Chicago, contained 344 works, including Guernica and its studies.

At Picasso's request the safekeeping of Guernica was then entrusted to the Museum of Modern Art, and it was his expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country. Between 1939 and 1952, Guernica traveled extensively in the United States. Between 1941 and 1942, it was exhibited at Harvard University's Fogg Museum twice.

Between 1953 and 1956 it was shown in Brazil, then at the first Picasso retrospective in Milan, Italy, and then in numerous other major European cities before returning to MoMA for a retrospective celebrating Picasso's 75th birthday. It then went to Chicago and Philadelphia. By this time, concern for the state of the painting resulted in a decision to keep it in one place: a room on MoMA's third floor, where it was accompanied by several of Picasso's preliminary studies and some of Dora Maar's photographs of the work in progress. The studies and photos were often loaned for other exhibitions, but until 1981, Guernica itself remained at MoMA.

During the Vietnam War, the room containing the painting became the site of occasional anti-war vigils. These were usually peaceful and uneventful, but on 28 February 1974, Tony Shafrazi-ostensibly protesting Second Lieutenant William Calley's petition for habeas corpus following his indictment and sentencing for the murder of 109 Vietnamese civilians during the My Lai massacre -defaced the painting with red spray paint, painting the words "KILL LIES ALL". The paint was removed with relative ease from the varnished surface.

As early as 1968, Franco had expressed an interest in having Guernica come to Spain. However, Picasso refused to allow this until the Spanish people again enjoyed a republic. He later added other conditions, such as the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's junior, died two years later, in 1975. After Franco's death, Spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. However, MoMA was reluctant to give up one of its greatest treasures and argued that a monarchy did not represent the republic that had been stipulated in Picasso's will as a condition for the painting's delivery. Under great pressure from a number of observers, MoMA finally ceded the painting to Spain in 1981. The Spanish historian Javier Tusell was one of the negotiators.[citation needed ]

Upon its arrival in Spain in September 1981, it was first displayed behind bomb-and bullet-proof glass screens at the Casón del Buen Retiro in Madrid in time to celebrate the centenary of Picasso's birth, 25 October. The exhibition was visited by almost a million people in the first year. Since that time there has never been any attempted vandalism or other security threat to the painting.

A tiled wall in Gernika claims "Guernica" Gernikara, "The Guernica (painting) to Gernika".

In 1992, the painting was moved from the Museo del Prado to a purpose-built gallery at the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with about two dozen preparatory works. This action was controversial in Spain, since Picasso's will stated that the painting should be displayed at the Prado. However, the move was part of a transfer of all of the Prado's collections of art after the early 19th century to other nearby buildings in the city for reasons of space; the Reina Sofía, which houses the capital's national collection of 20th-century art, was the natural place to move it to. At the Reina Sofía, the painting has roughly the same protection as any other work.

Basque nationalists have advocated that the picture be brought to the Basque Country, especially after the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim that the canvas is now thought to be too fragile to move. Even the staff of the Guggenheim do not see a permanent transfer of the painting as possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao.

The tapestry, at the Whitechapel Gallery in 2009

A full-size tapestry copy of Picasso's Guernica, by Jacqueline de la Baume Dürrbach, hangs at the Headquarters of the United Nations in New York City at the entrance to the Security Council room. It is less monochromatic than the original and uses several shades of brown.

The Guernica tapestry was first displayed from 1985 to 2009, and returned in 2015. Originally commissioned in 1955 by Nelson Rockefeller, since Picasso refused to sell him the original, the tapestry was placed on loan to the United Nations by the Rockefeller estate in 1985.

On 5 February 2003 a large blue curtain was placed to cover over the work at the UN, so that it would not be visible in the background during press conferences by Colin Powell and John Negroponte as they were arguing in favor of war on Iraq. On the following day, UN officials claimed that the curtain was placed there at the request of television news crews, who had complained that the wild lines and screaming figures made for a bad backdrop, and that a horse's hindquarters appeared just above the faces of any speakers. Some diplomats, however, in talks with journalists claimed that the Bush administration pressured UN officials to cover the tapestry, rather than have it in the background while Powell or other US diplomats argued for war on Iraq. In a critique of the covering, columnist Alejandro Escalona hypothesized that Guernica's "unappealing ménage of mutilated bodies and distorted faces proved to be too strong for articulating to the world why the US was going to war in Iraq", while referring to the work as "an inconvenient masterpiece".

On 17 March 2009, Deputy Spokesperson for the Secretary-General Marie Okabe announced that the Guernica tapestry had been moved to a gallery in London in advance of extensive renovations at UN Headquarters. The Guernica tapestry was the showcase piece for the grand reopening of the Whitechapel Gallery. It was located in the 'Guernica room' which was originally part of the old Whitechapel Library. In 2012 the tapestry was on loan from the Rockefeller family to the San Antonio Museum of Art in San Antonio, Texas. It was returned to the UN by March 2015. Nelson A. Rockefeller Jr., the owner of the tapestry, took it back in February 2021. In February 2022, it was returned to the wall outside the UN Security Council.

" Guernica is to painting what Beethoven's Ninth Symphony is to music: a cultural icon that speaks to mankind not only against war but also of hope and peace. It is a reference when speaking about genocide from El Salvador to Bosnia."

Alejandro Escalona, on the 75th anniversary of the painting's creation

During the 1970s, Guernica was a symbol for Spaniards of both the end of the Franco regime following Franco's death and of Basque nationalism. The Basque left has repeatedly used imagery from the picture. An example is the organization Etxerat, which uses a reversed image of the lamp as its symbol. Guernica has since become a universal and powerful symbol warning humanity against the suffering and devastation of war. There are no obvious references to the specific attack, making its message universal and timeless.

Art historian and curator W. J. H. B. Sandberg argued in in 1960 that Picasso pioneered a "new language" combining expressionistic and cubist techniques in Guernica. Sandberg wrote that Guernica conveyed an "expressionistic message" in its focus on the inhumanity of the air raid, while using "the language of cubism". For Sandberg, the work's defining cubist features included its use of diagonals, which rendered the painting's setting "ambiguous, unreal, inside and outside at the same time". In 2016, the British art critic Jonathan Jones called the painting a "Cubist apocalypse" and stated that Picasso "was trying to show the truth so viscerally and permanently that it could outstare the daily lies of the age of dictators".

Works inspired by Guernica include Faith Ringgold's 1967 painting The American People Series #20: Die; Goshka Macuga's The Nature of the Beast (2009-2010), which used the Whitechapel-hosted United Nations Guernica tapestry; The Keiskamma Guernicas (2010-2017); and Erica Luckert's theatrical production of Guernica (2011-2012). Art and design historian Dr Nicola Ashmore curated an exhibition, Guernica Remakings, at the University of Brighton galleries from 29 July 2017 to 23 August 2017.

Arnheim, Rudolf. (1973). The Genesis of a Painting: Picasso's Guernica. London: University of California Press. ISBN 978-0-520-25007-9

Barton, Simon. (2004). A History of Spain. New York: Palgrave Macmillan.

Becht-Jördens, Gereon: Picassos Guernica als kunsttheoretisches Programm. In: Becht-Jördens, Gereon and Wehmeier, (In German) Peter M.: Picasso und die christliche Ikonographie. Mutterbeziehung und künstlerische Position. Dietrich Reimer, Berlin 2003, S. 209-237 ISBN 3-496-01272-2

Becraft, Melvin E. Picasso's Guernica - Images within Images 3rd Edition PDF download

Beevor, Antony. (2006) The Battle for Spain: The Spanish Civil War 1936-1939. London: Weidenfeld & Nicolson. ISBN 978-0-297-84832-5

Blunt, Anthony. (1969) Picasso's Guernica. Oxford: Oxford University Press. ISBN 0-19-500135-4

Campbell, Peter (2009). "At the New Whitechapel" London Review of Books 31(8), 30 April 2009.

Cohen, David. (2003) Hidden Treasures: What's So Controversial About Picasso's Guernica?, Slate, 6 February 2003. Accessed 16 July 2006.

Fluegel, Jane. (1980) "Chronology" in Rubin (1980) Pablo Picasso: A Retrospective.

Francesconi, Elizabeth. (2006) "A Look Inside Picasso's War Images", discourse: An Online Journal by the students of Southern Methodist University, Spring 2006.

Granell, Eugenio Fernándes, Picasso's Guernica: the end of a Spanish era (Ann Arbor, Mich. : UMI Research Press, 1981) ISBN 0-8357-1206-0, ISBN 978-0-8357-1206-4

Greenberg, Clement (1993). The Collected Essays and Criticism; Volume 4: Modernism with a Vengeance, 1957-1969. University of Chicago Press. ISBN 0226306240

Harris, Mark and Becraft, Melvin E. Picasso's Secret Guernica

Hensbergen, Gijs van. (2009) "Piecing together Guernica". BBC News Magazine: 7 April 2009. Accessed: 14 August 2009.

Hoberman, J. "Pop and Circumstance". , 13 December 2004, 22-26.

Kennedy, Maev. (2009) "Picasso tapestry of Guernica heads to UK", London: The Guardian, 26 January 2009. Accessed: 14 August 2009.

Martin, Russell. (2002) Picasso's War: The Destruction of Guernica and the Masterpiece that Changed the World (2002). On-line excerpts link.

PBS On-line supplement to "Treasures of the World" series, "Guernica: Testimony to War" with Guernica timeline.

Pisik, Betsy. (2003) "The Picasso Cover-Up". The Washington Times, 3 February 2003. Re-published at CommonDreams.org. Accessed: 14 August 2009

Preston, Paul. (2007) "George Steer and Guernica". History Today 57 (2007): 12-19.

Ray, Beverly. (2006) "Analyzing Political Art to Get at Historical Fact: Guernica and the Spanish Civil War". The Social Studies 97 (2006): 168-171.

Richardson, John (2016) "A Different Guernica". The New York Review of Books, 12 May 2016, 63 (8): 4-6.

Rubin, William, ed. (1980) Pablo Picasso: A Retrospective. New York: The Museum of Modern Art. ISBN 0-87070-519-9

Tóibín, Colm. (2006) "The art of war", London: The Guardian, 29 April 2006. Accessed: 14 August 2009.

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Guernica (Spanish: ; Basque: ) is a large 1937 oil painting by Spanish artist Pablo Picasso. It is one of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history. It is exhibited in the Museo Reina Sofía in Madrid.

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Spanish Civil War in less than 5 minutes

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Spanish Civil War in less than 5 minutes

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Tomorrow, Saturday, April 2nd, 8AM - 12PM is the AP Euro Offical Practice Exam. Please remember to bring number #2 pencils, paper, and a blue or black in pen for the essays.

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Lawrence of Arabia (1962) Movie Trailer 

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Lawrence of Arabia (1962) Movie Trailer 

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Thomas Edward Lawrence (16 August 1888 – 19 May 1935) was a British archaeologist, military officer, and diplomat. He was renowned for his liaison role during the Sinai and Palestine Campaign and the Arab Revolt against Ottoman Turkish rule of 1916–18. The breadth and variety of his activities and associations, and his ability to describe them vividly in writing, earned him international fame as Lawrence of Arabia—a title used for the 1962 film based on his First World War activities.

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Lawrence Of Arabia - Official® Trailer [HD]

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What were the new technologies of WWI that confounded traditional military strategies and led to massive troop losses?

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What were the new technologies of WWI that confounded traditional military strategies and led to massive troop losses?

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Technology in World War I | The 20th century | World history | Khan Academy

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Happy Pi Day! It also is my 7th wedding anniversary, AND my son Andrew's 5th birthday. I am going to Skycrest to deliver cupcakes during 4th period.

In class, Mr. Lucas will be your substitute teacher. He Has the 4.1 Summary and Outline which he will pass out at the beginning of the period.

You have the ENTIRE period to begin tonight's HW. It is a LONG reading section. The EQ is on the whiteboard, and it is also on Moodle.

Hint: You already have read some of tonight's reading assignment concerning alliance systems leading up to WWI. I would find that timeline activity you completed in class and use that as you work on the alliances section of tonight's EQ.

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Today in class we discussed this EQ: How did nineteenth century science and literature reflect realism and materialism?

Materialism is the naturalistic worldview that denies any supernatural/metaphysical reality. All that exists is the physical world and so then all truth comes from it.

We worked in group seminar circles and used the reading notes on Dickens' realism and modern Science (Darwin, Comte) to discuss the shift in the modern worldview from an epistemology based on reason and the metaphysical, to one purely based on the empirical facts produced by science. To summarize Comte, "science established itself as the culmination and subsequent standard of all knowledge."

We discussed the EQ, then we talked about how Comte, Darwin, and Marx (briefly) all were trying to define knowledge and the purpose/driving force of history from a materialist worldview. From a materialistic worldview, then so ethics must be based on science, which leads to Social Darwinism-- shout to Jacob Key for catching onto that insight. We also then discussed this question, more so in 4th period, "What is then the relationship between realism and materialism? How are they connected?"

We ended class with a review of Comte's theory of the evolution of human knowledge. He placed theology at the bottom and science at the top. I concluded by emphasizing that during the Christian era of Western History (when Europe was actually known as "Christendom"), the highest form of knowledge, the crown of all the sciences, was the study of theology. It was the study of God--His nature, His attributes, His Word that was considered the culmination of human knowledge.

How things have changed, haven't they?

“Everything we learn—economics, philosophy, biology, mathematics—has to be understood in light of the overarching reality of the character of God. That is why, in the Middle Ages, theology was called “the queen of the sciences” and philosophy “her handmaiden.” Today the queen has been deposed from her throne and, in many cases, driven into exile, and a supplanter now reigns. We have replaced theology with religion.”
― R.C. Sproul, Everyone's a Theologian

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Beethoven's Ninth Symphony w/ English Subtitles  

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Beethoven's Ninth Symphony w/ English Subtitles  

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This quick 3 minute video has the English subtitles so that you can see the Romantic ideas expressed in the most famous part of this symphony.

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Beethoven's "Ode to Joy" - With english subtitles HD sound

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Best played LOUD. Beethoven's Symphony No. 9 in D Minor, Op. 125 - IV - Allegro assai Choral with English subtitles translating Schiller's "Ode to Joy" used by Beethoven. Schiller considered the poem a failure. Solti. HD sound. Listen for the "Ja!" at 2:19 ;)

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3/8/2016   Dickens Realism: Poverty and Prosperity in Dickens Realistic Novels

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3/8/2016   Dickens Realism: Poverty and Prosperity in Dickens Realistic Novels

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http://www.victorianweb.org/authors/dickens/diniejko.html

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Introduction

ickens was not only the first great urban novelist in England, but also one of the most important social commentators who used fiction effectively to criticize economic, social, and moral abuses in the Victorian era. Dickens showed compassion and empathy towards the vulnerable and disadvantaged segments of English society, and contributed to several important social reforms. Dickens's deep social commitment and awareness of social ills are derived from his traumatic childhood experiences when his father was imprisoned in the Marshalsea Debtors' Prison under the Insolvent Debtors Act of 1813, and he at the age of twelve worked in a shoe-blacking factory. In his adult life Dickens developed a strong social conscience, an ability to empathise with the victims of social and economic injustices. In a letter to his friend Wilkie Collins dated September 6, 1858, Dickens writes of the importance of social commitment: "Everything that happens [...] shows beyond mistake that you can't shut out the world; that you are in it, to be of it; that you get yourself into a false position the moment you try to sever yourself from it; that you must mingle with it, and make the best of it, and make the best of yourself into the bargain" (Marlow, 132).

Dickens believed in the ethical and political potential of literature, and the novel in particular, and he treated his fiction as a springboard for debates about moral and social reform. In his novels of social analysis Dickens became an outspoken critic of unjust economic and social conditions. His deeply-felt social commentaries helped raise the collective awareness of the reading public. Dickens contributed significantly to the emergence of public opinion which was gaining an increasing influence on the decisions of the authorities. Indirectly, he contributed to a series of legal reforms, including the abolition of the inhumane imprisonment for debts, purification of the Magistrates' courts, a better management of criminal prisons, and the restriction of the capital punishment.

The Novel a Repository of Social Conscience

Dickens was a great moralist and a perceptive social commentator. He was by no means completely under the influence of Carlyle, but he followed his teaching when he exposed the ills of Victorian society. Although his fiction was not politically subversive, he called to remedy acute social abuses. After Dickens's death his social theory was long regarded as oversimplified, but as Jane Smiley pointed out in The Guardian, in recent years it has been reassessed:

For example, in the 1960s and 70s, the era of the new left, Dickens was considered well-meaning but naive; his "programme" was thought to be poorly worked out and inconsistent - not Marxist enough (though Marx was a great fan of Dickens). After Marxism went out of fashion, Dickens's amorphous social critique came to seem more universally true because it was not programmatic but based on feelings of generosity and brotherhood combined with specific criticisms of practices common in England during his lifetime. [June 24, 2006]

Dickens was not the first novelist to draw attention of the reading public to the deprivation of the lower classes in England, but he was much more successful than his predecessors in exposing the ills of the industrial society including class division, poverty, bad sanitation, privilege and meritocracy and the experience of the metropolis. In common with many nineteenth-century authors, Dickens used the novel as a repository of social conscience. However, as Louis James argues:

Dickens is at once central and untypical in the 'social novel'. A novelist universally associated with social issues, he was attacked for allowing his imagination to come between his writing and his subject, and his underlying attitudes can be evasive. In his fiction, most characters have a job; but Dickens rarely shows them at work. His novels are centrally about social relationships, yet his model for this would seem, as Cazamian noted, a perpetual Christmas of warm feelings, and the benevolent paternalism of Fezziwig in A Christmas Carol (1843). Even his explicit working-out of class and industrial issues in (1854), based on a hasty visit to a factory strike in Preston, identified the factory problem not with economics but with the Utilitarian denial of human imagination, and juxtaposed the factories of Coketown against the bizarre world of Sleary's travelling circus. [548]

However much radicals admired him, Dickens was never a radical author, but he was much more sensitive to social abuse than William Makepeace Thackeray, and responded readily to the concerns of the Condition of England Question.

The Condition of England

One example of Dickens's ideal world and two of his darker visions in Phiz's illustrations, which Dickens closely supervised: (a) Christmas Eve at Mr. Wardle's. Two scenes in debtor's prison: (b) Mr. Pickwick sits for his Portrait. (c) The Warden's Room. [Click on these images for larger pictures.]

In The Pickwick Papers (1837) Dickens created a utopian and nostalgic vision of pre-Victorian and pre-industrial England prior to a rapid industrialisation and urbanisation. Although the novel was designed to be comic, it is not free of Dickens's characteristic social commentary, which would become more pronounced in his later novels. The descriptions of Eatanswill (Chapter 13) and the grim Fleet prison (Chapter 41) anticipate some of Dickens's preoccupations with the Condition of England, which are revealed in his subsequent novels dealing with the darker and more disgusting side of Victorian times. The following passage from The Pickwick Papers anticipates Dickens's lifelong concern with the effects of industrialisation on English society.

It was quite dark when Mr. Pickwick roused himself sufficiently to look out of the window. The straggling cottages by the roadside, the dingy hue of every object visible, the murky atmosphere, the paths of cinders and brick-dust, the deep-red glow of furnace fires in the distance, the volumes of dense smoke issuing heavily forth from high toppling chimneys, blackening and obscuring everything around; the glare of distant lights, the ponderous wagons which toiled along the road, laden with clashing rods of iron, or piled with heavy goods - all betokened their rapid approach to the great working town of Birmingham.

As they rattled through the narrow thoroughfares leading to the heart of the turmoil, the sights and sounds of earnest occupation struck more forcibly on the senses. The streets were thronged with working people. The hum of labour resounded from every house; lights gleamed from the long casement windows in the attic storeys, and the whirl of wheels and noise of machinery shook the trembling walls. The fires, whose lurid, sullen light had been visible for miles, blazed fiercely up, in the great works and factories of the town. The din of hammers, the rushing of steam, and the heavy clanking of engines was the harsh music which arose from every quarter. [632-33]

Dickens's later novels contain some of his most trenchant pieces of social commentary. Beginning with his second novel, Oliver Twist , through Nicholas Nickleby , A Christmas Carol, , Dombey and Son , Bleak House , Hard Times, and ending with Little Dorrit , Dickens totally rejected the claims of classical economics and showed his moral concern for the social well-being of the nation. His early novels expose isolated abuses and shortcomings of individual people, whereas his later novels contain a bitter diagnosis of the Condition of England.

Oliver Twist (1837-39), which represents a radical change in Dickens's themes, is his first novel to carry a social commentary similar to that contained in the subsequent Condition-of-England novels. According to Louis Cazamian, "the success of Twist confirmed Dickens' determination to write on social topics, and the inception of Chartism means that the burning social issue of the day was the problem of the working class " (164). Dickens explores many social themes in Oliver Twist, but three are predominant: the abuses of the new Poor Law system, the evils of the criminal world in London and the victimisation of children. The critique of the Poor Law of 1834 and the administration of the workhouse is presented in the opening chapters of Oliver Twist. Dickens gives the most uncompromising critique of the Victorian workhouse, which was run according to a regime of prolonged hunger, physical punishment, humiliation and hypocrisy.

In contrast to Pickwick, in Oliver Twist Dickens shows England as a country of what Disraeli called "the two nations": the rich and privileged and the poor living in abject and inhumane conditions of deprivation, misery and humiliation. Many characters of Oliver Twist function as allegories. Dickens challenges the popular Victorian beliefs that some people are more prone to vice than others. Like Frances Trollope, Charlotte Elizabeth Tonna, Charlotte Brontë and Elizabeth Gaskell, Dickens was fully aware of the victimisation of women in Victorian society. Nancy is forced into prostitution by poverty, hunger and life in a corrupt environment. John Bayley points out that

Nancy's living is the living of England, a nightmare society in which drudgery is endless and stupefying, in which the natural affections are warped, and the dignity of man appears only in resolution and violence. It is a more disquieting picture than the carefully and methodically symbolized social panoramas of Bleak House, Little Dorrit, and Our Mutual Friend. [61]

In Oliver Twist Dickens presents a portrait of the macabre childhood of a considerable number of Victorian orphans. The orphans are underfed, and for a meal they are given a single scoop of gruel. Oliver, one of the oppressed children, dares to ask for more gruel and is severely punished.

The evening arrived; the boys took their places. The master, in his cook's uniform, stationed himself at the copper; his pauper assistants ranged themselves behind him; the gruel was served out; and a long grace was said over the short commons. The gruel disappeared; the boys whispered each other, and winked at Oliver; while his next neighbours nudged him. Child as he was, he was desperate with hunger, and reckless with misery. He rose from the table; and advancing to the master, basin and spoon in hand, said: somewhat alarmed at his own temerity: 'Please, sir, I want some more.' [15]

This scene, which has become "the most familiar incident in any English novel" (Sanders, 412), strongly appealed to the Victorian conscience. Dickens challenged the Victorian idea of charity for the so-called "deserving poor". He showed persuasively that the workhouse was a failed attempt to solve the problem of poverty and unwanted children.

Oliver Twist can be read as a textbook of Victorian child abuse and a social document about early Victorian slum life. When Oliver goes with Sowerberry to fetch the body of a woman dead of starvation, he can see an appalling view of derelict slum houses.

Some houses which had become insecure from age and decay, were prevented from falling into the street, by huge beams of wood reared against the walls, and firmly planted in the road; but even these crazy dens seemed to have been selected as the nightly haunts of some houseless wretches, for many of the rough boards which supplied the place of door and window, were wrenched from their position, to afford an aperture wide enough for the passage of a human body. The kennel was stagnant and filthy. The very rats, which here and there lay putrefying in its rottenness, were hideous with famine. (Ch. 5, 44)

Dickens succeeded in making Victorian public opinion more aware of the conditions of the poor. He depicted persuasively the disorder, squalor, blight, decay, and the human misery of a modern industrial city. Although the initial condition of England discourse changes into a sentimental moral fable on the subsequent pages, Oliver Twist is an important manifestation of Victorian social conscience.

Three of Phiz's illustrations for Nicholas Nickleby: (a) Nicholas Starts for Yorkshire. (b) The Internal Economy of Dotheboys Hall. (c) Nicholas Astonishes Mr. Squeers and Family. [Click on these images for larger pictures.]

The motif of child abuse in the context the Victorian education system is continued in Nicholas Nickleby (1838-9). The novel contains a serious social commentary on the conditions of schools where unwanted children were maltreated and starved. Nicholas is sent to Dotheboys Hall, a school run by the cruel and abusive headmaster Wackford Squeers.

Pale and haggard faces, lank and bony figures, children with the countenances of old men, deformities with irons upon their limbs, boys of stunted growth, and others whose long meagre legs would hardly bear their stooping bodies, all crowded on the view together; there were the bleared eye, the hare-lip, the crooked foot, and every ugliness or distortion that told of unnatural aversion conceived by parents for their offspring, or of young lives which, from the earliest dawn of infancy, had been one horrible endurance of cruelty and neglect. There were little faces which should have been handsome, darkened with the scowl of sullen, dogged suffering; there was childhood with the light of its eye quenched, its beauty gone, and its helplessness alone remaining; there were viciousfaced boys, brooding, with leaden eyes, like malefactors in a jail; and there were young creatures on whom the sins of their frail parents had descended, weeping even for the mercenary nurses they had known, and lonesome even in their loneliness. With every kindly sympathy and affection blasted in its birth, with every young and healthy feeling flogged and starved down, with every revengeful passion that can fester in swollen hearts, eating its evil way to their core in silence, what an incipient Hell was breeding here! [88]

The novel directs this ironical attack at Victorian public opinion, which was either unaware or condoned such treatment of poor children. Dickens was critical about the Victorian education system, which is reflected not only in Nicholas Nickleby, Hard Times and Our Mutual Friend, but also in his journalism and public speeches. As a boy he was shocked to read reports about the cheap boarding schools in the North. In Nicholas Nickleby Dickens describes abusive practices in Yorkshire boarding schools. However, Dickens does not only criticise the malicious education system, but he is primarily concerned with the fates of these unfortunate children who are representatives of the most vulnerable portion of the society.

Dickens's novella, A Christmas Carol (1843), is an anti-Malthusian tale. The author shows his disgust with the Malthusian principle of uncontrolled population growth. Scrooge speaks about charity collector like Malthus, who proposed abolition of poor laws:

"If they would rather die," said Scrooge, "they had better do it, and decrease the surplus population."[21]

A Christmas Carol was Dickens's response to the Children's Employment Commission Report on the miseries suffered by many poor children. Dickens exposed suggestively selfishness and greed as the dominant features of his England. He described almost in a documentary manner Christmas celebrated by the working poor of early-Victorian England.

Although Dickens's early works implied faith in the new commercial middle class as opposed to the old aristocracy, the writer saw the discrepancy between the ideas and practice of this new class and the principles of morality and ethic. As a social commentator, Dickens saw the need for the reform of English society; he urged that the wealthy and privileged exhibit a greater humanitarianism towards the poor and the vulnerable.

During the 1850s Dickens's interests shifted gradually from the examination of individual social ills to the examination of the state of society, particularly its laws, education, industrial relations, the terrible conditions of the poor. Increasingly, apart from fictional plots, his novels contained a considerable amount of social commentary similar to Henry Mayhew's nonfictional narratives about the London poor.

Two of Phiz's illustrations for Bleak House. (a) Extreme poverty: The Visit to the Brickmaker's. (b) Treatment of poor children: Mr. Chadband 'Improving' a Tough Subject. [Click on these images for larger pictures.]

Although Bleak House (1852-53) is often called England's first authentic contribution to modern detective fiction, it also sharply indicts the inequities in Victorian society. Dickens's finest novel, although not his most popular, it exposes the abuses of the court of Chancery and administrative incompetence. For Dickens, the Court of Chancery became synonymous with the faulty law system, expensive court fees, bureaucratic practices, technicality, delay and inconclusiveness of judgments. Apart from the critique of the Chancery courts, Dickens also criticises slum housing, overcrowded urban graveyards, neglect of contagious diseases, electoral corruption, preachers; class divisions, and neglect of the educational needs of the poor. The book opens with the famous description of London in fog.

Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping, and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon, and hanging in the misty clouds.[3]

This fog is also very symbolic. It stands for institutional oppression which penetrates into every segment of Victorian society. Dickens sees London as a place of human misery, and the world he perceives is governed by greed and money. Bleak House also carries a warning against the excesses of the laisez-faire economy. The descriptions of streets, buildings and people are realistic and reflect the living conditions of England in the mid-19th century. The colours in the novel are predominantly grey and black, and the fog becomes one of the central symbols of the novel.

Three of Phiz's dark-plate illustrations for Bleak House. (a) Urban squalor: Tom All Alone's. Darkness inside and outside Chesney Wold: (b) The Ghost's Walk. (c) Sunset in The long drawing-room at Chesney Wold. [Click on these images for larger pictures.]

Bleak House provides not only a satirical look at the legal system in England, which often destroys the lives of innocent people, but also offers a vast panorama of Victorian England, which includes the foggy streets of London, filthy slums, the maze of the Inns of Court and also the peaceful countryside, with characters ranging from murderous villains, a "fallen woman" (Lady Deadlock) to virtuous girls and members of landed aristocracy, all of whom are affected by the flaws of the torturous Victorian judiciary system. The atmosphere, places and events are described with great authenticity. In this view Bleak House is one of the most important novels about the condition of Victorian society. As Terry Eagleton has noted, "Dickens sees his society as rotting, unravelling, so freighted with meaningless matter that it is sinking back gradually into some primeval slime " (40).

Bleak House does not merely refer to Mr. Jarndyce's house but also to the Condition of England, which is represented as a " gloomy edifice" and whose judicial system must be reformed if England wants to continue as a modern nation. Dickens describes emphatically urban poverty by the example of the slum street,where poor Jo lives, in a manner similar to the Sanitary Reports. The moral corruption of Chancery is juxtaposed with the physical decay of the slums:

Jo lives - that is to say, Jo has not yet died - in a ruinous place known to the like of him by the name of Tom-all-Alone's. It is a black, dilapidated street, avoided by all decent people, where the crazy houses were seized upon, when their decay was far advanced, by some bold vagrants who after establishing their own possession took to letting them out in lodgings. Now, these tumbling tenements contain, by night, a swarm of misery. As on the ruined human wretch vermin parasites appear, so these ruined shelters have bred a crowd of foul existence that crawls in and out of gaps in walls and boards; and coils itself to sleep, in maggot numbers, where the rain drips in; and comes and goes, fetching and carrying fever and sowing more evil in its every footprint than Lord Coodle, and Sir Thomas Doodle, and the Duke of Foodle, and all the fine gentlemen in office, down to Zoodle, shall set right in five hundred years - though born expressly to do it. Twice lately there has been a crash and a cloud of dust, like the springing of a mine, in Tom-all-Alone's; and each time a house has fallen. These accidents have made a paragraph in the newspapers and have filled a bed or two in the nearest hospital. The gaps remain, and there are not unpopular lodgings among the rubbish. As several more houses are nearly ready to go, the next crash in Tom- all-Alone's may be expected to be a good one. [Ch. 16, 182-183]

Dickens's description of Tom-All-Alone's, a rookery in St Giles, east of Charing Cross Road, can be read both as historical evidence and a powerful literary symbol of the Condition of England, where uncontrolled industrialisation contributed, in Dickens's opinion, to misery, decay and disease. Likewise, Chancery stands as a bitter metaphor of moral corruption which pervades the upper classes.

The social consequences of industrialisation and urbanisation are perhaps most persuasively depicted in Hard Times (1854), which Dickens wrote at the prompting of urgent external circumstances. Hard Times is more than any other of his Condition-of-England novels influenced by Carlyle's social criticism. It deals with a number of social issues: industrial relations, education for the poor, class division and the right of common people to amusement. It also draws on contemporary concern with reforming divorce laws. Cazamian sees Dickens in Hard Times as an "intermediary link between the social thought of Carlyle and Ruskin." (173) Raymond Williams described Hard Times as "a thorough-going and creative examination of the dominant philosophy of industrialism - of the hardness that Mrs Gaskell saw as little more than a misunderstanding, which might be patiently broken down" (93). Similarly, in his study, "The Rhetoric of Hard Times", David Lodge wrote:

On every page Hard Times manifests its identity as a polemical work, a critique of mid-Victorian industrial society dominated by materialism, acquisitiveness, and ruthlessly competitive capitalist economics. To Dickens, at the time of writing Hard Times, these things were represented most articulately, persuasively, (and therefore dangerously) by the Utilitarians. [86]

Dickens, like Thomas Carlyle and many other contemporary intellectuals, criticised Utilitarianism, although they confused utilitarian ethics with laissez-faire industrial capitalism, which, like Utilitarianism, was based on the self-interest principle.

In Hard Times Dickens created a Condition-of-England novel, which directly engaged with contemporary and social issues. The volume edition of the novel bore the subtitle: "For these Times", which referred to Carlyle's essay of 1829 "Signs of the Times" ( text). As Michael Goldberg has pointed out, "Carlyle remained a hero to Dickens throughout his life..." (2), and his critique of Utilitarianism bears a strong affinity with Carlyle's. Carlyle exposed the dangers of a mechanistic and inhuman system which deprived people of such human qualities as emotion, affection and imagination. Dickens echoes many of Carlyle's arguments against the power of social machinery and materialist consciousness. However, contrary to Carlyle, Dickens shows that the positive aspects of human nature are not easily destroyed. Fancy, imagination, compassion and hope do not disappear completely. They are preserved in such characters as Sissy, Rachael and Sleary. Even Mr. Gradgrind revealed eventually some traces of humanness. Ultimately, Dickens did not take up Carlyle's favourite theme of the aristocratic hero as the saviour of a disintegrating society.

Coketown, the city of Fact, foreshadows the emergence of a monstrous mass urban society based on rationalism, anonymity, dehumanisation. The dominant feature of the town is its inherent ugliness. Its inhabitants lack individuality and are the product of an inhuman, materialistic society.

It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it; but as matters stood it was a town of unnatural red and black like the painted face of a savage. It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of building full of windows where there was a rattling and a trembling all day long, and where the piston of the steamengine worked monotonously up and down like the head of an elephant a state of melancholy madness. It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and to-morrow, and every year the counterpart of the last and the next. [Ch. V,28]

In Hard Times human relationships are contaminated by economics. The principles of the 'dismal science' led to the formation of a selfish and atomistic society. The social commentary of Hard Times is quite clear. Dickens is concerned with the conditions of the urban labourers and the excesses of laissez-faire capitalism. He exposes the exploitation of the working class by unfeeling industrialists and the damaging consequences of propagating factual knowledge (statistics) at the expense of feeling and imagination. However, although Dickens is critical about Utilitarianism, he cannot find a better way of safeguarding social justice than through ethical means."In place of Utilitarianism, Dickens can offer only good-heartedness, individual charity, and Sleary's horse-riding; like other writers on the Condition of England Question, he was better equipped to examine the symptoms of the disease than to suggest a possible cure" (Wheeler, 81).

Hard Times proves that fancy is essential for human happiness, and in this aspect it is one of the best morally uplifting novels. Dickens avoided propagating employer paternalism in the manner of Disraeli, Charlotte Brontë and Gaskell, and strongly opposed commodification of labour in Victorian England. As John R. Harrison has pointed out:

The target of Dickens's criticism, however, was not Bentham's Utilitarianism, nor Malthusian theories of population, nor Smith's free-market economics, but the crude utilitarianism derived from such ideas by Benthamite Philosophical Radicals, which tended to dominate social, political, and economic thinking and policy at the time the novel was written. The Gradgrind/Bounderby philosophy is that the Coketown " Hands" are commodities, " something" to be worked so much and paid so much, to be "infallibly settled" by "laws of supply and demand," something that increased in number by a certain " rate of percentage" with accompanying percentages of crime and pauperism; in fact, "something wholesale, of which vast fortunes were made&rdquo." [116]

Hard Times was in fact an attack on the Manchester School of economics, which supported laissez-faire and promoted a distorted view of Bentham's ethics. The novel has been criticised for not offering specific remedies for the Condition-of-England problems it addresses. It is debatable whether solutions to social problems are to be sought in fiction, but nevertheless, Dickens's novel anticipated the future debates concerning anti-pollution legislation, intelligent town-planning, health and safety measures in factories and a humane education system.

Dickens as a social commentator exerted a profound influence on later novelists committed to social analysis. Some of his concerns with the Condition-of-England Question were further dealt with in the novels of Charles Kingsley, George Eliot, George Gissing, George Orwell, and recently in the postmodern novels of Martin Amis and Zadie Smith.

References

Bayley, John. "Oliver Twist: 'Things as They Are'", in: John Gross, Gabriel Pearson, eds., Dickens and the Twentieth Century. Toronto: University of Toronto Press, 1962.

Cazamian, Louis. The Social Novel in England, 1830-1850: Dickens, Disraeli, Mrs. Gaskell, Kingsley.1903. Translated by Martin Fido. London: Routlege & Kegan Paul, 1973.

Connelly, Mark. Orwell and Gissing. New York: Peter Lang, 1997.

Dickens, Charles. The Pickwick Papers. Oxford: Oxford University Press, 1988.

___. Nicholas Nickleby. Oxford: Oxford Unversity Press, 1999.

___. Bleak House. Ware, Herdfortshire: Wordsworth Classics, 1993.

___. Oliver Twist. Oxford: Oxford University Press, 1999.

___. A Christmas Carol. Chicago: Rand McNally, 1912.

Eagleton, Terry. "Hard Times: False, Fragmented and Unfair, Dickens's 19th-Century London Offers a Grimly Prophetic Vision of the World Today", New Statesman, vol. 132, April 7, 2003.

Goldberg, Michael Goldberg, Carlyle and Dickens. Athens: University of Georgia Press, 1972.

Harrison, John R. Harrison. "Dickens's Literary Architecture: Patterns of Ideas and Imagery" in Hard Times. Papers on Language & Literature, Southern Illinois University; Vol. 36, 2000.

James, Louis. "The Nineteenth Social-Novel in England"; in: Encyclopedia of Literature and Criticism, ed. by John Peck. London: Routledge, 1990.

Lodge, David. "The Rhetoric of Hard Times", in Edward Gray, ed. Twentieth Century Interpretations of Hard Times. A Collection of Critical Essays. Englewood Cliffs, N. J.: Prentice-Hall, 1969.

Marcus, Steven. Dickens, From Pickwick to Dombey. New York: Basic Books, 1965.

Marlow, James E. Charles Dickens: The Uses of Time. Cranbury, NJ, London, Mississauga, Ont: Associated University Presses, 1994.

Orwell, George. "Charles Dickens", in Inside the Whale and Other Essays.

Sanders, Andrew. The Short Oxford History of English Literature. Oxford: Oxford University Press, 2004.

Wheeler, Michael. English Fiction of the Victorian Period 1830-1890. New York: Longman, 1994.

Williams, Raymond. Culture and Society, 1780-1950. New York: Columbia University Press, 1983.

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Charles Dickens as Social Commentator and Critic

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ickens was not only the first great urban novelist in England, but also one of the most important social commentators who used fiction effectively to criticize economic, social, and moral abuses in the Victorian era.

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3/7/2016 Tonight's Homework: Illustrations of Romanticism in Art and Music

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3/7/2016 Tonight's Homework: Illustrations of Romanticism in Art and Music

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Your HW has two parts:

1) Post to the Romantic Art Padlet (instructions in Renweb)

2) Go to this link (http://www.beethoven.ws/musical_style_and_innovations.html)
and read about how Beethoven's music was a turning point in the history Western music and more specifically identify its Romantic characteristics. Answer the following questions:

1. How did Beethoven's music reflect a turning point in Western music? What were its Romantic characteristics?

After you listened to this music selection: Link to Excerpt from Beethoven's  Ninth Symphony (6 minutes, please listen)
https://www.youtube.com/watch?v=_-mvutiDRvQ

Answer question #2:

2. How did this selection reflect Romantic qualities you identified in question #1? How did this music make you feel as you listened to it? How is it similar/different to the type of music you listen to personally?

Submit your written answer to the moodle turnitin.com dropbox. DO NOT CUT and PASTE from the website link article or turnitin.com will catch it!

Here is the complete 9th symphony: 1:06 minutes of sheer joy!

https://www.youtube.com/watch?v=Mz8P8D8MdNU

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The White Man's Burden  a poem by Rudyard Kipling 

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The White Man's Burden  a poem by Rudyard Kipling 

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It was originally published in the popular magazine McClure's in 1899, with the subtitle The United States and the Philippine Islands. The poem was originally written for Queen Victoria's Diamond Jubilee, but exchanged for "Recessional"; Kipling changed the text of "Burden" to reflect the subject of American colonization of the Philippines, recently won from Spain in the Spanish–American War. The poem consists of seven stanzas, following a regular rhyme scheme. At face value it appears to be a rhetorical command to white men to colonize and rule other nations for the benefit of those people (both the people and the duty may be seen as representing the "burden" of the title).
Although Kipling's poem mixed exhortation of empire with somber warnings of the costs involved, imperialists within the United States of America understood the phrase "white man's burden" as justifying imperialism as a noble enterprise. Because of its theme and title, it has become emblematic both of Eurocentric racism and of Western aspirations to improve and industrialise the developing world. A century after its publication, the poem still rouses strong emotions, and can be analyzed from various perspectives.

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"The White Man's Burden" by Rudyard Kipling read by Farnham Town Crier

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Today's EQ:  How did industrial and technological developments (i.e. the Second Industrial Revolution) facilitate European control of global empires?

Make sure for the next test that you can do more than just list advancements. You need to explain how the advancement was USED to enable imperialism.

Also, start thinking about CAUSATION in for this topic. What were the causes of the New Imperialism. In 4th period, we came up with at least two: the Industrial Revolution and the rise of naitonalism. I would also add the new theories of cultural superiority: Social Darwinism and the White Man's Burden (his civilizing mission as the book calls it).

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Teacher Summary of Today's Class, 2/29/2016

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Teacher Summary of Today's Class, 2/29/2016

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In class today we introduced the next Key Concept of New Imperialism.

To answer a few questions from first period's class:

What is the definition of New Imperialism? The extension in the late 19th, early 20th century, of Western political and economic dominance in Africa, Asia, and the Middle East.  (Kagan p. 615)
Were the countries who were leaders of Old Imperialism also leaders of New Imperialism?  O.I. included traditional imperialist powers like Spain, France, England and the Netherlands. N.I. included new countries like the U.S. and Japan, but also the new nations of Europe--Germany, Italy-- and Russia, Belgium and the traditional old powers. One turning point also is that the Spanish empire is continuing to diminish during this time. The age of the new imperialism for them was really the end of their old empire. For example as the U.S. was rising to power, it was picking up old colonies of the Spanish (Philippines and Cuba) and making them either territories or protectorates.

Below is a Chart that contrasts the Old Imperialism and the New Imperialism that was created in 4th period.

In terms of time periods, locations, and key ideas. A couple of points stand out: the New Imperialism included new imperialist countries like U.S. and Japan. Also, it sought to establish protectorates and spheres of influence, not only colonies. [You can see the PREZI for definitions of these terms.] Some motives were the same between the two forms: economic gain, Christian missionary zeal, and competition between European powers for control of foreign lands for the use of strategic military bases, as well as economic advancement. What is also new in the late 19th century is the rise of nationalism as a motivating factor.

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2/29/ 2016 In-Class Prezi, a virtual, collaborative graphic organizer

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2/29/ 2016 In-Class Prezi, a virtual, collaborative graphic organizer

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Today's EQ: What were the economic, political, cultural, and religious motives behind the "New Imperialism" of the 19th century?

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What were the economic, political, and cultural/religious mo

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What were the economic, political, cultural, and religious motives behind the New Imperialism in Africa and Asia? ECONOMIC RELIGIOUS CULTURAL POLITICAL Key Concept 3.5, Part I "New Imperialism"

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2/29/2016 Key Concept 3.5 on The New Imperialism

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2/29/2016 Key Concept 3.5 on The New Imperialism

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Today in class we are discussing the motives behind the new form of imperialism that dominated late 19th century economics and diplomacy. Below is a video that provides a nice overview of this topic.

Key Concept 3.5: A variety of motives and methods led to the intensification of European global control and increased tensions among the Great Powers.

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Imperialism: Crash Course World History #35

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Help Class today from 3-3:45. Test on 3.3 - 3.4 and Notebook Check tomorrow.

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Help Class today from 3-3:45. Test on 3.3 - 3.4 and Notebook Check tomorrow.

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Students,

I am home with two sick kids today :( This is a just a reminder that the Key Concepts 3.3-3.4 Test is this upcoming Friday. To prepare, you need to study the following: your outlines, summaries, class/HW notes, and review videos on the Moodle page. It is a lot of information, so do not procrastinate with your study plans. We are exactly on track to be ready for the AP Exam.

Also, I will be doing a notebook check one day this week Wednesday, Thursday or Friday. Please make sure everything is in order and that NO PAPERS are tucked in the pockets of your notebook. Everything should be in right section, whole-punched, and there should be no papers for other courses in your notebook.

Please email if you have any questions.

Best wishes,
Mrs. Johnson

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Answers to today's EQ: sorry first period we did not get to answer on a notecard, but here are some examples from 4th period

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Answers to today's EQ: sorry first period we did not get to answer on a notecard, but here are some examples from 4th period

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What were the similarities of German and Italian unification?

The other similarity I thought of was that both unifications upset the balance of power in Europe. Also, shout out to Sean Knapp for the very first similarity below which was not mentioned in first period. Shout to Stefan for explaining how Bismarck craftily orchestrated three wars for unification. Bismarck was one of the great diplomatic geniuses and prophets of his age. Like Churchill would later predict the rise of the Cold War, Bismarck predicted WWI. Tomorrow's class will concern Bismarcks diplomatic attempts to prevent this very war from happening.

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1st Period Answers to EQ: Why did the revolutions of 1848 and the Crimean War lead to the break down of the Concert of Europe?

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1st Period Answers to EQ: Why did the revolutions of 1848 and the Crimean War lead to the break down of the Concert of Europe?

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Today's shout out goes to Julianna Chappell for very quickly identifying the two basic reasons why the Concert of Europe fell apart: the declining power of the Ottoman Empire (which upset the balance of power in Europe and begin to pit European rivals against one another) and the rise of nationalism. Third to these was the rise of liberalism which challenged the authority of conservative governments, causing internal stability. Another shout out to Patrick Regan who knew the exact date when the Ottoman Empire collapsed, 1922 (post WWI)

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2/17 HW

Don't forget the Tom Richey videos that were made on the Revolutions of 1848. It is not required you watch them, but it would be helpful to do so before next Friday's test

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2/17/2016 Timeline from class today- FYI this is a working timeline as the is still much to add! 

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2/17/2016 Timeline from class today- FYI this is a working timeline as the is still much to add! 

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We discussed how the 19th century was an age of nationalism and revolution. We highlighted events leading up to the revolutions of 1848. Conservatives were able to suppress many of the revolts during this age, whether by military force (Russian Tsars and French rulers) or through concessions made to by conservatives who wished to avoid military conflict (Britain making accommodations to various liberal and socialist demands, Louis Philippe reversing the Four Ordinances of Charles X, and Tsar Nicholas II allowing the creation of the Russian Duma). Though changes did occur on some level for liberals and the middle class, the plight of workers and peasants remained relatively the same in much of Europe (France and Russia), though improvements were made in Great Britain and Germany.

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In class today we discussed the extent to which socialism achieved its goals in Europe by the early twentieth century.

Socialists took three different approaches:

1. political, legal action from within the existing governments
Examples include: the Fabian Society and Chartists in GB, SDP in Germany, Opportunists in France

*Important to note on the Key Concept 3.3 Outline it emphasizes that socialists formed political parties to achieve these goals. These parties should be known for each country: the Labor Party in GB, the SDP in Germany, and the Bolsheviks/Mensheviks in Russia

* It is also important to note from the text (p. 569) that "French socialism was less united and more politically factionalized than socialism in other countries." The text goes on to say that French laborers were often anarchists who avoided political and socialist means to improve their lot, but instead focused on strikes. These were often of little effect because the government just used military force to suppress them.

2. violent or revolutionary overthrown of existing government
Examples: Marxists attempts to form global coalitions-- First International and Second International; Bolsheviks in Russia

3. utopian socialists who believed socialism could only be achieved by separating into isolated communes where everything could be entirely controlled to ensure equality

In class you were asked to rank the countries mentioned in the reading based on the extent to which they did achieve socialist goals.

Here are the two most common rankings:

1. Great Britain, 2. Germany, 3. France, 4. Russia

1. Germany, 2. Great Britain, 3. France, 4. Russia

ON THE NEXT TEST, you must be able to explain your rationale for your rankings with SPECIFIC reasons. This is especially important with the top two countries as there was disagreement in class as to which was more "socialized".  Make sure you look back at your notes and the chapter reading to come up with a specific, evidence-based rationale.  A shout out to Greg for assessing the plight of France, continually being third place in our ranking activities, as well, just being the "OK Country." You may have had to be there, but it was an insightful and funny comment.

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You are reading and creating a new graphic organizer for the information that pertains to the last section of Key Concept 3.3.III. The EQ and page numbers are in Renweb.

You also are to watch the three review videos on 19th century British Political Reform, which are located on the Moodle Page below. You should take notes on your key concept outline of anything you think is important in the videos.

The AP Exam is less than three months away and now is the time to refocus and give your best effort on every assignment!

Our next unit test will include 3.3 and 3.4 which we are covering next week. I am not trying to stress you out, but I want you to know we will be tested on the other parts of 3.3, not just the isms. I will pass back your quiz next week on Wednesday so you may have it to study.

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Concept Map

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Today in class we identified supporters and opponents of Liberalism and Nationalism. In 4th period, we were able to add some additional information to this category. For example, we realized that both liberalism and nationalism had the common opponent of communism/socialism. Communists wanted to unite all members of the working class and then establish a classless society. Nationalism prevented at inspired people to unify for cultural, not economic, reasons. You can check the prezi link to see all the final information on this.

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You may use any of the following in your HW notes. Your HW notes must include (1) the essential question (posted in RenWeb), (2) your reading notes organized in one of the four ways listed below, and (3) a one sentence answer to the essential question.

1) Venn Diagram

2) T- CHART

3) Concept Map

4) Who, What, When, Where, Why, and How? Chart

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The problems of industrialization provoked a range of ideological, governmental, and collective responses.

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Liberalism
Demanded universal male suffrage
Believed in full citizenship without regard to wealth and property ownership
Radicals and Republicans wanted to elect their ruler and not have a king
Radicals and Republicans
Basic Beliefs:
- believed that a nation consists of a group of people who share similar traditions, history, and language
- argued that every nation should be sovereign and include all members of a nationality
-individual's greatest loyalty to nation-state
-Military conscription helped young men feel loyalty to country
-important to Germans, Italians, Eastern Europeans trying to leave the Ottoman and Austrian Empires, and Central and South Americas trying to leave the Spanish Empire
-Felt common past and culture helped them unite

Nationalists
Klemens von Metternich
Conservativism
19th Century Isms
The existing system of distribution of wealth was unfair because the rich had too much and the poor had barely enough to survive
Resources and means of production should be owned by the community
Profits of human labor should be equally distributed
Supports the new productive capabilities of the industrial revolution
The free market couldn't adequately produce and distribute goods the way classical economists claimed
Human society should be organized as a community, not just a conglomeration of selfish individuals
Socialism
Believed all forms of government and social institutions are oppressive and unnecessary
Believed society should be based on voluntary cooperation from individuals
Some favored programs of violence and terrorism but others were peaceful
Another group of Anarchists attacked the banking system and wanted society to be organized on the basis of mutualism
Later in the century Anarchists supported a wide variety of cooperative businesses that favored the well being of community over that of the individual as well as supported fairness in exchange (these ideas influenced French Labor Movement)
Anarchists 1848
Zionist: The movement to create a Jewish state in Palestine (like the Biblical Zion)
Developed in the 19th century
Form of Jewish nationalism
Response to anti-Semitism (prejudice/hostility against Jews)
Jews had been associated with money and banking; finance capitalism changed the economic structure and Europeans felt threatened by the Jews

Zionists
Marxism
Anti-Semitism: Dreyfus Affair
Basic Beliefs
Utopian Socialist and Charles Fourier
Classical Liberals
Example of Radicals are Chartists
Chartism: The first large-scale European working-class political movement. It sought political reforms that would favor the interests of skilled British workers in the 1830s and 1840s.
William Lovett and other London radical artisans formed the London Working Men's Association, which issued a charter that demanded six reforms (male suffrage, annual House of Commons election, the secret ballot, equal electoral districs, and aboliution of property qualifications, and salaries to members of the House of Commons
Theodor Herzl
Klemens von Metternich
The Zionist movement was found by the Austria-Hungarian
Theodor Herzl
(1860-1904).
Zionism
was the Jewish nationalist movement that has had as its goal the creation and support of a Jewish national state in Palestine, the ancient homeland of the Jews.
The conviction of Captain Dreyfus in 1894 and the election of Karl Lueger in 1895 as mayor of Vienna, convinced Herzl that liberal policies and Institutions of the liberal state could not protect the Jews in Europe or ensure that they would be treated fairly.
In 1896, Herzl published
The Jewish State
in which all Jews might be assured of rights and liberties that they should enjoy in liberal states of Europe.
Giuseppe Mazzini
- Called
Utopian
because they developed visionary ideas for a "perfect community"

Charles Fourier
- believed the industrial order ignored the passionate side of human nature
- He urged people to not work the same job every day in order to increase overall happiness and create a "Utopia"
Friedrich Engels
Prime Minister of Austria
Ran Congress of Vienna
Mastermined the resistance of national and liberal pressures throughout central Europe
leading defender of conservatism in Europe after the Napoleonic Wars
He co-founded Marxism with Karl Marx.
He published The Condition of the Working Class in England. (showed the devastating parts of industrial life)
He met Karl Marx in 1844 and became good friends.
They wrote The Communist Manifesto.
He and Karl Marx adopted the communist name to see more radical.
He was a middle-class German.
He and Marx had many similar ideas such as the abolition of private property.
Advocates of Suffrage: Flora Tristan
started by Karl Marx and Friedrich Engels in 1844
exerted more influence over modern european history than any other
helped write the communist manifesto
equated the fate of the proletariat to the fate of humanity
claimed that the working class had to 'liberate itself from the capitalist mode of industrial production which would in turn liberate all of humanity
contended that human history must be understood rationally and as a whole
believed that the struggle between social classes is a major force in history and that there should eventually be a society in which there are no classes
said that eventually society would evolve into a utopia
- involved in French worker's struggles for social justice
- rejected the idea that class harmony could be effected through the good offices of an enlightened middle class
- believed social progress could be measured by the status of women
- feminist and socialist
- believed that the emancipation of workers went hand in hand with the emancipation of women

-Italy was not unified until 1871
-After the constant failure of nationalist uprisings in Italy during 1831 Mazzini became the
most
important nationalist leader in Europe
-Brought passion back to the Nationalist movement
-Was inspired by the Romantic movement
-Started the Young Italy movement in 1831 in order to drive Austria out of Italy and establish a liberal republic, which was quite different than the common monarchy

- Fourier advocated the construction of
phalanxes
which were special communities where free living would replace boredom in society brought by Industrialization
Anti-Corn Law League

1. Organized by manufacturers.
2. Wanted to abolish the tariffs protecting the domestic price of grain.
3. That change would lead to lower food prices, which would then allow lower wages at no real cost to the workers.

Liberals emphasized popular sovereignty, individual rights, and enlightened self-interest
Debated the extent to which all groups in society should actively participate in its governance
Desired active citizenry of primarily educated men who were influenced solely by reason and their own investment
Wanted broader political participation, but did not advocate democracy
wanted religious toleration and freedom of speech/press
Transformed the 18th century concept of aristocratic liberty into a new belief of political privilege based on wealth and landholding rather than based on one's social class
Their ideas are often associated with the phrase
laissez-faire
(a French phrase that means roughly, "let people do as they please").
Encouraged most economic decisions being made through the mechanism of the market place
Emphasized individuals natural rights and supported the limit on political authorities through the writing of the constitution and the formation of parliamentary bodies
Wanted legal equality, religious tolerance, and freedom of the press
John Stuart Mill
- supported the monarchy
- the hierarchical class system dominated by the aristocracy
- opposed innovation and reform, only gradual change
- opposed the Enlightenment
- majority of conservatives were landed aristocacy
- Edmund Burke- father of conservatism
- supported traditional political and religious authorities
-tradition was the only trustworthy guide to social and political action
-Believed that national, religious, and historic traditions were the foundations of society

4 Pillars to Conservatism
- monarchy
- aristocracy
- established churches (Anglican, Catholic)
- patriarchal family

Extended liberalism to the position of women in his book "The Subjection of Women"
Libertarians were divided between those in support of women gaining equal rights, and those who opposed that. John supported equal rights for women.
Most famous work is "On Liberty"
He also wrote "Utilitarianism"
As nationalism took hold in Europe, suspicion of Jews became increasingly prominent.
The controversy centered on the question of the guilt or innocence of army captain Alfred Dreyfus, who had been falsely convicted of treason for allegedly selling military secrets to the Germans in December 1894. At first the public supported the conviction; it was willing to believe in the guilt of Dreyfus, who was Jewish.
He was later proved innocent, despite a government attempt to cover it up.
Causes of Liberalism: 1700's
- Enlightenment political philosophers (Adam Smith,
Wealth of Nations
) free market capitalism, invisible hands
- Enlightenment ideas of personal freedoms
- Napoleonic Code gave legal equality
- Declaration of the Rights of Man and Citizen
- Industrial Revolution

Supporters v. Opponents of Liberalism

Supporters: Middle Class members who wanted to benefit from free trade and improve their social status/political power

Opponents: Aristocrats, Monarchs, peasants and working class, socialists and communists
Causes:
- nationalities divided geographically who wanted to unify (Germany, Italy)
- F.R./Napoleonic Wars
- Effects of Congress of Vienna
-Romanticism
Supporters: i.e. members of national military forces, believed national bonds should be greater than feudal social hierarchies, ethnic groups that wanted political unification and autonomy
Opponents: monarchical dynasties that controlled empires that had numerous ethnic groups (Austrian Empire), liberals at times, socialists and communists

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Dreyfus Affair Basic Beliefs Utopian Socialist and Charles Fourier Classical Liberals Example of Radicals

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Liberalism Demanded universal male suffrageBelieved in full citizenship without regard to wealth and property ownershipRadicals and Republicans wanted to elect their ruler and not have a kingRadicals and RepublicansBasic Beliefs:- believed that a nation consists of a group of people who share similar traditions, history, and language- argued that every