Occidentalism The West in the eyes of the East Essays

Occidentalism In Ian Buruma and Avishai Margalits book, Occidentalism: The West in the eyes of the East, they set out to solve the fueling force that drives the enemies of America and the Western world. This hatred spans back to the times of industrialization in the east, causing hatred to erupt from the peoples of Asian nationalities, and continues up to present day with Al-Qaeda and the terrorist attacks. Buruma and Margalit trace the roots of Occidentalism back to Germany, China, Japan and Russia. Japan used Westernization to keep up with the world and then turned their backs on it. Their goal was to overcome the West, and be modern while at the same time returning to an idealized spiritual past (Margalit 4). Because of†¦show more content†¦They failed to give as clear of a description about why they hate us in todays world. The authors have shown the changes throughout history that have shaped their current thoughts and perceptions but they have not explained why they still think that way. This book is good for learning about the history of Occidentalism but is lacking in the fact of showing clear reasons why occidentalists would hate us in the 21st century. It does not give a clear-cut reason as why incidents like 9-11 and the hostage beheadings would happen in the twenty-first century. This leaves the reader wanting more information and having a place to go to find it . The only other possibility for hating us that is mentioned does not involve Occidentalism. The other option is that the individuals have gained their ideas from the Muslim tawhid. The tawhid is closely related to the idea jihiliyya and radical Islamist thinking. The tawhid means Unity of God and can be interpreted in multiple ways. Muhammed Iqbal gained his ideas of politics from the tawhid and is considered to be a `tawhid thinker. Iqbal believed that the Unity of God should be mirrored in the unity and harmony of human society, based on justice, equality, and solidarity (123). Based on these ideas, the individual critiques the West in his own opinion. Iqbal critiqued the economic explosion in the West. The difference between Occidentalism and Iqbals critiques is that Iqbal does notShow MoreRelatedOrientalism in Tayeb Salih’s Season of Migration to the North2758 Words   |  12 Pagesthe North, just as far as the west is engendered through refinement and order, so too has Mustafa Sa’eed subsumed the clichà ©s of barbarism. One of the questions that Salih seems to be asking is: if Orientalism is a western style for dominating, restructuring, and having authority over the Orient, can the Orient use this same dichotomy, in turn, to assert power over its European â€Å"masters†. In a discussion of the â€Å"boundless historical chasm,† separating the east and west, Mustafa Sa’eed forewarns, â€Å"IRead MoreEssay on Hong Kong Post-colonial Cinema4693 Words   |  19 Pagesconnection to its Motherland, while at the same time, has frequent contact with the Western world, politically, economically, and culturally. Hong Kong’s unique position has made the city a vibrant international metropolis that acts as a bridge between East and West. Yet after it was returned to China in 1997, this former British colony has been constantly reassessing its British past, struggling to find its new position and redefining its ide ntity. The quest for identity quickly finds its place in theRead MoreAnalysis Of S Americanah Through A Post Colonial Prism4297 Words   |  18 PagesMarxist critic Frederic Jameson once described every instance of â€Å"third world literature† as necessarily nationally allegorical (69), an assertion spectacularly assailed by Aijaz Ahmad (77-82). But it is possible to close our eyes to Ahmad’s very valid misgivings and take a bird’s eye view of Jameson’s assertion: read in reaction to the phenomenon of imperialism, perhaps the literature of dominated peoples is the literature of self-assertion, however blind to Jameson’s national allegorical (or anticolonial)

Self Esteem Essay - 1462 Words

Most people think that peer pressure is one of the leading cause of low self-esteem ,we read about young adult going through teen issues such as bullying , fighting and many more other issues but in 2017 things have changed .Many teenagers are obsessed with social media sites such as Facebook, Snap chat, or even Instagram . these sites were either design for reconnection with lost family or friends to showing people bit a piece what you do on a day to day basis but now that’s not the case. Self -esteem is when an individual has confidence and satisfaction in themselves with the changes in how social media works in this day and age self-esteem is one of the issues it affects. Social media sites such as Facebook, Instagram, and†¦show more content†¦Women lurk on a man’s page seeking for their materialistic items such as cars, money, and the way a man dresses. Instances such as these causes low self-esteem of individuals who do not portray these specific items or lifestyles on social media. USA Today asked 23 Chicago college students about social media and 20 out of 23 students believed social media caused anxiety or added stress to an individual’s life. One female college student believed that social media adds a lot of pressure to be the perfect person, because that’s how individuals can make themselves look online. A lot of women on social media with low self-esteem issues show their skin and wear revealing outfits to feel â€Å"better† about their own body by taking into account how many likes on Instagram or Facebook they receive. The college students have realized it was easy to portray a different version of them on the internet. Individuals believe the number of likes on Facebook/Instagram or retweets on Twitter is used as a tool for verification for acceptance within their group of peers. This can cause a domino effect of problems on an individual’s self-esteem. An individual will post photos that are out side their character just to seek approval through the likes from their peers. This may boost an individual’s self-esteem temporarily, but once he or she logs off social media their self-esteem really hasn’t improved. Valkenbur, P. M., Peter, J., Shouted, A. P. (2006). FriendShow MoreRelated Self-Esteem Essay1122 Words   |  5 Pagesknown as: self-presentation. A great deal of human behaviour is, in part, determined or constrained by people’s concerns with others’ impressions and evaluations of them. Because all human beings are different from one another, the thought process used which results in the self-presentation of a person will also differ from person to person. In this case the potential factor effecting the self-presentation of an individual is that of the self-esteem of the individual. Self–esteem being: â€Å" AnRead MoreSelf- Esteem Essays1137 Words   |  5 PagesScenario Self Esteem There are many similarities and differences to self-concept, self-esteem, and self-efficacy. Self-concept is the mental image or perception that one has of oneself. Self-esteem is the experience of feeling competent to cope with the basic challenges in life and of being worthy of happiness. Then self-efficacy is confidence in your ability to carry out a specific task in contrast to generalized self-confidence. The only person that can feel self-conceptRead MoreSelf Esteem Essay798 Words   |  4 PagesIts your self-esteem! Self Esteem is defined as confidence in your own merit as an individual. Our self esteem is instilled in us during our youth. There are two types of self esteem. There is high self esteem which is when you feel good about yourself, and then there is low self esteem which is when you feel bad about yourself. Being constantly criticized by family, friends, and society tends to slowly strip us of our feelings of self worth. Our low self esteem strips us of our self confidenceRead MoreEssay on Self-Esteem2098 Words   |  9 PagesSelf-Esteem over Logic and Beliefs Columbia College, Missouri Abstract Self-Esteem gives a person the right to value themselves. Our self-esteem sometimes overpowers our logic, and can lead us to act in ways that are not always our own. This paper examines how the following theories; Theory of Cognitive Dissonance, Self- Evaluation Maintenance Theory, Self-Affirmation Theory, Rationalization Trap and Self-Discrepancy Theory impact a persons self-esteem decisions. Where people in differentRead MoreEssay Self Esteem1892 Words   |  8 PagesThis paper is about the impact of self-esteem on daily life. The more negative thoughts and feelings you have about yourself, the lower your self-esteem. People with low self-esteem often have little confidence in their abilities and question their self-worth. A common scenario, which exemplifies a lack of self-esteem, features college students who say, It wont do any good to study. I wont make a good grade anyway. These students think they are doomed to failure because of poor performanceRead MoreHigh Self Esteem Essay2676 Words   |  11 Pageslevel of self-esteem.’ Critically discuss. Self-esteem has captivated the interest of psychological researchers and the whole of society. â€Å"This academic preoccupation is substantially matched by interest among the public at large, and not just among those people, doctors, teachers and social workers who might be expected to show a professional interest in the human psyche. In their everyday lives people routinely treat the notion of self-esteemRead MoreAdolescent Self Esteem Essay1098 Words   |  5 Pagestopic, such as relationships and friendship. Results of the study indicate that self-esteem measures between testing were not significant, but several related concepts proved to be. Self-efficacy attitudes did significantly improve after treatment and can be linked to positive self-esteem. An explanation for their results is the possibility that the short duration of time could not change girls’ levels of self-esteem. â€Å"Every Body is Somebody† is another program (McVey Davis, 2002) with the goalRead MoreTeen Self Esteem Essay1199 Words   |  5 Pages Teen Self Esteem Did you know that nearly seventy-five percent of girls that suffer from low self esteem have admitted to taking part in a negative activity such as bullying, eating disorders, smoking, drinking, or even self harm? What about the fact that over forty percent of boys in high school and middle school exercise with the intent of increasing muscle mass because they are self conscious about their appearance (DoSomething.Org). These facts deal with the increasing issue of teenagers dealingRead MoreWhat Is Self Esteem? Essay655 Words   |  3 PagesWhat is self-esteem? Self-esteem is a term used in psychology to describe someone’s level of confidence and respect for themselves. Pride, shame and dignity are some of the emotions self-esteem encompasses. In 1943, Abraham Maslow, an American psychologist created the Maslow’s hierarchy of needs; it was composed of physiological, safety, love/belonging, esteem and self-actualization, physiological being the most basic needs. He believed that psychological health is not possible unless people acceptedRead MoreSelf-Esteem in Women Essay1050 Words   |  5 Pagesdramatically, so does our physical image. These changes are hard to believe, seeing yourself transform into an adolescent. We sometimes have trouble adjusting to these changes, which can damage our confidence as well as affect our self esteem. Self-esteem Self esteem basically means that we should like ourselves, feel positive about yourself and respect your own worth. Feeling positive about yourself can determine how you perform. When we respect ourselves and feel really good in ourselves, we

Qualnet Free Essays

string(59) " packets to Exponential and change the Mean Interval to 0\." QualNet 5. 0 Tutorial (ELEC 6851) Part 1: Installation TODO: I would recommend getting AITS to provide the installation instructions as I’m sure the license restrictions will determine how/where QualNet gets installed. Part 2: The QualNet 5. We will write a custom essay sample on Qualnet or any similar topic only for you Order Now 0 Developer The QualNet Developer IDE is a GUI program for developing network scenarios that comes with QualNet 5. 0. It can be used to visually design network scenarios and then run simulations of these networks. Although networks can be designed and simulated in a command-line fashion as well, we will focus on the Developer IDE package. The first step is to open the Developer IDE program. Depending on the installation procedure, it can be opened via the start menu or by opening the directory where QualNet was installed. Double-click on the â€Å"QualNet Developer 5. 0. 1† icon on the desktop (this option is available only if you chose to install desktop shortcuts during installation). Part 3: Setting Up a Network – Basics The first task is to create a new network scenario. To do this, go to the File Menu -New. Save it in your local folder: File Menu -Save. Choose the local directory where you want to save the scenario. Enter a name for the new scenario (for example, â€Å"Example1†). Click Save. A grid should appear in the right hand window (see Fig 1). This is where we will deploy the nodes and create network connections. The left hand window has four panels: File System, Toolset, Visualization Control and Runtime Analysis (Toolset panel open). 1 Figure 1: A new scenario has just been created. To setup our first network, we will proceed by a simple example of a 15 node wireless network that accesses the channel using the CSMA/CA scheme defined by the 802. 11 protocol. The first step in creating a network is to deploy the nodes. This is done in the right hand window, the so-called Canvas Area. Nodes can be deployed manually according to an arbitrary topology by selecting Toolset - Device - Default (just a generic node), then clicking anywhere on the canvas area. In adhoc networking scenarios it is often assumed that the nodes are deployed randomly on the terrain and we will assume random deployment in this example. To randomly deploy the nodes we go to the Tool menu - Node Placement. The Automatic Node Placement Wizard will open (see Fig. 2). Figure 2: Node placement 2 We then enter the desired number of nodes we would like in our network. Node Placement Strategy: Random. It then asks for a seed value for the random number generator (leave it blank). Click OK. The Placement Wizard will close and the nodes will be deployed randomly on the grid in the Scenario Designer window (see Fig. 3). Location of a node may be changed by left clicking the mouse on the arrow button then left clicking it on the node and dragging it to the desired location. Figure 3: Random node deployment We now want to add these nodes to a wireless network. The first step is to select the nodes we wish to add to the wireless network. To do this we can use the selection tools (arrow or lasso in the View Toolbar). Select all of the nodes by using either of the selection tools and left clicking and dragging the mouse around the nodes. To connect these nodes to a wireless network, select Toolset - Network Components - Wireless Network. Now click anywhere on the area you selected earlier. A cloud should appear on the canvas area representing this wireless network and the nodes should be joined to this cloud with blue lines representing the newly formed wireless connections (see Fig. 4). 3 Figure 4: The nodes connected to the wireless network. Part 3a: Creation of Application Layer Connections After setting up the network, the next step is creation of application layer connections between the nodes. At any time, there may be several connections active simultaneously in the network. Each connection will have a source and a destination node. The source node generates traffic and transmits to a destination node. Let us create a connection between nodes 3 (source) and 4 (destination), Selection of the source node: Left click the mouse over the arrow selection tool and then left click it over the device symbol for node 3, the color of number 3 should turn to red. Next select a traffic source, the available pre-defined applications such as CBR (Constant Bit Rate), VBR (Variable Bit Rate), FTP Generic, VOIP, and Traffic-Gen are listed in the left window under the heading -Applications. We note that Traffic-Gen generates UDP traffic while FTP Generic generates TCP traffic. Let us select the Traffic Generator button mouse over it. by left clicking the – Creation of the connection: Now left click the mouse over node 3, hold, and drag it to node 4. When the mouse is released over node 4, a green arrow pointing from node 3 to node 4 will appear. This creates a basic Traffic Generation application between the nodes 3 and 4 as source and destination respectively. The next step is to choose the parameter values of this connection: Let us create a Poisson process of data packets at the source and make the packet length exponentially distributed. To do this, click Table View on the bottom of the right window, and select the Application tab. You should see the connection Traffic-Gen 3-4 listed. Double click the connection. A window of Traffic Generator Properties will show up (Fig. 5). Click on the 4 – Packet Size. Recall, we want the packet lengths to be exponentially distributed with mean packet length 2048 bytes. The default size is deterministically set to 512 bytes. Change the Data Size from Deterministic to Exponential. Then change the Mean Size to 2048 bytes. To make the source generate traffic according to a Poisson process, click on Interval from the Traffic Type menu for this connection. By default traffic is generated deterministically every 1 second. Change the distribution of the interval between successive packets to Exponential and change the Mean Interval to 0. You read "Qualnet" in category "Papers" seconds (recall that the inter-arrival times for a Poisson process are exponentially distributed). As well, set the Start Time of the connection to Exponential with mean 0. 5 seconds, and the Duration to Deterministic with fixed duration of 30 seconds. These steps have been summarized below, 1. Click on Packet Size Distribution. (The packet lengths are exponentially distributed with mean packet length 2048 bytes. ) Change the Data Size from Deterministic to Exponential. Then change the Mean Size to 2048 bytes. 2. Click on Packet Interval Distribution. The source generates traffic according to a Poisson process. ) Change the distribution of the interval between successive packets to Exponential and change the Mean Interval to 0. 5 seconds. 3. Click on Start Time Distribution Change the distribution to Exponential with mean 0. 5 seconds. 4. Click on Duration Distribution to Deterministic with fixed duration of 30 seconds. – – – Figure 5 Traffic Generator Properties 5 A wireless network with multiple connections is shown in Fig. 6. Figure 6 A wireless network with multiple connections Part 3b: MAC Protocol The default settings of the MAC protocol can be viewed by clicking on Table View in the bottom panel below the canvas. Click the network tab and double click Wireless Subnet (see Fig. 7). MAC 6 protocol determines how the nodes access to the physical channel to transmit their packets. We note that the default MAC protocol is 802. 11 standard. This standard has two modes of operations known as Distributed Coordination Function (DCF) and Point Coordination Function (PCF). The DCF is more popular in practice and based on the random access mechanism. Briefly, DCF function as follows, (see section 6. 10. 3 in the textbook for the description of this MAC protocol), DCF uses the CSMA protocol, thus a node, with a packet to transmit, first has to sense the channel. If the channel is busy the node backs off for a random amount of time. We note that the channel may be idle at the source but not at the destination node. If the source node senses the channel idle, it transmits a short request to send (RTS) packet. If the channel is also idle at the destination node and it receives the RTS packet then replies with clear to send (CTS) packet. After that the source transmits the data packet and destination node replies with an ACK packet if the packet is received error free which completes the transmission of the packet. If the source node does not receive the CTS packet or an ACK following the transmission of the data packet then it backs off for a random amount of time. A source node may retransmit an unsuccessful packet upto a transmission limit, when that limit is passed then the packet is discarded ( for values of these limits see Fig. 7). – The routing protocol is Bellman-Ford (a Distance Vector routing algorithm). The default settings of the OSI layers can be modified here according to the requirements of the network. As well, the default settings of an individual node can be viewed by clicking the Nodes tab and double clicking each node. The nodes update their routing tables regularly by exchanging routing packets. We not that in a single wireless subnetwork all the nodes are one hop away from each other, thus there is no routing, but nevertheless nodes will send routing packets regularly. It is worthwhile to spend a few minutes navigating through the menus to learn where to go in order to view or modify parameters in our network scenario. We can right-click the nodes or wireless network in the canvas area. 7 Figure 7 Properties of the MAC Protocol . Part 3c. Wireless channel with Fading We may include fading in the wireless channel by choosing the Scenario Properties button on the left side of the window and then selecting the Channel Properties tab in the new window. (see Fig. 9). In the Channel Properties window go to the row which says Fading Model [0] and click on where it says None. From the drop out menu choose Fading. Then go to the row which says Specify Gaussian Component File, click where it says No and change it to Yes. After this step is taken, a new menu item is open with the name Gaussian Component File, then fill that tab with the following entry, C:/snt/qualnet/5. 0/scenarios/default/default. fading Failure to provide this link will give the following error. â€Å"Error: Error in file .. librarieswirelesssrcpropagation. cpp:3933 PROPAGATION-FADING-GAUSSIAN-COMPONENTS-FILE is missing† 8 Figure 8. Incorporation of fading to the simulation Part 4: Running Simulation The next step is to run simulation of our network. One useful feature of the QualNet Developer package is the ability to trace packets. To enable packet tracing, go to Scenario Properties in the left hand window, select Statistics and Tracing tab, click Packet Tracing in the left window, select Enabled Packet Tracing, click where it says No and change it to Yes. See Fig. 9. 9 Figure 9 Enabling packet tracing. On the Run Toolbar, there are a set of icons related to simulation which include an Open Current Scenario in File Editor, a Run Settings, a Run Simulation and Record Animation Trace. To initialize the scenario, click on the Run Simulation icon . The mode of the Architect will be changed from Design Mode to Visualize Mode. To switch back to Design Mode, click Switch to Design Mode . The Visualization Controls panel opens in the left window. You should see the coordinates icon of the nodes and the current simulation time (which is 0. 0000 seconds) in the output window. Before running the simulation, we note that the Developer package will by default animate various aspects of the simulation such as packet receptions, packet drops and collisions, and unicast and multicast transmissions. Others aspects such as packet queue animation can be enabled by clicking on the button in the Animation Filters which should appear in the left hand window. Enable the radio range animation. Simulation will tend to run very fast so if we wish to see the animation it will help to slow down the speed of the animation. This is done by sliding the speed bar to about half way in the Animator window. See Fig10. 10 Figure 10 Initialization and animation settings for simulation The total simulation time can be changed by switching back to the Design Mode, click the Scenario Properties button on the left window, and select the General tab. The Simulation Time is set to 30 seconds by default. We will leave this at its default value for now. We run the simulator by clicking the Play button (Fig. 11). on the menu bar. You should see the simulation animations as the simulator runs Figure 11 Simulation animation during a run. 11 You can enable or disable the different animations while the simulation runs. Wait until the simulation completes. Part 5. Routing of the traffic between subnetworks. We need to have a router for to be able to route the traffic from one wireless subnetwork to another. The router will have two network interfaces each one being member of a one subnetwork. We can create a router as an ordinary node which belongs to both subnetworks. Thus the router node is selected among the nodes belonging to that subnetwork when each subnetwork is created ( see Fig. 12). 12 Figure 12 The two subnetworks communicate through the router node [2] Next we will configure node 2 as a router. For this click on the Table view, then on the Node button, then double click on the row for node 2 and click on the Node Configuration button in the window that opens. Then click on the router properties on the left hand window which displays Fig. 13. Fig. 3 Node configuration window In the Node Configuration window in the row for Type of Router click on the arrow for the value User Specified and from the opening menu choose Predefined. Then in the row for Router Type choose the value Generic. Finally choosing Apply button at the bottom of the window configures node 2 as a router ( see Fig. 14) 13 Fig. 14 Node 2 has been configured as a router Part 6. Simulation Statist ics 14 After the simulation has been completed, we can view the data collected during the simulation. To view the statistics of the simulation, click on he Analyze Statistics icon toolbar. in the Components 1- Statistics File If you click on the Statistics File button at the bottom of the window, you will see large amount of per node simulation data. Among the collected statistics we see, – The packets generated by the source nodes and received by the destination nodes are listed as unicast packets. In a connection not all the generated packets may be successfully delivered to the destination. As explained, in Part 3b. a packet will be discarded by the source as a result of reaching the number of retransmissions’ limit. Transmissions may not be successful because of destination node not sending a CTS packet or as a result of the bit errors in the received packet. We note that the bit errors will depend on the distance between source and destination nodes, fading and shadowing. The strength of the received signal which will decrease as the distance between the source and destination nodes increases. As a result of packet discarding, the throughput of the source and destination nodes in a connection may not be same. – If the distance between two nodes is higher than the node’s transmission range, then, these nodes are not aware of each other. They can not communicate with each other and they will not know each other’s IP addresses. Therefore, if two such nodes will exchange data traffic with each other, the packets will be generated by the Application layer of the source node but they will not be passed to the transport and then to the network layers because the IP address of the destination node is unknown. – In addition to unicast traffic packets, as may be seen there are other packets being transmitted in the network , RTS, CTS, ACK and Broadcasting packets for routing. For each successfully received unicast packet there will be a corresponding ACK path. The number of RTS and CTS packets will correspond to the total number of transmissions of a packet until it is successfully transmitted. 2- Graph Analyzer Window If you click on the Overview button at the bottom of the window, then we can navigate through the Physical, MAC, Network, Transport, and Application layers shown on left hand window. We can access to each layer data by clicking on the button for that layer at the bottom of left hand window. This results in opening of a menu for that layer in the left hand window. Then clicking on any of the menu items displays a submenu. Clicking on any submenu item displays a bar chart for the data collected for that item during the simulation. In Fig. 15 we are ready to view the data collected in the application layer. 15 Fig. 15 Viewing the data collected during the simulation. In Fig. 15, when we click on the Traffic-Gen Client button on the left hand window, then from the drop out menu we click on the data units sent. This results in Fig. 16 which shows the bart charts for the total number of packets generated at the application layer of each node. 16 Fig. 16 Traffic generated at the application layer of each node 17 How to cite Qualnet, Papers

Ancient Greek Pottery Essay Example For Students

Ancient Greek Pottery Essay Ancient Greek Pottery Perhaps of all the arts that flourished in antiquity, ceramic art has the longest continuous history. And this may well be accounted for by the fact that it was utilitarian, for even in those periods when other arts had declined, people still needed pottery to collect and store their oil, grain, water, and wine. Thus, whereas certain forms of art disappear for periods at a time to reappear in an other form or style, the ceramic art appears in all periods from the time it made its first appearance in Greek lands in the 6th Millennium B. C. Moreover, clay, the material which was used in the manufacture of pottery, from the moment it was kilned became almost indestructible, even when the pot was shattered, something which could not happen with other materials such as wood, textiles, and so on. As a result, whereas there are gaps in our knowledge of other arts, and we must turn to related sources to fill these gaps, this is not the case with pottery, the evolution of which can be traced without interruption from the Neolithic age to the end of the ancient Greek world. In this long period of development of Greek ceramics, the shapes of the vases may have altered, or may have become more finished and may have been better adapted to the end of which they were made, but they never ceased to be utilitarian for their purpose was, with few exceptions, to serve the daily needs of man. Most pottery was decorated and each period had its individual style of decorations. One always notes a continuous effort to adjust the ornamentation to the shape of the pot. The themes or subjects used also changed from period to period, and in these changes there are certain preferences for the one or other subject by which means we can not only differentiate the esthetic criteria but even the historical changes in the manner of thought itself. It is not fortuitous, for example, that in the period when one of the most characteristic of maxims Man is the measure of all things was in vogue, the Greek vases almost exclusively used the human figure for decorative purposes. The appearance of pure Greek ceramic art is chronoogically placed in the 11th century, somewhere round about 1050 BC. The 12th C. was a period of great upheavals and readjustment in all Greek lands, but also in the entire Eastern Mediterranean basin. In Greece itself, along with the destruction of Mycenaean civilization , there perished many of the arts that had reached their peak. The only artifacts, or almost the only remnants to survive of this great civilization were the pottery and potsherds. In examining the ceramic artifacts of the period which followed the destruction of Mycenaean civilization one can see that this destruction, although of major proportions, was not total. In the 11th Century there begins to appear a new type of decoration which initially retained many features of late Mycenaean art, the main characteristic being geometric designs. It is on this account that the pottery which is decorated in this manner is known as Geometric. Since most finds of this period consisted of pottery, the comparatively long range of time up to about 700 BC has been named the Geometric period. Geometric art, as all arts, went through various stages of development until attainting its peak in the 8th Century. That which distinguishes it most is the remarkable blend and harmony of shape and decoration. Whereas in the Mycenaean period pottery was decorated as a whole and a single motif covered the entire area, either in the form of flowers or sea life, octopi, and so on, now the surface of the pot was separated into parallel bands of geometric patterns. In the early geometric period, the vase was painted with dark veneer, black or brown and only one or two bands remaining uncolored, over which the decoration extends. Gradually, these light-coloured bands began to expand into wider bands covering a broader area of the pot thus giving it a lighter tone. The bands contained a great variety of geometric motifs, triangles, lozenges, semicircles and, beginning in the 9th Century, the most characteristic, the meander or Greek key which with several variations repeated rhythmically encircled the vase, with the tendency not to leave any part of the surface unornamented. The bands are shrunken in the narrow parts of the pot, and become broader round the belly with larger patterns, and then to diminish again in width as they get closer to the neck. In this way, the curves of the pot are emphasized by the bands with the geometric figures which ornament and encircle them. The first figures of humans and animals begin to appear in the middle of the 9th Century, but always stylized. Some of the bands which formerly contained geometrical patterns were in some cases replaced by a series of animals, deer and other motifs. These were also stylized and convey the feeling of movement along the length of the band. The geometric pot was often used as a funerary marker. Thus we find that from the age in which human figures appear we also find funeral scenes. Gradually the subjects are enriched with various scenes involving a number of persons, battles, naval engagements, hunting scenes, and so on, which become more important in time. And so we find already in the Geometric period those elements which would eventually become the characteristic features of Greek art and the whole of Greek civilization, that is, anthropomorphism. During the Geometric period, pottery was made in all parts of Greece and we observe more or less a similar style of decoration and the same evolution with understandably slight variations in the various areas. In the entire course of this period, Attica was one of the most important centres for pottery manufacture and we can safely say that Geometric ceramic art was basically of Attican origin. Although the Geometric period is no longer considered an obscure age, or the Greek Dark Ages, as it was formerly known, it was nevertheless a period in which, although Greece was not completely isolated from the civilized world, there was less intercourse with the countries of the East and Egypt than had previously existed in the Mycenaean and even earlier yet in the Minoan period. But beginning in the 8th Century, with the growth and expansion of shipping, there began a very vigorous trade activity and closer communication with the Orient which naturally would influence Greek art drastically. This influence was very apparent in pottery decoration, especially beginning in the early 7th Century BC. Even if we had no evidence except pottery, we could detect the strong orientalizing influence on the potters and painters of Greece. Thus the style of this period which followed the Geometric is known as the orientalizing period. The Greek city that played a dominant role in commerce from the close of the 8th Century was Corinth. Her geographical position between two seas was destined to make the city a great maritime and trade centre. And understandably therefore Corinth was among the first cities to receive the influence of orientalizing art. We thus observe that the art of pottery changes completely. The geometric motifs are replaced by an animal style with a repertory of lions, griffins, sphinxes, oriental beasts both imaginary and real. The two original colours of the geometric pots were replaced by many colours. And with this change one also sees a tendency for miniature decorations. In the early stages, the arrangements of decorations on the vases had not altered, the motifs only changing. The pot continued to be divided into horizontal bands as in the Geometric period, but rather than containing geometric patterns, these bands were adorned with a series of various animals, lions, griffons, and so on. The area between the bands was decorated with various depictions. At the same time, the technique of heavy engraved lines for the outlines and the details was used in such a way that often Corinthian pottery conveyed the impression that the artisans who painted the figures used as a model embroideries and the metal techniques of the East, two arts which appear to have deeply influenced Corinthian pottery painters. Then follows a period where the bands become broader and less numerous until finally the entire pot is covered by a single representation. Parallel to this style of decoration there coexisted yet another with the human figure as the central theme and the narrative scenes produced with the technique of the miniature. One of the most beautiful Corinthian vases of this type is the Ghigi oinochoe of the villa Giulia in Rome. Until the middle of the 6th Century B. C. , Corinth was the principle centre both in the production and the export of pottery, pots that were mainly manufactured for the exportation of the famous Corinthian perfumes. In the same period, of course, there were workshops in many other cities, but they more or less retained their local features. But already by the beginning of the 6th Century, Corinths supremacy in this sector was seriously challenged by Athens which gradually overshadowed Corinth. Soon the workshops of the latter city ceased operating to be replaced by the workshops of Athens. In Attica the evolution of the ceramic industry was significantly different from that of Corinth. Although Attica too had undergone the influences of Eastern techniques, in the sector of ceramics there was a longer continuation of the geometric tradition. The monumental nature of the funerary vases of the Geometric metric period was not abandoned unlike the Corinthian potters who made pots basically of smaller size. But perhaps the main feature of the Attic potters was that they used as principal decorative themes for their pots the human figure, thus continuing a tradition which had its roots in the Geometric period . These two features of Proto-Attic pottery, the monumental nature and the tendency for narrative composition, led the vase painters to a technique quite different from that used by the Corinthians in the decorative program of their small-size pots. Artificial Intelligence1 EssayEuphronios had signed vases both as the potter and the painter, and worked mainly on large vases. In contrast with Epiktetos, Euphronios drew his themes mainly from mythology. The presentation of the human anatomy was so advanced that often we have the impression that we are regarding anatomical charts, as for example, in the case of the figure of Heracles and Antaeus on the face of the calyx crater of the Louvre. This striving for the perfect portrayal of the human proportions is also encountered at this time n the sculptures. Figures fill the area of the vase and are portrayed with great expressiveness and power. The mythological scenes are conveyed with power and majesty, but the portrayals of handsome youth are made with particular grace. Another contemporary of Euphronios was Euthymides, who also gives a monumental character to his heroes. The well exercised male torsos have fewer anatomical details than those of the compositions of Euphronios, b ut he seeks new ways to portray the human figure and to fill in the space. The Kleophrades painter, besides possessing a powerful planning and conveyance of movement and vigorous elasticity to the human body which characterize his work, adds also a new element, expression of the inner world. In addition to these pottery painters there is a series of other great artists each of whom in his own particular style animated the vases with their portrayals, such as the Berlin master, the Brygos painter, Myson, Panaitios, Makron who was the painter of the potter Hieron, Daris, Onesimos, and others. After the Persian wars, in 480 BC, certain significant changes in the potters art occurred. Movement was now much freer, the features were conveyed with greater realism, and so on, the eye ceased to be portrayed in its entirety en face with the face in profile, the figure moved in the space available with greater ease and naturalness. The subject matter also changes considerably, for the world of the woman assumes a more prominent part of the repertory. Certain painters would retain some of the traditional elements of the austere style without the later conventions of Archaic art which disappear completely after 480 BC. But their lines and planning no longer possessed the power and purity of the artists of the previous period. The Pan master is the most endowed of the artists of this period and technique. His works are airy and possess elegance and great sensitivity. But besides those painters who somehow retained the tradition of the artists of the austere period, there was another group of pottery painters deeply influenced by the great painters of the time, particularly Polygnotos of Thasos whose works we know from various ancient written sources and from the reflections of his style in pottery painting. A typical example of this influence is the calyx crater of the Niobid master in the Louvre which depicts Apollo and Artemis on the one side slaying the Niobids and on the other an assembly of heroes with Athena. The figures now move in space on different levels, and the bodies have different postures with expressive faces full of passion. Another artist, one of the most important of the period o f the early Classical style is the Penthesileia master. In his works one also detects the influence of Polygnotan painting, but not to the extent as that observed in the Niobid master. After 450 and until 425 BC base painting passes into a new phase in the period of mature Classicism when Athens was governed by Pericles, when the Parthenon was built, and the influence of Phidian sculptures deeply affected vase painting. The painting of this period is characterized by an ease of style, grace and elegance of pattern. In this period in which sculpture and monumental painting attracted the artists, there are encountered less of the brilliant vase painters of the austere red figure style. Rarely does the vase painter sign his work, and this accounts for the totally conventional names used for their products. Nevertheless, some highly distinguished pot painters stand out, among whom are the Achilles master who appears to have been deeply influenced by the classical tranquillity of the Phidian works, and possibly his pupil, the Phiale master, who is distinguished for the fineness, the grace, and animation of his works. The white Lekythos . The white Lekythos was a small one-handled jug with a narrow neck and deep mouth for unguents which was placed on the graves of the dead . This custom was basically Athenian, since there exist only a very few examples of Lekythoi in the export trade. But in Athens its use was very wide especially in the second half of the 5th Century. The white lekythoi are a unique type of vase, rather scarce, and were a luxury item which survived after 450. The technique was entirely different from that used in other pottery and resembles more the technique of monumental painting. The entire main body of the vase was covered with a white coating on which were painted the scenes in rich varied colours. The repertory included scenes from the life of the dead, or a visit to a dear friend in his country, or the dead person before the graves with his kin, or is even given as a votive offering to the dead. Such representations of offerings are often found on the white lekythoi votaries. The restrained sorrow of the faces expresses the attitude towards death which the ancient Greeks of the Classical period had and which is also encountered in the funerary reliefs of the same period. The white lekythoi with the softness of line and harmony of colours are among the most beautiful examples of Attic vase painting of the second half of the 5th Century, and are an exception to the decline of Attic vase painting which becomes progressively more obvious. This decline was due to two basic causes, one of which was purely economic. For nearly two centuries Athens had supplied the populous centres of the West, but began losing the markets wherever local workshops sprang up. The second cause was the ruinous results of the uncontrolled influence on vase painting by monumental painting. For the first time perhaps the vase was not decorated as an object with a given form and shape determining the decoration and which in previous periods was completely adapted to the shape of the vase, but was treated only as another surface which happened to be curved. If in this brief summary of ancient Greek ceramic art more emphasis was given to the decoration of the vase rather than to its shape and uses, it is because our knowledge of ancient painting which rivals that of Greek sculpture is drawn principally from the various descriptions found in written sources. And thus, with few exceptions, it is only from the pottery itself we can see to which heights ancient Greek painting reached and this but as a reflection of the monumental painting of the Greeks. Nevertheless, with the exception of the white Lekythoi in which as in monumental painting the colouring plays a major role in the representations along with the design, in Attic pottery both in the black figure and red figure styles the principal role is played by the designs and the plan. Also the contrast between the two colours, the red an the shiny black, plays its part. The vase painters succeeded in obtaining these two colours by a process of oxidation of the clay when firing the pots and not by adding an extra coating to the surface. The manufacturing of the pots was done in the following manner. First of all the potter centred a lump of clay, which had been properly kneaded, on the potters wheel where it was spun and moulded into the desired shape. When the pot was too large to be formed in one operation, it was made in sections and joined later by a wet clay slip. Handles and sometimes the mouth or lip were made separately. When the pot was shaped it was left to dry, and then polished, after which the painter was ready for its decoration. He painted the design by incision, drawing the outlines and details in the period when incision was commonly used. Thereafter, the entire area to which they wished to give the black shiny tone, was covered with a mixture of clay containing some kind of alkali, or perhaps potash. Then began the most difficult process involving firing of the pot in three stages. The temperature was never greater than 950 degrees C. The appropriate oxidation during the firing gave the red colour to the areas of the pot not covered by the varnish due to the large concentration of iron in Attic clay, and resulted in the black shiny colour in the painted areas from the mixture of clay with the alkaline earth. It was by such a simple process of experimentation in firing that the Greek vases were moulded, those vases and works of art which Pindar so aptly described to be of great variety and beautiful. Kyriazis, Constantine D. Eternal Greece. Translated by Harry T. Hionides. A Chat Publication. NOTE: illustrations in the original text are not included in this computer document. [Ancient Greek Pottery by Helena Yatra [Kyriazis, Constantine D. Eternal Greece