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commonapp美国网申系统的Essay题目列举
commonapp美国网申系统的Essay题目列举
　　美国网申系统其实就是一种在网上通过填写表格来申请的方法。只要你能上网，就可以很方便地在学校主页上找到相关的网申系统。在commonapp网申系统上要提交两篇essay.可以选择的Essay题目包括以下5条：　　①Evaluate a significant experience, achievement , risk you have taken, or ethical dilemma you have faced and its impact on you 对你的重大经历、成就、风险，或对你有重大影响的道德困境以及它对你的影响进行描述　　②Discuss some issue of personal , local, national , or international concern and its importance to you.讨论一下对你有重大影响的个人的或当地的或国家的甚至是国际性的问题　　③Indicate a person who has had a significant influence on you , and describe that influence.描述一位对你有重大影响的人物，如何影响你!　　④Describe a character in fiction, a historical figure, or a creative work (as in art, music, science, ect) that has had an influence on you, and explain that influence.描述对你有重大影响的一名虚构人物、历史人物或一件创作型作品(可以是艺术、音乐、科学等作品)以及描述它对你造成的影响。　　⑤A range of academic interests, personal perspectives, and life experiences adds much to the educational mix. Given your personal background , describe an experience that illustrates what you would bring to the diversity in a college community , or an encounter that demonstrated the importance of diversity to you. 在你的个人教育背景之下，描述你的一个个人经历，这个经历能展现你个人与众不同的特质，可以是你的学习兴趣、个人观点、人生经历等。　　以上就是commonapp美国网申系统的Essay题目，相信这几个题目对很多学生来说都不困难，但有个别学生会比较死板，完全按照条条框框来构思他的作文，例如把自己过去的经历、成就等通通写在一篇文章里面，但这显然不是在写文章，而是在罗列过去的经历，这个更应该写在简历里面。而Essay的话只要把一件事情说清楚就好了，通过描述事件来展现你的个人personalities.
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院校关注榜Pieter Bruegel the Elder (ca. 69) | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
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Pieter Bruegel the Elder (ca. 69)
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Pieter Bruegel I (ca. 69), commonly known as Pieter Bruegel the Elder, was the greatest member of a large and important southern Netherlandish family of
active for four generations in the sixteenth and seventeenth centuries. A longtime resident of Antwerp, the center of publishing in the Netherlands and a vibrant commercial capital, Bruegel brought a humanizing spirit to traditional subjects and boldly created new ones. He was an astoundingly inventive
and , and, due to the continuity of the family trade and the industry that developed in
after his works, Bruegel's impact was widespread and long lasting. Born in or near Breda sometime between 1525 and 1530, Bruegel settled fairly early in Antwerp, where he became a master in the painters' Guild of Saint Luke between 1551 and 1552. After a , he began a longstanding association with Hieronymus Cock, whose Antwerp publishing house, At the Four Winds, produced prints on a range of subjects, from parables to landscapes. Between 1555 and 1563, Bruegel made over forty designs for , capitalizing on the strong market demand for images in the style or manner of Hieronymus Bosch (ca. 16). Bruegel's Big Fish Eat Little Fish (1557, Vienna, Albertina) was even attributed to Bosch in Cock's print, though all subsequent engravings were inscribed "Bruegel inventor." The novel and ingenious way in which Bruegel translated moralizing subjects into vernacular language is most apparent in his original drawings and paintings, such as
(Berlin, Gem&ldegalerie, Staatliche Museen), which depicts over 100 proverbs in the familiar setting of a F it became one of the artist's most popular images—at least sixteen copies of the painting are known. In religious or
depictions, such as the
(Brussels, Mus&es Royaux des Beaux-Arts), Bruegel expanded the viewers perspective to make the titular action but one part of a startlingly broad vision of the natural and cultivated world.
He was an astoundingly inventive painter and draftsman, and, due to the continuity of the family trade and the industry that developed in prints after his works, Bruegel's impact was widespread and long lasting.
Cited Works of Art or Images (4)
Primary Thematic Essays (4)
Other Thematic Essays (15)
Index Terms (19)
Art Movement/Style
(Netherlandish, ca. 69)
(Netherlandish)
(Netherlandish)
(Netherlandish, ca. ;ca. 1575)
(Netherlandish, 62)
Geography/Place
Material and Technique
Subject Matter/Theme
A number of Bruegel's paintings focus on the lives of Flemish commoners, which earned him the nickname "peasant Bruegel," as well as the misguided reputation for being of peasant birth. In
(Vienna, Kunsthistoriches Museum) and The Dirty Bride (a.k.a. The Wedding of Mopsus and Nisa, ), for instance, Bruegel depicts the boisterous activities of a country fair and a folk play, respectively, paying particularly close attention to the worn costumes and broad, emphatic gestures of the celebrants. But while these works demonstrate the artist's attentive eye for detail and attest to his direct observation of village settings, they are far from simple recreations of everyday life. The powerful compositions, brilliantly organized and controlled, reflect a sophisticated artistic design. Bruegel was, in fact, patronized mainly by scholars, wealthy businessmen, and connoisseurs, and was on friendly terms with some of the most prominent humanists of the Netherlands, including the cartographer Abraham Ortelius and the publisher Christoph Plantin. The ongoing debate over the interpretation of Bruegel's "peasant" images underscores the complexity and originality of his conception.
Bruegel's use of landscape also defies easy interpretation, and demonstrates perhaps the artist's greatest innovation. Working in the aftermath of the , Bruegel was able to separate his landscapes from long-standing iconographic tradition, and achieve a contemporary and palpable vision of the natural world. For the Antwerp home of the wealthy merchant Niclaes Jongelinck, who owned no less than sixteen of the artist's works, Bruegel executed a series of paintings representing the Seasons, of which five survive: Gloomy Day, Return of the Herd, (all Vienna, Kunsthistoriches Museum), Haymaking (Prague, N&rodn& Galerie), and The Harvesters (). Though rooted in the legacy of calendar scenes, Bruegel's emphasis is not on the labors that mark each season but on the atmosphere and transformation of the landscape itself. These panoramic compositions suggest an insightful and universal vision of the world—a vision that distinguishes all the work of their remarkable creator, Pieter Bruegel the Elder.
Stern College for Women, Yeshiva University
Wisse, Jacob. "Pieter Bruegel the Elder (ca. )". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000&. http://www.metmuseum.org/toah/hd/brue/hd_brue.htm (October 2002)
Further Reading
Orenstein, Nadine, ed.
Pieter Bruegel the Elder: Drawings and Prints. Exhibition catalogue. New York: Metropolitan Museum of Art, 2001.
Stechow, Wolfgang. Pieter Bruegel, the Elder. New York: Abrams, 1970.
These related Museum Bulletin or Journal articles may or may not represent the most current scholarship.
Kahr, Madlyn Millner. "Vermeer's 'Girl Asleep': A Moral Emblem." Metropolitan Museum Journal, Vol. 6 (1972). |
© 14 The Metropolitan Museum of Art
Netherlandish Proverbs, 1559
Pieter Bruegel the Elder (Netherlandish, ca. 0;1569)
Gem&ldegalerie, Staatliche Museen, Berlin
Image courtesy of the Bildarchiv Preussischer Kulturbesitz
Hunters in the Snow, 1565
Pieter Bruegel the Elder (Netherlandish, ca. 0;1569)
O 46 1/8 x 63 7/8 in. (117 x 162 cm)
Kunsthistorisches Museum, Vienna
Image courtesy of the Kunsthistoriches Museum, Vienna
Kermis / The Peasant Dance, ca. 1568
Pieter Bruegel the Elder (Netherlandish, ca. 0;1569)
O 44 7/8 x 64 5/8 in. (114 x 164 cm)
Kunsthistorisches Museum, Vienna
Image courtesy of the Kunsthistoriches Museum, Vienna
Fall of Icharus, ca. 1568
Pieter Bruegel the Elder (Netherlandish, ca. 0;1569)
Oil on P 45 x 64 1/2 in. (114 x 164 cm)
Royal Museum of Fine Arts, Brussels
Image courtesy of the Royal Museum of Fine Arts, Brussels, Belgium
Thomas P. Campbell (Director), Maryan Ainsworth and Keith Christiansen (Department of European Paintings), Dorothy Mahon (Sherman Fairchild Paintings Conservation Center), and Ryan Wong (Summer College Intern) discuss The Harvesters (19.164) with Christopher Noey (Digital Media) (2010).Each author of a text sooner or later enters a veritable “blindness” one. So, although he writes his text and reads it safe by several times, error no longer occurred to him under certain circumstances. He knows, of course, what he wanted to express, and what words he has used. However, in the individual words can be contained, he does not see when reading, because he knows the exact word at this point twisted letters.
This also applies to the content of the text. The author is familiar with this, is an expert in the field described by him. But if he can make the information even to a reader who is not familiar with it, of course, must first be verified. This is the task of the proofreading. The proofreader must ensure that the text is content properly.
This includes not only the actual factual information and the explanation of technical terms and details even if the text has a coherent sentence structure and general construction. Here, a structure must be evident that each paragraph should build on each other.
Apart from the content of the text pages of proofreading must of course also be given in terms of spelling and grammar attention. The grammar flows partly already in the above-mentioned point of substantive compliance with one, because only grammatically correct sentences, make it possible that all the content is consistent and a fachunkundiger reader can understand the text and the information contained herein. Of course, in spelling the current rules must be adhered to, in which a corresponding software can be quite helpful.
The source of this article is
Another possible understanding of the essay brings Tim Caspar BГ?hme in his 13 January in the taz published report into play: “Stanitzek recalled that it was not so much gone to him to literary epochs essay writing as rather a reading of experimental texts in which something was tried – as the word ‘essay’ in its original meaning suggests.
For their positive examples it counts in his book next to the ‘Master’ Rutschky also taz – authors such as Detlef Kuhlbrodt or Helmut HГ?ge – latter sat in the audience.
And yesterday Mladen Gladic delivered in the world yet his observations. He made for the site
and went into more details on the location of the essays in the current media structure transformation: “Where, it have formed yet no clear hierarchies such as the web, the incentive is low, to write sophisticated essays. Because, as Passignano, everything is on the net Appearing currently not associated with prestige, so you not only get no money for it but nothing else.
In both media, publishing is in Passignano, who once wrote that it had since 1998, apart from a few railway station and airport purchases, enteres no more bookstore, then even something like a form of experiment: ‘I want Mercury reader to understand what I write, and that I will not be laughed at for it from my friends.”
Definition (taken from )
The literary dissertation is a genre that has a long tradition at school and university. Under the argument, it is based on a defined theme and it causes the editor to support an argument in response to a problem in order to convince a reader justifying or comparing successive theses. Moreover, “it seeks to acquire, by the students of general secondary education and students of literature, a master in the written statement, consistent, accurate and rigorous as possible on a given subject”.
The peculiarity of the literary dissertation is that it brings about asked to respond by exploiting a number of knowledge in literary history and in the texts. A candidate for the Test of Early French example, it would be absurd to undertake a dissertation and stick only to documents available in the corpus : academic knowledge and personal achievements are essential.
Prior knowledge required
As has been well said, “a literary dissertation can of course borrow knowledge to other fields of thought, historical and philosophical, particularly – but its purpose is to talk about texts. Without concrete knowledge of the works we are talking about, it falls into the padding, platitudes, generalizations, simplifications. The mortal enemy of the dissertation is the vague memory of a course, a manual, or a critical discourse. About allusive attention to: the accuracy of knowledge is crucial. The success of an dissertation depends mainly on the extent of reading, and attention to texts”. It does not “reference” to an author or a book: references need to be precise.
As you can see, the dissertation is a reflection exercise supported by knowledge: it is imperative to memorize texts, even brief, and knowing citations. Five poems read once that we will present oral FAE and believe that we can undertake to write an dissertation is part of a culpable ignorance. How to control a demonstration if the crop is insufficient? Knowledge of formal data is essential.Common menu bar
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Deep Packet Inspection Essay Project
How does society
reconcile the technological benefits and privacy impacts of new technology?
Deep packet inspection is just one seemingly neutral technological application
that can have a significant impact on privacy rights and other basic civil liberties,
especially as market forces, the enthusiasm of technologists and the influence
of national security interests grow stronger.
In the summer and fall
of 2008, the Office of the Privacy Commissioner of Canada contacted leading
academics and professionals working in telecommunications, law, privacy, civil
liberties and computer science to ask if they would contribute a short essay on
DPI to a project tor create a resource on deep packet inspection. The project
was intended to advance our Office’s understanding about a technology that has
application in network traffic management, behavioural advertising, and law
enforcement, and help Canadians understand the impact of just one component of
the technology that underlies our networked society.
This web page presents
the work of these academics, lawyers, researchers, activists and industry
professionals. We value the time they invested in preparing their essays, and
we hope that it will encourage further discussion around deep packet inspection
and similar technologies.
OPC Submissions to the Canadian Radio-television and Telecommunication Commission (CRTC)
Collection of essays:
opinions expressed in these documents are those of the author(s) and do not
necessarily reflect those of the Office of the Privacy Commissioner of Canada.
Transparency
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