澳大利亚国立大学Essay代写:文化人类学

博阿斯的影响继续在文化人类学关注种族,更广泛地说,作为社会建构而非生物学基础的力量的身份。博阿斯坚决反对当时流行的科学种族主义思想,如颅相学和优生学。相反,他将种族和族裔群体之间的差异归因于社会因素。在博阿斯之后,人类学系成为美国大学的常态,文化人类学是研究的核心内容。博阿斯的学生继续在全国各地建立人类学系,包括:西北大学启动该计划的Melville Herskovits和加州大学伯克利分校的第一位人类学教授Alfred Kroeber。玛格丽特米德继续成为国际知名人士,无论是作为人类学家还是学者。该领域在美国和其他地方越来越受欢迎,让位于新一代极具影响力的人类学家如ClaudeLévi-Strauss和Clifford Geertz。这些文化人类学的早期领导者共同巩固了一门明确专注于世界文化比较研究的学科。他们的工作受到了对不同信仰系统,实践和社会组织的真正理解的承诺的激励。作为一个学术领域,人类学致力于文化相对主义的概念,认为所有文化在根本上是平等的,只需要根据自己的规范和价值观进行分析。北美文化人类学家的主要专业组织是文化人类学学会,该学会出版“文化人类学”杂志。 澳大利亚国立大学Essay代写:文化人类学 The influence of Boas continues to be concerned with ethnicity in cultural anthropology, and more broadly, as the power of social construction rather than biological basis. Boas resolutely opposed the popular scientific racist ideas of the time, such as phrenology and eugenics. Instead, he attributed the differences between racial and ethnic groups to social factors. After Boas, the Department of Anthropology became the norm of American universities, and cultural anthropology was the core of research. Boas students continue to establish anthropology departments throughout the country, including: Melville Herskovits, who initiated the program at Northwestern University, and Alfred Kroeber, the first anthropology professor at the University of California at Berkeley. Margaret Mead continues to be an international celebrity, both as an anthropologist and a scholar. The field is becoming more popular in the United States and elsewhere, giving way to a new generation of influential anthropologists such as Claude Lévi-Strauss and Clifford Geertz. These early leaders of cultural...
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澳大利亚国立大学Essay代写:现代艺术博物馆

Stettheimer非常谨慎地评价她作为一名艺术家的形象,经常拒绝被她在她的朋友(包括Cecil Beaton)中的许多重要摄影师拍摄,而是选择由她画的自我代表。出现在20世纪20年代流行的时尚服饰中,Florine的彩绘版本穿着红色高跟鞋,似乎从未过去四十岁,尽管这位艺术家在她70多岁时去世。虽然她经常会直接将她的图像,手中的调色板插入一个场景中,但在Soirée(约1917年)中,她包括一幅未被广泛展示的裸体自画像(可能是因为它的淫秽内容)。 Florine Stettheimer于1944年去世,两周前,现代艺术博物馆展出她称之为“杰作”的Family Portrait II(1939年),画布回归到她最喜欢的主题:她的姐妹,她的母亲和她心爱的纽约市。她去世两年后,她的好朋友马塞尔杜尚帮助组织了她在同一个博物馆工作的回顾展。 澳大利亚国立大学Essay代写:现代艺术博物馆 Stettheimer very cautiously evaluates her image as an artist and often refuses to be photographed by many of her important photographers in her friends (including Cecil Beaton), but instead chooses the self-representation drawn by her. Appearing in the fashions that were popular in the 1920s, Florine's painted version wore red high heels and seemed to have never been forty years old, even though the artist died in her 70s. Although she often inserts her image and the palette in her hand into a scene, in Soirée (circa 1917) she includes a nude self-portrait that is not widely displayed (probably because of its obscene content). . Florine Stettheimer died in 1944. Two weeks ago, the Museum of Modern Art exhibited what she called the “Masterpiece II” (1939). The canvas returned to her favorite theme: her sister, her mother and her. Beloved New York City. Two years after her death, her good friend Marcel Duchamp helped organize...
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