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Tag: Architecture and Design Case Studies & Problem Sets

  • [Solved] Prof Double R

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    ## Prompt Create a PowerPoint presentation to make a recommendation for how the company should pursue the IoT technology to remain competitive: either by discontinuous or incremental innovation. To make your recommendation, you will need to identify how the evolving IoT (sensor) technology fits into…

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    ## Prompt

    Create a PowerPoint presentation to make a recommendation for how the company should pursue the IoT technology to remain competitive: either by discontinuous or incremental innovation. To make your recommendation, you will need to identify how the evolving IoT (sensor) technology fits into the company’s products and services and determine potential risks and benefits. You will also need to look at your competitors to see what they are doing. Finally, you need to analyze the company’s capability (resources) for pursuing the innovation. Use the information and data from the [CTO Brief](https://learn.snhu.edu/content/enforced/1838213-MBA-580-10960.202517-1/Course%20Documents/MBA%20580%20CTO%20Brief.pdf?ou=1838213), [Comparative Growth Data](https://learn.snhu.edu/content/enforced/1838213-MBA-580-10960.202517-1/Course%20Documents/MBA%20580%20Comparative%20Growth%20Data.xlsx?ou=1838213), [Comparative Operating Statistics](https://learn.snhu.edu/content/enforced/1838213-MBA-580-10960.202517-1/Course%20Documents/MBA%20580%20Comparative%20Operating%20Statistics.xlsx?ou=1838213), and [Comparative Product Plans](https://learn.snhu.edu/content/enforced/1838213-MBA-580-10960.202517-1/Course%20Documents/MBA%20580%20Comparative%20Product%20Plans.xlsx?ou=1838213) to complete this milestone. Note: Remember to use both on-slide text and narration or speaker notes to convey your information effectively. If narration is not possible, precise and extensive speaker notes should be used, while addressing all of the rubric elements in the presentation. For example, you can use brief, bulleted lists on the slide and include detailed explanations in your narration or speaker notes.

    1. Explain potential risks and benefits for options A and B.
    – **Overview** (1 slide): Present the business problem and options A and B.
    – **Option A** (1–2 slides) **:** Explain at least two potential risks and benefits for option A.
    – **Option B** (1–2 slides) **:** Explain at least two potential risks and benefits for option B.
    2. Compare your competition’s products and services.
    – **Competitors**(3–4 slides): Evaluate the competitors’ current products and services.

    – What are your competitors' current products and services?
    – Are your competitors expanding in the current market? Explain how this impacts their market strength.
    3. Analyze your company’s capability to pursue the innovation.
    – **Complete a partial gap analysis**(2 slides):

    – Does your company own the technology, or does it need to be purchased?
    – How is the technology currently being used in today’s products and services?
    – What type of technology is available to purchase?
    4. Recommend the innovation approach your company should pursue.
    – **Innovation approach**(2 slides): Explain which innovation approach you are recommending and why.

    – Consider the different stakeholders—research and development (R&D), marketing, finance—when communicating your recommendations.
    1. Include a description of the incremental or discontinuous product that you are recommending for R&D.
    2. Include the sales forecasts for marketing.
    3. Include a financial snapshot for finance.

    ## What to Submit

    Create a PowerPoint presentation with on-slide text and narration or detailed speaker notes. Your presentation should be 10 to 13 slides in length. If you include references, they should be cited according to APA style

    – 2 years ago

  • [Solved] discussion

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  • [Solved] Soul music development

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    The paper is already complete I just need it in a word document in APA style for free – 2 years ago **files (1)** – ## ResearchPaperOutline.docx **## ResearchPaperOutline.docx** **Research Paper Outline: The Development of Gospel Music and Its Influence on Soul Music** 1. **Introduction** · In this…

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    The paper is already complete I just need it in a word document in APA style for free

    – 2 years ago

    **files (1)**

    – ## ResearchPaperOutline.docx

    **## ResearchPaperOutline.docx**

    **Research Paper Outline: The Development of Gospel Music and Its Influence on Soul Music**

    1.
    **Introduction**

    · In this paper, I will explore the development of Gospel music and how it ultimately led to the creation of Soul music.

    · Growing up, I sang in the choir from a young age, which gave me a deep appreciation for the emotional and spiritual power of Gospel music. This personal experience will provide context as I explore how Gospel music influenced the sound and style of Soul music.

    · I will also discuss how the societal changes and cultural movements of the time played a role in shaping both genres.

    2.
    **Background of Gospel Music**

    · I will begin by outlining the historical origins of Gospel music. Gospel music is deeply rooted in African American religious and spiritual traditions, and its rise can be traced back to the spirituals and hymns sung by enslaved Africans.

    · I will discuss key characteristics of Gospel music, including its powerful vocals, call-and-response patterns, and themes of faith, hope, and struggle.

    · I’ll mention some of the most influential figures in Gospel music, such as Mahalia Jackson, Sister Rosetta Tharpe, and Thomas Dorsey, who helped shape its development and public popularity.

    3.
    **Transition to Soul Music**

    · Next, I will examine the rise of Soul music in the late 1950s and 1960s, focusing on how it evolved from Gospel music.

    · I will explain the key characteristics of Soul music, which includes a blend of Gospel’s emotive vocal delivery with rhythm and blues (R&B) influences.

    · One of the major elements I’ll discuss is the transition of Gospel singers, such as Ray Charles and Aretha Franklin, into the Soul genre. I’ll explore how their Gospel roots influenced their Soul sound, particularly in terms of vocal delivery and emotional expression.

    4.
    **Social and Cultural Context**

    · I will also reflect on how issues of race, class, and identity influenced both Gospel and Soul music. Gospel music was a way for Black communities to express their resilience and faith, while Soul music became an outlet for expressing personal and social struggles during the Civil Rights Movement.

    · I’ll examine how Gospel music’s deep ties to African American culture played a role in the rise of Soul music and its popularity across diverse audiences.

    · I will explore how Gospel-inspired performance styles, like passionate singing and emotional intensity, became a hallmark of Soul music.

    5.
    **Conclusion**

    · In conclusion, I’ll summarize how the development of Gospel music influenced the creation of Soul music, focusing on key aspects such as vocal techniques, emotional delivery, and cultural expression.

    · I’ll reflect on the broader importance of this musical transformation, not only for Black American music but for American music as a whole.

    · Finally, I’ll discuss how my experience singing in the choir has given me a unique perspective on the power and influence of these two musical genres.

    #### The Development of Gospel Music and Its Influence on Soul Music

    Introduction

    In this paper, I aim to explore the development of Gospel music and how it contributed significantly to the creation of Soul music. Growing up, I was deeply immersed in the world of Gospel through my experiences singing in the church choir. This personal connection to Gospel music has shaped my understanding of its powerful emotional delivery and cultural significance. The combination of powerful vocal techniques, spiritual messages, and the African American church's role in fostering these sounds laid the foundation for what would later become Soul music. I will discuss how these genres evolved, the impact Gospel had on Soul music, and how these musical developments reflect the broader social and cultural changes occurring in the mid-20th century.

    Background of Gospel Music

    Gospel music is rooted in the spirituals sung by African American slaves in the South, with influences from African rhythms and Christian hymnody (Selph, 2016). These early spirituals were not only a form of religious expression but also a means of emotional and social resistance. Over time, Gospel music transformed into a distinctive genre, characterized by its intense vocal delivery, call-and-response style, and themes of faith, hope, and salvation (Selph, 2016).

    As I grew up in the church, singing Gospel music, I learned firsthand the importance of vocal expression and connection to the lyrics. Gospel’s focus on heartfelt, powerful vocals is what sets it apart from many other genres. Influential figures such as Mahalia Jackson, who is often referred to as the “Queen of Gospel,” helped elevate the genre’s prominence in the 1940s and 1950s. Jackson's style was noted for its emotive delivery, powerful range, and ability to convey spiritual messages with deep personal conviction (Darden, 2004). Similarly, Sister Rosetta Tharpe was pivotal in blending Gospel with the emerging rhythms of popular music, laying the groundwork for the fusion of Gospel with secular sounds that would later influence Soul (Baker, 2004).

    Transition to Soul Music

    While Gospel music’s emotional depth and spiritual themes set it apart, the evolution into Soul music occurred as artists began to experiment with blending Gospel’s vocal styles with secular rhythm and blues (R&B). Soul music emerged in the late 1950s and early 1960s, drawing from Gospel’s powerful vocals, but introducing a broader range of emotional and social themes. This shift was especially prominent in the works of artists like Ray Charles and Aretha Franklin, who were both heavily influenced by their Gospel roots.

    Ray Charles, often regarded as the pioneer of Soul, famously combined the fervor of Gospel music with the rhythmic pulse of R&B. His breakthrough hit, “I Got a Woman,” is a perfect example of this fusion, with its call-and-response vocal style derived from Gospel and its R&B-inspired piano arrangements (Selph, 2016). Likewise, Aretha Franklin’s move from Gospel to Soul was a defining moment in the genre’s development. Franklin, who began singing in her father’s church, used the rich emotional delivery of Gospel to inform her soulful interpretations of R&B hits, creating songs that resonated with both personal and social struggles (Baker, 2004).

    The musical link between Gospel and Soul is evident in the way both genres emphasize vocal virtuosity. Soul singers, like Gospel singers, use their voices not just to convey melody, but to evoke deep emotional responses. The infusion of Gospel’s themes of faith and resilience with the secular themes of love, heartbreak, and empowerment in Soul music made it widely accessible while still maintaining its roots in African American spiritual and cultural traditions (Selph, 2016).

    Social and Cultural Context

    The development of both Gospel and Soul music cannot be separated from the broader social and cultural context of their time. Gospel music was inherently tied to African American religious and cultural identity. It was an essential part of the African American church experience, offering both a means of emotional expression and a form of resistance in the face of racial oppression. In this sense, Gospel music was more than just music—it was a reflection of the struggles and strength of the African American community (Baker, 2004).

    Soul music, on the other hand, emerged during the Civil Rights Movement, and it reflected the evolving social and political landscape of the 1960s. Soul music’s themes of empowerment, freedom, and love resonated deeply with the African American community as they fought for civil rights and equality. The emotional intensity of Gospel music—combined with the powerful social messages in Soul—created a genre that spoke to the heart and soul of Black America during a time of profound social change (Darden, 2004).

    The connection between race and music during this period cannot be overstated. Gospel and Soul music were both powerful forms of identity expression, showcasing the lived experiences of Black Americans in a way that was both deeply personal and politically significant. In many ways, the emotional style of both genres offered a way for African Americans to confront and survive the harsh realities of racism while celebrating their cultural heritage and identity.

    Conclusion

    In conclusion, the development of Gospel music played an instrumental role in the creation of Soul music. Gospel’s emotive vocal delivery, spiritual themes, and cultural significance laid the foundation for Soul, which adapted these elements into a broader range of secular themes. Soul music’s focus on vocal intensity, emotional expression, and social empowerment drew directly from Gospel’s roots while introducing new musical textures, rhythms, and themes.

    Looking back on my experiences in the church choir, I can see how deeply Gospel music influenced my understanding of musical expression. The same emotional energy and power that I learned to harness while singing in the choir continue to resonate in Soul music today. Gospel provided the foundation for Soul artists to explore new creative possibilities, and the legacy of this genre crossover continues to shape the music we listen to today.

    #### References

    Baker, C. (2004). Sister Rosetta Tharpe: The Gospel Music Pioneer. University Press of Mississippi.

    Darden, R. (2004). People Get Ready: A New History of Black Gospel Music. Continuum.

    Selph, C. (2016). Spirituals to Rock and Roll: The History of American Music and How It Conquered the World. McGraw-Hill Create.

    **## ResearchPaperOutline.docx**

    **Research Paper Outline: The Development of Gospel Music and Its Influence on Soul Music**

    1.
    **Introduction**

    · In this paper, I will explore the development of Gospel music and how it ultimately led to the creation of Soul music.

    · Growing up, I sang in the choir from a young age, which gave me a deep appreciation for the emotional and spiritual power of Gospel music. This personal experience will provide context as I explore how Gospel music influenced the sound and style of Soul music.

    · I will also discuss how the societal changes and cultural movements of the time played a role in shaping both genres.

    2.
    **Background of Gospel Music**

    · I will begin by outlining the historical origins of Gospel music. Gospel music is deeply rooted in African American religious and spiritual traditions, and its rise can be traced back to the spirituals and hymns sung by enslaved Africans.

    · I will discuss key characteristics of Gospel music, including its powerful vocals, call-and-response patterns, and themes of faith, hope, and struggle.

    · I’ll mention some of the most influential figures in Gospel music, such as Mahalia Jackson, Sister Rosetta Tharpe, and Thomas Dorsey, who helped shape its development and public popularity.

    3.
    **Transition to Soul Music**

    · Next, I will examine the rise of Soul music in the late 1950s and 1960s, focusing on how it evolved from Gospel music.

    · I will explain the key characteristics of Soul music, which includes a blend of Gospel’s emotive vocal delivery with rhythm and blues (R&B) influences.

    · One of the major elements I’ll discuss is the transition of Gospel singers, such as Ray Charles and Aretha Franklin, into the Soul genre. I’ll explore how their Gospel roots influenced their Soul sound, particularly in terms of vocal delivery and emotional expression.

    4.
    **Social and Cultural Context**

    · I will also reflect on how issues of race, class, and identity influenced both Gospel and Soul music. Gospel music was a way for Black communities to express their resilience and faith, while Soul music became an outlet for expressing personal and social struggles during the Civil Rights Movement.

    · I’ll examine how Gospel music’s deep ties to African American culture played a role in the rise of Soul music and its popularity across diverse audiences.

    · I will explore how Gospel-inspired performance styles, like passionate singing and emotional intensity, became a hallmark of Soul music.

    5.
    **Conclusion**

    · In conclusion, I’ll summarize how the development of Gospel music influenced the creation of Soul music, focusing on key aspects such as vocal techniques, emotional delivery, and cultural expression.

    · I’ll reflect on the broader importance of this musical transformation, not only for Black American music but for American music as a whole.

    · Finally, I’ll discuss how my experience singing in the choir has given me a unique perspective on the power and influence of these two musical genres.

    #### The Development of Gospel Music and Its Influence on Soul Music

    Introduction

    In this paper, I aim to explore the development of Gospel music and how it contributed significantly to the creation of Soul music. Growing up, I was deeply immersed in the world of Gospel through my experiences singing in the church choir. This personal connection to Gospel music has shaped my understanding of its powerful emotional delivery and cultural significance. The combination of powerful vocal techniques, spiritual messages, and the African American church's role in fostering these sounds laid the foundation for what would later become Soul music. I will discuss how these genres evolved, the impact Gospel had on Soul music, and how these musical developments reflect the broader social and cultural changes occurring in the mid-20th century.

    Background of Gospel Music

    Gospel music is rooted in the spirituals sung by African American slaves in the South, with influences from African rhythms and Christian hymnody (Selph, 2016). These early spirituals were not only a form of religious expression but also a means of emotional and social resistance. Over time, Gospel music transformed into a distinctive genre, characterized by its intense vocal delivery, call-and-response style, and themes of faith, hope, and salvation (Selph, 2016).

    As I grew up in the church, singing Gospel music, I learned firsthand the importance of vocal expression and connection to the lyrics. Gospel’s focus on heartfelt, powerful vocals is what sets it apart from many other genres. Influential figures such as Mahalia Jackson, who is often referred to as the “Queen of Gospel,” helped elevate the genre’s prominence in the 1940s and 1950s. Jackson's style was noted for its emotive delivery, powerful range, and ability to convey spiritual messages with deep personal conviction (Darden, 2004). Similarly, Sister Rosetta Tharpe was pivotal in blending Gospel with the emerging rhythms of popular music, laying the groundwork for the fusion of Gospel with secular sounds that would later influence Soul (Baker, 2004).

    Transition to Soul Music

    While Gospel music’s emotional depth and spiritual themes set it apart, the evolution into Soul music occurred as artists began to experiment with blending Gospel’s vocal styles with secular rhythm and blues (R&B). Soul music emerged in the late 1950s and early 1960s, drawing from Gospel’s powerful vocals, but introducing a broader range of emotional and social themes. This shift was especially prominent in the works of artists like Ray Charles and Aretha Franklin, who were both heavily influenced by their Gospel roots.

    Ray Charles, often regarded as the pioneer of Soul, famously combined the fervor of Gospel music with the rhythmic pulse of R&B. His breakthrough hit, “I Got a Woman,” is a perfect example of this fusion, with its call-and-response vocal style derived from Gospel and its R&B-inspired piano arrangements (Selph, 2016). Likewise, Aretha Franklin’s move from Gospel to Soul was a defining moment in the genre’s development. Franklin, who began singing in her father’s church, used the rich emotional delivery of Gospel to inform her soulful interpretations of R&B hits, creating songs that resonated with both personal and social struggles (Baker, 2004).

    The musical link between Gospel and Soul is evident in the way both genres emphasize vocal virtuosity. Soul singers, like Gospel singers, use their voices not just to convey melody, but to evoke deep emotional responses. The infusion of Gospel’s themes of faith and resilience with the secular themes of love, heartbreak, and empowerment in Soul music made it widely accessible while still maintaining its roots in African American spiritual and cultural traditions (Selph, 2016).

    Social and Cultural Context

    The development of both Gospel and Soul music cannot be separated from the broader social and cultural context of their time. Gospel music was inherently tied to African American religious and cultural identity. It was an essential part of the African American church experience, offering both a means of emotional expression and a form of resistance in the face of racial oppression. In this sense, Gospel music was more than just music—it was a reflection of the struggles and strength of the African American community (Baker, 2004).

    Soul music, on the other hand, emerged during the Civil Rights Movement, and it reflected the evolving social and political landscape of the 1960s. Soul music’s themes of empowerment, freedom, and love resonated deeply with the African American community as they fought for civil rights and equality. The emotional intensity of Gospel music—combined with the powerful social messages in Soul—created a genre that spoke to the heart and soul of Black America during a time of profound social change (Darden, 2004).

    The connection between race and music during this period cannot be overstated. Gospel and Soul music were both powerful forms of identity expression, showcasing the lived experiences of Black Americans in a way that was both deeply personal and politically significant. In many ways, the emotional style of both genres offered a way for African Americans to confront and survive the harsh realities of racism while celebrating their cultural heritage and identity.

    Conclusion

    In conclusion, the development of Gospel music played an instrumental role in the creation of Soul music. Gospel’s emotive vocal delivery, spiritual themes, and cultural significance laid the foundation for Soul, which adapted these elements into a broader range of secular themes. Soul music’s focus on vocal intensity, emotional expression, and social empowerment drew directly from Gospel’s roots while introducing new musical textures, rhythms, and themes.

    Looking back on my experiences in the church choir, I can see how deeply Gospel music influenced my understanding of musical expression. The same emotional energy and power that I learned to harness while singing in the choir continue to resonate in Soul music today. Gospel provided the foundation for Soul artists to explore new creative possibilities, and the legacy of this genre crossover continues to shape the music we listen to today.

    #### References

    Baker, C. (2004). Sister Rosetta Tharpe: The Gospel Music Pioneer. University Press of Mississippi.

    Darden, R. (2004). People Get Ready: A New History of Black Gospel Music. Continuum.

    Selph, C. (2016). Spirituals to Rock and Roll: The History of American Music and How It Conquered the World. McGraw-Hill Create.

  • [Solved] a2

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    – 2 years ago **files (3)** – ## Larry.docx – Schizophrenia.pdf7.pdf – Schizophrenia.pdf12.pdf **## Larry.docx** | | | | — | — | | Running head: GUIDED IMAGERY AND PROGRESSIVE MUSCLE RELAXATION | 2 | 12 **Case 4 – Larry: Diagnostic Worksheet** **Diagnosis:** 303.90 Alcohol Use Disorder, Moderate…

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    – 2 years ago

    **files (3)**

    – ## Larry.docx

    – Schizophrenia.pdf7.pdf
    – Schizophrenia.pdf12.pdf

    **## Larry.docx**

    | | |
    | — | — |
    | Running head: GUIDED IMAGERY AND PROGRESSIVE MUSCLE RELAXATION | 2 |

    12

    **Case 4 – Larry: Diagnostic Worksheet**

    **Diagnosis:** 303.90 Alcohol Use Disorder, Moderate

    **Justification:**

    A. A problematic pattern of alcohol use leading to clinically significant impairment or distress, as manifested by at least two of the following, occurring within a 12-month period.

    1. Alcohol is often taken in larger amounts or over a longer period than was intended AEB.

    · Client reported that he started drinking when he was 16 years old.

    · Client stated that he drinks every day; “a couple of beers” on weekdays and a six-pack on weekends.

    2. There is a persistent desire or unsuccessful efforts to cut down or control alcohol use AEB.

    · The client was unable to successfully complete two previous attempts at substance use treatment programs.

    5. Recurrent alcohol use resulting in a failure to fulfill role obligations at work, school, or home AEB.

    · The client’s work has suffered because of his inability to drive due to his suspended license.

    6. Continued Alcohol use despite having persistent social or interpersonal problems caused or exacerbated by the effects of alcohol AEB.

    · The client and the client’s girlfriend report not getting along and argue about his drinking. The client becomes violent with his girlfriend while drinking.

    8. Recurrent alcohol use in situations in which it’s physically hazardous AEB.

    · The client drove his vehicle while under the influence as evidenced by his three DUI offenses.

    **Specify Moderate:** Presence of four to five symptoms.

    · Client exhibits five symptoms of Alcohol Use Disorder

    **Diagnosis:** 305.20 Cannabis Use Disorder, Mild

    **Justification:**

    A. A problematic pattern of cannabis use leading to clinically significant impairment as manifested by at least two of the following, occurring within a twelve- month period.

    4. Craving, or a strong desire or urge to use cannabis AEB.

    · Client reported that in order for him to relax, he has to use cannabis.

    6. Continued Cannabis use despite having persistent social or interpersonal problems caused or exacerbated by the effects of cannabis AEB.

    · The client and his girlfriend state that they argue because of his “marijuana use”.

    **Specify Mild:** presence of two to three symptoms.

    · The client exhibits two symptoms of Cannabis Use Disorder.

    **Diagnosis:** 314.00 Attention- Deficit/Hyperactivity Disorder, Predominantly inattentive presentation, mild.

    **Justification:**

    A. A persistent pattern of inattention and/or hyperactivity-impulsivity that interferes with functioning, as characterized by (1) and/or (2).

    1. Inattention: Six or more of the following symptoms have persisted for at least six months that negatively impacts on social and academic/occupational activities.

    B. Often has difficulty sustaining attention in tasks or play activities AEB

    · Client reported that he has difficulty keeping his attention on paperwork.

    C. Often does not seem to listen when spoken to directly AEB.

    · Client’s girlfriend complains about his inattentiveness to her, even when she speaks to him directly.

    D. Often does not follow through on instructions and fails to finish schoolwork or duties at work (Loses focus and is easily distracted) AEB

    · Client has difficulty keeping his train of thought and he stated that he felt “distracted” during the assessment.

    E. Often has difficulty organizing tasks and activities AEB

    · Client states if he were better organized, he would probably be able to make more money at work.

    F. Often avoids, dislikes, or is reluctant to engage in tasks that require sustained mental effort

    AEB

    · The client reported that he avoids tasks that require mental energy from him.

    I. Is often forgetful in daily activities AEB

    · Client’s girlfriend complains about the client’s forgetfulness

    2. Hyperactivity: Six or more of the following symptoms have persisted for at least six months and negatively impacts social, academic, and occupational activities.

    A. Often fidgets with or taps hands or feet or squirms in seat AEB

    · During the assessment, the client appeared to be fidgety; he was constantly wringing his hands.

    C. Often runs about or climbs in situations where it is inappropriate (for adults, may be limited to feeling restless) AE

    · The client reports that he feels restless in the absence of substances.

    B. Several inattentive or hyperactive-impulsive symptoms were present prior to age 12 years.

    · The client was diagnosed with Attention-Deficit/Hyperactivity Disorder in elementary school.

    C. Several inattentive or hyperactive-impulse symptoms are present in two or more settings AEB.

    · The client’s inattentiveness is evident in his occupational setting as evidenced by his inability to focus on his paperwork and inability to stay organized.

    · The client’s inattentiveness are present in his social setting as evidenced by his girlfriend’s complaints.

    · The client’s inattentiveness was present in an academic setting. The symptoms were observed in elementary school; he struggled through academic subjects.

    D. There is clear evidence that the symptoms interfere with or reduce the quality of areas of functioning AEB.

    · The client’s inattentive symptoms strain his relationship with his girlfriend.

    · The client reported that because of his inability to organize at work, he is not able to make as much money as he could.

    E. The symptoms do not occur exclusively during the course of another mental disorder and is not better explained by another mental disorder.

    · The clients Attention-Deficit/Hyperactivity symptoms occur outside of his substance use disorders.

    **Specify Predominately inattentive presentation:** If Criterion A1 (inattention) is met but A2 (hyperactivity) is not met for the past six months.

    · Client meets the criteria for inattentiveness by displaying six of the inattentive symptoms. Client does not meet full criteria for hyperactivity during this assessment.

    **Specify Mild:** Few, if any symptoms in excess of those required to make the diagnosis are present.

    · Client meets minimum requirement of symptoms.

    **Diagnosis:** Provisional General Anxiety Disorder

    **Justification:**

    A. Excessive anxiety and worry, occurring more days than not for at least six months, about a number of events and activities AEB.

    · The client complained that he “feels anxious all the time and cannot remember when he has not felt that way”.

    · The client claims he worries about a number of things, such as, his children, his girlfriend, his job, and his need to complete the program.

    B. The individual finds it difficult to control the worry AEB

    · The client self-medicates with cannabis to help him relax

    C. The anxiety and worry are associated with three or more of the following six symptoms.

    1. Restlessness AEB

    · Client reported that he feels restless if he “does not drink or smoke marijuana”.

    4. Irritability AEB

    · The client has been arrested twice for family violence

    5. Muscle Tension AEB

    · The client stated that “feels” the anxiety in his stomach, head, and neck.

    6. Sleep Disturbance AEB

    · The client has sleeping problems; he wakes frequently and has trouble getting back to sleep.

    D. The anxiety, worry, or physical symptoms cause significant distress in social, occupational, or other areas of functioning AEB

    · The client’s anxiety about being able to complete the substance use program will affect his functioning in his social and occupational settings.

    · The client’s sleep problems could be causing more impairment in his social and occupational functioning.

    E. The disturbance is not attributable to the physiological effects of a substance or another medical condition.

    · The substances that the client uses relieves his symptoms of anxiety.

    F. The disturbance is not better explained by another mental disorder.

    · The client does not meet criteria for any other mental disorder.

    **Schizophrenia.pdf7.pdf**

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    **Schizophrenia.pdf12.pdf**

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    **Schizophrenia.pdf12.pdf**

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    **## Larry.docx**

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    | — | — |
    | Running head: GUIDED IMAGERY AND PROGRESSIVE MUSCLE RELAXATION | 2 |

    12

    **Case 4 – Larry: Diagnostic Worksheet**

    **Diagnosis:** 303.90 Alcohol Use Disorder, Moderate

    **Justification:**

    A. A problematic pattern of alcohol use leading to clinically significant impairment or distress, as manifested by at least two of the following, occurring within a 12-month period.

    1. Alcohol is often taken in larger amounts or over a longer period than was intended AEB.

    · Client reported that he started drinking when he was 16 years old.

    · Client stated that he drinks every day; “a couple of beers” on weekdays and a six-pack on weekends.

    2. There is a persistent desire or unsuccessful efforts to cut down or control alcohol use AEB.

    · The client was unable to successfully complete two previous attempts at substance use treatment programs.

    5. Recurrent alcohol use resulting in a failure to fulfill role obligations at work, school, or home AEB.

    · The client’s work has suffered because of his inability to drive due to his suspended license.

    6. Continued Alcohol use despite having persistent social or interpersonal problems caused or exacerbated by the effects of alcohol AEB.

    · The client and the client’s girlfriend report not getting along and argue about his drinking. The client becomes violent with his girlfriend while drinking.

    8. Recurrent alcohol use in situations in which it’s physically hazardous AEB.

    · The client drove his vehicle while under the influence as evidenced by his three DUI offenses.

    **Specify Moderate:** Presence of four to five symptoms.

    · Client exhibits five symptoms of Alcohol Use Disorder

    **Diagnosis:** 305.20 Cannabis Use Disorder, Mild

    **Justification:**

    A. A problematic pattern of cannabis use leading to clinically significant impairment as manifested by at least two of the following, occurring within a twelve- month period.

    4. Craving, or a strong desire or urge to use cannabis AEB.

    · Client reported that in order for him to relax, he has to use cannabis.

    6. Continued Cannabis use despite having persistent social or interpersonal problems caused or exacerbated by the effects of cannabis AEB.

    · The client and his girlfriend state that they argue because of his “marijuana use”.

    **Specify Mild:** presence of two to three symptoms.

    · The client exhibits two symptoms of Cannabis Use Disorder.

    **Diagnosis:** 314.00 Attention- Deficit/Hyperactivity Disorder, Predominantly inattentive presentation, mild.

    **Justification:**

    A. A persistent pattern of inattention and/or hyperactivity-impulsivity that interferes with functioning, as characterized by (1) and/or (2).

    1. Inattention: Six or more of the following symptoms have persisted for at least six months that negatively impacts on social and academic/occupational activities.

    B. Often has difficulty sustaining attention in tasks or play activities AEB

    · Client reported that he has difficulty keeping his attention on paperwork.

    C. Often does not seem to listen when spoken to directly AEB.

    · Client’s girlfriend complains about his inattentiveness to her, even when she speaks to him directly.

    D. Often does not follow through on instructions and fails to finish schoolwork or duties at work (Loses focus and is easily distracted) AEB

    · Client has difficulty keeping his train of thought and he stated that he felt “distracted” during the assessment.

    E. Often has difficulty organizing tasks and activities AEB

    · Client states if he were better organized, he would probably be able to make more money at work.

    F. Often avoids, dislikes, or is reluctant to engage in tasks that require sustained mental effort

    AEB

    · The client reported that he avoids tasks that require mental energy from him.

    I. Is often forgetful in daily activities AEB

    · Client’s girlfriend complains about the client’s forgetfulness

    2. Hyperactivity: Six or more of the following symptoms have persisted for at least six months and negatively impacts social, academic, and occupational activities.

    A. Often fidgets with or taps hands or feet or squirms in seat AEB

    · During the assessment, the client appeared to be fidgety; he was constantly wringing his hands.

    C. Often runs about or climbs in situations where it is inappropriate (for adults, may be limited to feeling restless) AE

    · The client reports that he feels restless in the absence of substances.

    B. Several inattentive or hyperactive-impulsive symptoms were present prior to age 12 years.

    · The client was diagnosed with Attention-Deficit/Hyperactivity Disorder in elementary school.

    C. Several inattentive or hyperactive-impulse symptoms are present in two or more settings AEB.

    · The client’s inattentiveness is evident in his occupational setting as evidenced by his inability to focus on his paperwork and inability to stay organized.

    · The client’s inattentiveness are present in his social setting as evidenced by his girlfriend’s complaints.

    · The client’s inattentiveness was present in an academic setting. The symptoms were observed in elementary school; he struggled through academic subjects.

    D. There is clear evidence that the symptoms interfere with or reduce the quality of areas of functioning AEB.

    · The client’s inattentive symptoms strain his relationship with his girlfriend.

    · The client reported that because of his inability to organize at work, he is not able to make as much money as he could.

    E. The symptoms do not occur exclusively during the course of another mental disorder and is not better explained by another mental disorder.

    · The clients Attention-Deficit/Hyperactivity symptoms occur outside of his substance use disorders.

    **Specify Predominately inattentive presentation:** If Criterion A1 (inattention) is met but A2 (hyperactivity) is not met for the past six months.

    · Client meets the criteria for inattentiveness by displaying six of the inattentive symptoms. Client does not meet full criteria for hyperactivity during this assessment.

    **Specify Mild:** Few, if any symptoms in excess of those required to make the diagnosis are present.

    · Client meets minimum requirement of symptoms.

    **Diagnosis:** Provisional General Anxiety Disorder

    **Justification:**

    A. Excessive anxiety and worry, occurring more days than not for at least six months, about a number of events and activities AEB.

    · The client complained that he “feels anxious all the time and cannot remember when he has not felt that way”.

    · The client claims he worries about a number of things, such as, his children, his girlfriend, his job, and his need to complete the program.

    B. The individual finds it difficult to control the worry AEB

    · The client self-medicates with cannabis to help him relax

    C. The anxiety and worry are associated with three or more of the following six symptoms.

    1. Restlessness AEB

    · Client reported that he feels restless if he “does not drink or smoke marijuana”.

    4. Irritability AEB

    · The client has been arrested twice for family violence

    5. Muscle Tension AEB

    · The client stated that “feels” the anxiety in his stomach, head, and neck.

    6. Sleep Disturbance AEB

    · The client has sleeping problems; he wakes frequently and has trouble getting back to sleep.

    D. The anxiety, worry, or physical symptoms cause significant distress in social, occupational, or other areas of functioning AEB

    · The client’s anxiety about being able to complete the substance use program will affect his functioning in his social and occupational settings.

    · The client’s sleep problems could be causing more impairment in his social and occupational functioning.

    E. The disturbance is not attributable to the physiological effects of a substance or another medical condition.

    · The substances that the client uses relieves his symptoms of anxiety.

    F. The disturbance is not better explained by another mental disorder.

    · The client does not meet criteria for any other mental disorder.

    **Schizophrenia.pdf7.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/schizophrenia-pdf7-pdf)

    **Schizophrenia.pdf12.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/schizophrenia-pdf12-pdf)

    **## Larry.docx**

    | | |
    | — | — |
    | Running head: GUIDED IMAGERY AND PROGRESSIVE MUSCLE RELAXATION | 2 |

    12

    **Case 4 – Larry: Diagnostic Worksheet**

    **Diagnosis:** 303.90 Alcohol Use Disorder, Moderate

    **Justification:**

    A. A problematic pattern of alcohol use leading to clinically significant impairment or distress, as manifested by at least two of the following, occurring within a 12-month period.

    1. Alcohol is often taken in larger amounts or over a longer period than was intended AEB.

    · Client reported that he started drinking when he was 16 years old.

    · Client stated that he drinks every day; “a couple of beers” on weekdays and a six-pack on weekends.

    2. There is a persistent desire or unsuccessful efforts to cut down or control alcohol use AEB.

    · The client was unable to successfully complete two previous attempts at substance use treatment programs.

    5. Recurrent alcohol use resulting in a failure to fulfill role obligations at work, school, or home AEB.

    · The client’s work has suffered because of his inability to drive due to his suspended license.

    6. Continued Alcohol use despite having persistent social or interpersonal problems caused or exacerbated by the effects of alcohol AEB.

    · The client and the client’s girlfriend report not getting along and argue about his drinking. The client becomes violent with his girlfriend while drinking.

    8. Recurrent alcohol use in situations in which it’s physically hazardous AEB.

    · The client drove his vehicle while under the influence as evidenced by his three DUI offenses.

    **Specify Moderate:** Presence of four to five symptoms.

    · Client exhibits five symptoms of Alcohol Use Disorder

    **Diagnosis:** 305.20 Cannabis Use Disorder, Mild

    **Justification:**

    A. A problematic pattern of cannabis use leading to clinically significant impairment as manifested by at least two of the following, occurring within a twelve- month period.

    4. Craving, or a strong desire or urge to use cannabis AEB.

    · Client reported that in order for him to relax, he has to use cannabis.

    6. Continued Cannabis use despite having persistent social or interpersonal problems caused or exacerbated by the effects of cannabis AEB.

    · The client and his girlfriend state that they argue because of his “marijuana use”.

    **Specify Mild:** presence of two to three symptoms.

    · The client exhibits two symptoms of Cannabis Use Disorder.

    **Diagnosis:** 314.00 Attention- Deficit/Hyperactivity Disorder, Predominantly inattentive presentation, mild.

    **Justification:**

    A. A persistent pattern of inattention and/or hyperactivity-impulsivity that interferes with functioning, as characterized by (1) and/or (2).

    1. Inattention: Six or more of the following symptoms have persisted for at least six months that negatively impacts on social and academic/occupational activities.

    B. Often has difficulty sustaining attention in tasks or play activities AEB

    · Client reported that he has difficulty keeping his attention on paperwork.

    C. Often does not seem to listen when spoken to directly AEB.

    · Client’s girlfriend complains about his inattentiveness to her, even when she speaks to him directly.

    D. Often does not follow through on instructions and fails to finish schoolwork or duties at work (Loses focus and is easily distracted) AEB

    · Client has difficulty keeping his train of thought and he stated that he felt “distracted” during the assessment.

    E. Often has difficulty organizing tasks and activities AEB

    · Client states if he were better organized, he would probably be able to make more money at work.

    F. Often avoids, dislikes, or is reluctant to engage in tasks that require sustained mental effort

    AEB

    · The client reported that he avoids tasks that require mental energy from him.

    I. Is often forgetful in daily activities AEB

    · Client’s girlfriend complains about the client’s forgetfulness

    2. Hyperactivity: Six or more of the following symptoms have persisted for at least six months and negatively impacts social, academic, and occupational activities.

    A. Often fidgets with or taps hands or feet or squirms in seat AEB

    · During the assessment, the client appeared to be fidgety; he was constantly wringing his hands.

    C. Often runs about or climbs in situations where it is inappropriate (for adults, may be limited to feeling restless) AE

    · The client reports that he feels restless in the absence of substances.

    B. Several inattentive or hyperactive-impulsive symptoms were present prior to age 12 years.

    · The client was diagnosed with Attention-Deficit/Hyperactivity Disorder in elementary school.

    C. Several inattentive or hyperactive-impulse symptoms are present in two or more settings AEB.

    · The client’s inattentiveness is evident in his occupational setting as evidenced by his inability to focus on his paperwork and inability to stay organized.

    · The client’s inattentiveness are present in his social setting as evidenced by his girlfriend’s complaints.

    · The client’s inattentiveness was present in an academic setting. The symptoms were observed in elementary school; he struggled through academic subjects.

    D. There is clear evidence that the symptoms interfere with or reduce the quality of areas of functioning AEB.

    · The client’s inattentive symptoms strain his relationship with his girlfriend.

    · The client reported that because of his inability to organize at work, he is not able to make as much money as he could.

    E. The symptoms do not occur exclusively during the course of another mental disorder and is not better explained by another mental disorder.

    · The clients Attention-Deficit/Hyperactivity symptoms occur outside of his substance use disorders.

    **Specify Predominately inattentive presentation:** If Criterion A1 (inattention) is met but A2 (hyperactivity) is not met for the past six months.

    · Client meets the criteria for inattentiveness by displaying six of the inattentive symptoms. Client does not meet full criteria for hyperactivity during this assessment.

    **Specify Mild:** Few, if any symptoms in excess of those required to make the diagnosis are present.

    · Client meets minimum requirement of symptoms.

    **Diagnosis:** Provisional General Anxiety Disorder

    **Justification:**

    A. Excessive anxiety and worry, occurring more days than not for at least six months, about a number of events and activities AEB.

    · The client complained that he “feels anxious all the time and cannot remember when he has not felt that way”.

    · The client claims he worries about a number of things, such as, his children, his girlfriend, his job, and his need to complete the program.

    B. The individual finds it difficult to control the worry AEB

    · The client self-medicates with cannabis to help him relax

    C. The anxiety and worry are associated with three or more of the following six symptoms.

    1. Restlessness AEB

    · Client reported that he feels restless if he “does not drink or smoke marijuana”.

    4. Irritability AEB

    · The client has been arrested twice for family violence

    5. Muscle Tension AEB

    · The client stated that “feels” the anxiety in his stomach, head, and neck.

    6. Sleep Disturbance AEB

    · The client has sleeping problems; he wakes frequently and has trouble getting back to sleep.

    D. The anxiety, worry, or physical symptoms cause significant distress in social, occupational, or other areas of functioning AEB

    · The client’s anxiety about being able to complete the substance use program will affect his functioning in his social and occupational settings.

    · The client’s sleep problems could be causing more impairment in his social and occupational functioning.

    E. The disturbance is not attributable to the physiological effects of a substance or another medical condition.

    · The substances that the client uses relieves his symptoms of anxiety.

    F. The disturbance is not better explained by another mental disorder.

    · The client does not meet criteria for any other mental disorder.

    **Schizophrenia.pdf7.pdf**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/schizophrenia-pdf7-pdf)

    **Schizophrenia.pdf12.pdf**

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  • [Solved] IDES 312 American Colonial Chapter 16

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    **## ch-16-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 16

    American Colonial

    England, Spain, France, Germany, and Holland 17th – 19th Centuries

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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    1

    American Colonial

    Beginning late 16th century, European colonists arrive in the New World

    Seeking religious or political freedom, wealth

    English, Spanish, French, Germans & Dutch bring social & cultural traditions of homeland

    Recreate architecture, interiors, furniture, decorative arts knew at home

    Most unaware of high-style Renaissance

    Medieval & vernacular with exception of Spanish

    Settlement patterns originate according to each country’s territorial holdings

    But affected by country’s administration of its colonies

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    England: Concepts & Architecture

    Architecture, interiors, furnishings reflect familiar forms of England

    Vernacular & medieval

    Architecture—public & private–like that of home

    Small, functional, little embellishment

    Settled times—Tudor, Elizabethan, even classical styles

    Plans & materials vary with region

    Similar characteristics: steeply pitched gable roof, casement windows, timber-framed construction

    Plans—hall, hall & parlor, lean-to within 1,

    2 stories

    Little thought of symmetry or other classical attributes

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.2

    Bruton Parish Church and interior, 1711-1715; Williamsburg, Virginia; plans by Alexander Spotwood. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.3

    Adam Thoroughgood House, 1636-1640; Princess Anne County, Virginia. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.4

    Floor plan, hall and parlor house with lean-to, 17th century, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The floor plan of the hall and parlor house shows the main entry door, then the entry with steep stairs, small casement windows on the right side of the main entry door, a hall, a parlor, an oven, a central fireplace, a bedroom, a lean-to, kitchen, storage or buttery, another small casement windows in the bedroom, and a rear door.

    6

    16.5

    Parson Capen House, 1683, Topsfield, Massachusetts. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors, Furnishings, Decorative Arts (1 of 5)

    Interiors–vernacular & medieval

    Modest scale, functional, visible structure

    Rough textures, low ceilings, large fireplaces

    Multi-functional rooms

    Hall—center of family life & used for cooking, eating, socializing, sometimes sleeping

    Furniture—early crude and quickly made

    Later—closely follows English Elizabethan, Jacobean, William & Mary

    Often multifunctional

    Some rooms filled with furniture, particularly seating

    Chambers usually have more than one bed

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    8

    16.7

    Recreated interior with 17th-century fireplace and some furnishings; Ipswich, Massachusetts. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The interior is a vernacular and medieval architectural style that has a low ceiling and a large fireplace. There are chairs, and mats placed near the fireplace. Many utensils are arranged. The hall is used for multi-functional purposes.

    9

    16.8

    Hall and chamber (Hart Room), Hart House, before 1674; Ipswich, Massachusetts. English Colonial. [Courtesy, Winterthur Museum]

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    10

    16.12

    Carver chair, late 17th century; New Haven County, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    11

    16.13

    Connecticut or Wethersfield chest; 17th century; Hartford, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    Connecticut or Wethersfield chest is made from oak wood and in a rectangular shape. This chest has a hinged top to access storage, a stylized tulip at the center and a stylized Tudor rose at the left and right side of the chest, a split spindle, stile, rail, boss, and four drawers.

    12

    Spain: Concepts, Motifs, Architecture

    Impressive buildings establish, emphasize authority & power

    More influences from Spanish Renaissance & Baroque

    More provincial, adapted to local conditions, labor forces, materials

    Motifs—Spanish Renaissance & Baroque, Native American

    Architecture—missions & churches main survivors

    Built to impress new converts

    Unornamented adobe (Southwestern U.S.) to domed & vaulted stone with decorative portals (Texas, Arizona)

    Houses for protection from climate & attack instead of style

    Materials, construction unlike Spain but similar characteristics

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.16

    San Xavier del Bac, 1767-1797; near Tucson, Arizona; Ignacio Gaoma. Spanish Colonial.

    *[Substitute image]

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.17

    Sand Diego de Alcala Basilica and nave, 1774, rebuilt in 1803, 1812; Sand Diego, California. This was the first mission to be built in California. Spanish Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors, Furnishings, Decorative Arts (2 of 5)

    Interiors—contrast of colors, shapes, light, dark

    Churches—plain exterior, richly decorated interiors

    Baroque devices, light; sculpture; & paintings to impress

    Domestic—white-washed walls, dark wood trim & floor

    Sparsely but luxuriously & colorfully furnished

    Furniture—Spanish prototypes but cruder, provincial

    Some brought from Spain, some made locally

    Local woods, board construction

    Simple form, rectilinear supports

    Simple painted or carved decoration

    Spindles carved instead of turned

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.20

    Sala, Governor’s Palace, 1749; San Antonio, Texas. Spanish Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Governor's Palace called Sala had dark wood vigas on the roof and walls were made of adobe or stone and white painted. There were dark wood lintels and a prominent fireplace with a dark wood mantel. The Palace had simply constructed wooden furniture and stone floor.

    17

    France: Concepts & Architecture

    Material culture resembles those in France & settlers’ classes & regions of origin

    Architecture—French medieval prototypes adapted to a range of climates

    Wood & stone in Canada

    Log houses Mississippi River valley

    Sophisticated cottages & townhouses in New Orleans

    Louisiana plantation houses

    Chief house type—small, hipped roof, with or without a porch in all climates

    Early plans 1 or 2 rooms; later 2 or 3 rooms and 1 or 2 rooms deep

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.22

    Cahokia Courtyard, 1737; Cahokia, Illinois. French Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Cahokia Courtyard has prominent chimneys, steep and double-pitched roof with shingles and a large overhang, and a wood post support overhang. The courtyard has a French door with a wood panel at the base, a galerie. It is an example of Poteaux sur sole construction.

    19

    Interiors, Furnishings, Decorative Arts (3 of 5)

    Multifunctional rooms follow French prototypes

    Simple treatments

    Paneled or plastered walls; low, beamed ceilings; taller ceilings in warmer climates; dirt or wood floors

    Little furniture

    Furniture follows French prototypes

    Similar construction methods, lines, forms, details

    Styles—Louis

    Louis

    Louis

    Louis

    continue after out of fashion at home

    Simplicity & mixing of styles give provincial appearance

    Some built-in

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.24

    Keeping Room, Louis Bolduc, 1770-1785; S. Genevieve, Missouri. French Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The keeping room of Louis Bolduc has plastered walls and a wood floor. There is a fireplace and two guns are placed above it. It has a dining table with chairs and plates arranged on the table. Windows are made of wood and have curtains. A wooden cupboard and many other pieces of furniture are present in the room.

    21

    Germany: Concepts & Architecture

    Traditional German medieval building & furnishing patterns

    Architecture—rural settlers maintain medieval building traditions into 19th century

    Some have collective European heritage, such as stone & wood

    Swedes bring log cabins to America; Germans spread them westward

    Affluent houses—stone or brick with gable, quoins; others of logs

    Texas & Wisconsin—fackwerk, half-timbering

    Early houses combine barns, stables, service & living areas under roof

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.25

    Klein-Naegelin, 1846; New Braunfels, Texas. Fachwerk construction. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    Klein-Naegelin's house was constructed using stones or bricks with gable and quoins. Walls are made with cedar timbers, then filled solid with sun-baked adobe brick. The porch across the front of the house has five squared, beveled, wood columns. Windows are double-hung and louvered shutters on the front windows.

    23

    16.26

    Muckleroy House, 1840; Round Top (now Henkel Square), Texas. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Muckleroy House has a stone chimney on the end walls. It is a half-story house with low pitched roof. There is a pent roof too. The Muckleroy house is an example of a Dog trot. It is constructed with the log that is evident on the front facade and there is an extended porch for the living area. Lean-to can be seen in the rear for service areas.

    24

    Interiors, Furnishings, Decorative Arts (4 of 5)

    Interiors—simple, colorful treatments

    Wood floors & colorful rugs

    Whitewashed walls with painted patterns

    Beamed or plastered ceilings

    Furniture—rural & urban

    Rural—medieval into 19th century

    Urban—influenced by & influences English

    Ladder-back chairs with rush seats, painted chests

    Fraktur—colorful, hand-decorated texts or documents

    Ceramics—slipware & sgraffito ware

    Glassware—mostly made by Germans in colonial period

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.27

    Painted chest, 1795-1810; Shenandoah Valley County, Virginia: Johannes Spitler. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    26

    Holland: Concepts & Architecture

    Dutch recreate buildings & furnishings from Holland

    Strong reciprocity between English & Dutch settlers

    Architecture—several house types

    Urban row house—gable end faces street with parapet wall in various shapes; shops below living quarters

    Other houses identified by roofs—straight-side gable & flared eave

    Wood, brick, or stone

    Mostly brick with patterns of blue, purple, or gray mixed with red

    Raised front-door and stoep or platform

    Linear floor plans—three adjacent rooms

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.28

    Terheun House, c. 1670 and later; Hackensack, New Jersey. Flare-eave roof. Dutch Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The west elevation shows a flare-eaved roof and chimneys. It has rectangular-shaped windows. The south elevation shows the slanting and flat roofs with chimneys. The windows with pediment. The glass windows are on the facade.

    28

    Interiors, Furnishings, Decorative Arts (5 of 5)

    Interiors—more colorful than English

    Tiles, ceramics, textiles, paintings

    Many are merchants so have objects from around the world

    White-washed walls, beamed or plastered ceilings

    Large fireplace with hood & cast-iron fireback; tiled surround & ruffled valance hanging from hood

    Furniture—reproduces Dutch prototypes, brought from home, or imported

    Kas—distinctive Dutch storage piece in Hudson River valley

    Beds sometimes built-in

    Tin-glazed earthenware (Delft) tiles & objects in blue &

    **## IDES312PowerPointInstructions.pptx**

    American Colonial: England, Spain, France, Germany and Holland.

    Chapter 16

    [This Photo](https://cod.pressbooks.pub/westernworlddailyreadingsgeography/chapter/historical-geography/nounproject_history_nithinantatah/) by Unknown Author is licensed under
    [CC BY-SA-NC](https://creativecommons.org/licenses/by-nc-sa/3.0/)

    Spanish foot

    Also called: Spanish scroll foot or Braganza toe
    Scrolled foot with curving vertical ribs

    A hoof-like, grooved and flared foot which ends in an inward curving scroll

    [This Photo](https://pinkbikepinksand.wordpress.com/tag/furniture-feet/) by Unknown Author is licensed under
    [CC BY-SA-NC](https://creativecommons.org/licenses/by-nc-sa/3.0/)

    [This Photo](https://www.earlyoakreproductions.co.uk/detail-quality/) by Unknown Author is licensed under
    [CC BY-NC-ND](https://creativecommons.org/licenses/by-nc-nd/3.0/)

    Ball foot

    Turned round foot.

    Similar to a bun foot, but rounder.

    Most popular in the William and Mary period

    Baluster Turned:

    [This Photo](https://www.earlyoakreproductions.co.uk/detail-quality/detail-quality-classical-baluster-oak-chair-turning-5711.php) by Unknown Author is licensed under
    [CC BY-NC-ND](https://creativecommons.org/licenses/by-nc-nd/3.0/)

    an object or vertical member (such as the leg of a table, a round in a chair back, or the stem of a glass) having a vaselike or turned outline.

    PowerPoint/Slide Deck Instructions

    Review the list of vocabulary/glossary terms

    Find an image for each term. You may use one image for each term or find one that reflects multiple terms. Confirm your images as correct – NO USE OF Wikipedia as it is not considered a scholarly source.

    Each term must be identified in the image. For example, for a Spanish foot image, add the complete definition and an arrow directing the reader from the image to the definition. If you chose an image with multiple term examples, provide all definitions and connect them with arrows. Site the source of each image. This can be done on each slide or as a Source page at the end of your presentation.

    The page format is your choice. For instance, the three slides I provided could be presented all on one page. As long as each term is included with an image, definition, and label/arrow are included, you are good.

    Consider using this website as a confirmed source.
    [Illustrated Dictionaries](https://buffaloah.com/dics/dics.html)

    The list of terms will vary each week. The key to success is allowing enough time to complete the slide deck assignment. This is a three-unit class, meaning three hours of content/book reading, supplemental reading, and videos. Allow six hours for homework, testing, etc.

    Some weeks will require most of the time mentioned above, and a few may require less time. Plan accordingly.

    ## image1.jpg

    ## image2.jpg

    ## image3.jpg

    ## image4.jpg

    **IMG_8523.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8523-png)

    **IMG_8517.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8517-png-10170285)

    **IMG_8514.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8514-png-10170287)

    **IMG_8515.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8515-png-10170289)

    **IMG_8516.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8516-png-10170291)

    **IMG_8519.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8519-png-10170293)

    **IMG_8518.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8518-png-10170295)

    **IMG_8513.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8513-png-10170279)

    **IMG_8524.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8524-png)

    **IMG_8525.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8525-png)

    **IMG_8526.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8526-png)

    **IMG_8527.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8527-png)

    **IMG_8529.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8529-png)

    **IMG_8528.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8528-png)

    **IMG_8521.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8521-png)

    **IMG_8520.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8520-png)

    **IMG_8522.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8522-png-10170281)

    **IMG_8522.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8522-png-10170281)

    **## ch-16-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 16

    American Colonial

    England, Spain, France, Germany, and Holland 17th – 19th Centuries

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    American Colonial

    Beginning late 16th century, European colonists arrive in the New World

    Seeking religious or political freedom, wealth

    English, Spanish, French, Germans & Dutch bring social & cultural traditions of homeland

    Recreate architecture, interiors, furniture, decorative arts knew at home

    Most unaware of high-style Renaissance

    Medieval & vernacular with exception of Spanish

    Settlement patterns originate according to each country’s territorial holdings

    But affected by country’s administration of its colonies

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    England: Concepts & Architecture

    Architecture, interiors, furnishings reflect familiar forms of England

    Vernacular & medieval

    Architecture—public & private–like that of home

    Small, functional, little embellishment

    Settled times—Tudor, Elizabethan, even classical styles

    Plans & materials vary with region

    Similar characteristics: steeply pitched gable roof, casement windows, timber-framed construction

    Plans—hall, hall & parlor, lean-to within 1,

    2 stories

    Little thought of symmetry or other classical attributes

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.2

    Bruton Parish Church and interior, 1711-1715; Williamsburg, Virginia; plans by Alexander Spotwood. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.3

    Adam Thoroughgood House, 1636-1640; Princess Anne County, Virginia. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.4

    Floor plan, hall and parlor house with lean-to, 17th century, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The floor plan of the hall and parlor house shows the main entry door, then the entry with steep stairs, small casement windows on the right side of the main entry door, a hall, a parlor, an oven, a central fireplace, a bedroom, a lean-to, kitchen, storage or buttery, another small casement windows in the bedroom, and a rear door.

    6

    16.5

    Parson Capen House, 1683, Topsfield, Massachusetts. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors, Furnishings, Decorative Arts (1 of 5)

    Interiors–vernacular & medieval

    Modest scale, functional, visible structure

    Rough textures, low ceilings, large fireplaces

    Multi-functional rooms

    Hall—center of family life & used for cooking, eating, socializing, sometimes sleeping

    Furniture—early crude and quickly made

    Later—closely follows English Elizabethan, Jacobean, William & Mary

    Often multifunctional

    Some rooms filled with furniture, particularly seating

    Chambers usually have more than one bed

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    8

    16.7

    Recreated interior with 17th-century fireplace and some furnishings; Ipswich, Massachusetts. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The interior is a vernacular and medieval architectural style that has a low ceiling and a large fireplace. There are chairs, and mats placed near the fireplace. Many utensils are arranged. The hall is used for multi-functional purposes.

    9

    16.8

    Hall and chamber (Hart Room), Hart House, before 1674; Ipswich, Massachusetts. English Colonial. [Courtesy, Winterthur Museum]

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    10

    16.12

    Carver chair, late 17th century; New Haven County, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    11

    16.13

    Connecticut or Wethersfield chest; 17th century; Hartford, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    Connecticut or Wethersfield chest is made from oak wood and in a rectangular shape. This chest has a hinged top to access storage, a stylized tulip at the center and a stylized Tudor rose at the left and right side of the chest, a split spindle, stile, rail, boss, and four drawers.

    12

    Spain: Concepts, Motifs, Architecture

    Impressive buildings establish, emphasize authority & power

    More influences from Spanish Renaissance & Baroque

    More provincial, adapted to local conditions, labor forces, materials

    Motifs—Spanish Renaissance & Baroque, Native American

    Architecture—missions & churches main survivors

    Built to impress new converts

    Unornamented adobe (Southwestern U.S.) to domed & vaulted stone with decorative portals (Texas, Arizona)

    Houses for protection from climate & attack instead of style

    Materials, construction unlike Spain but similar characteristics

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.16

    San Xavier del Bac, 1767-1797; near Tucson, Arizona; Ignacio Gaoma. Spanish Colonial.

    *[Substitute image]

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.17

    Sand Diego de Alcala Basilica and nave, 1774, rebuilt in 1803, 1812; Sand Diego, California. This was the first mission to be built in California. Spanish Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors, Furnishings, Decorative Arts (2 of 5)

    Interiors—contrast of colors, shapes, light, dark

    Churches—plain exterior, richly decorated interiors

    Baroque devices, light; sculpture; & paintings to impress

    Domestic—white-washed walls, dark wood trim & floor

    Sparsely but luxuriously & colorfully furnished

    Furniture—Spanish prototypes but cruder, provincial

    Some brought from Spain, some made locally

    Local woods, board construction

    Simple form, rectilinear supports

    Simple painted or carved decoration

    Spindles carved instead of turned

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.20

    Sala, Governor’s Palace, 1749; San Antonio, Texas. Spanish Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Governor's Palace called Sala had dark wood vigas on the roof and walls were made of adobe or stone and white painted. There were dark wood lintels and a prominent fireplace with a dark wood mantel. The Palace had simply constructed wooden furniture and stone floor.

    17

    France: Concepts & Architecture

    Material culture resembles those in France & settlers’ classes & regions of origin

    Architecture—French medieval prototypes adapted to a range of climates

    Wood & stone in Canada

    Log houses Mississippi River valley

    Sophisticated cottages & townhouses in New Orleans

    Louisiana plantation houses

    Chief house type—small, hipped roof, with or without a porch in all climates

    Early plans 1 or 2 rooms; later 2 or 3 rooms and 1 or 2 rooms deep

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.22

    Cahokia Courtyard, 1737; Cahokia, Illinois. French Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Cahokia Courtyard has prominent chimneys, steep and double-pitched roof with shingles and a large overhang, and a wood post support overhang. The courtyard has a French door with a wood panel at the base, a galerie. It is an example of Poteaux sur sole construction.

    19

    Interiors, Furnishings, Decorative Arts (3 of 5)

    Multifunctional rooms follow French prototypes

    Simple treatments

    Paneled or plastered walls; low, beamed ceilings; taller ceilings in warmer climates; dirt or wood floors

    Little furniture

    Furniture follows French prototypes

    Similar construction methods, lines, forms, details

    Styles—Louis

    Louis

    Louis

    Louis

    continue after out of fashion at home

    Simplicity & mixing of styles give provincial appearance

    Some built-in

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.24

    Keeping Room, Louis Bolduc, 1770-1785; S. Genevieve, Missouri. French Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The keeping room of Louis Bolduc has plastered walls and a wood floor. There is a fireplace and two guns are placed above it. It has a dining table with chairs and plates arranged on the table. Windows are made of wood and have curtains. A wooden cupboard and many other pieces of furniture are present in the room.

    21

    Germany: Concepts & Architecture

    Traditional German medieval building & furnishing patterns

    Architecture—rural settlers maintain medieval building traditions into 19th century

    Some have collective European heritage, such as stone & wood

    Swedes bring log cabins to America; Germans spread them westward

    Affluent houses—stone or brick with gable, quoins; others of logs

    Texas & Wisconsin—fackwerk, half-timbering

    Early houses combine barns, stables, service & living areas under roof

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.25

    Klein-Naegelin, 1846; New Braunfels, Texas. Fachwerk construction. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    Klein-Naegelin's house was constructed using stones or bricks with gable and quoins. Walls are made with cedar timbers, then filled solid with sun-baked adobe brick. The porch across the front of the house has five squared, beveled, wood columns. Windows are double-hung and louvered shutters on the front windows.

    23

    16.26

    Muckleroy House, 1840; Round Top (now Henkel Square), Texas. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Muckleroy House has a stone chimney on the end walls. It is a half-story house with low pitched roof. There is a pent roof too. The Muckleroy house is an example of a Dog trot. It is constructed with the log that is evident on the front facade and there is an extended porch for the living area. Lean-to can be seen in the rear for service areas.

    24

    Interiors, Furnishings, Decorative Arts (4 of 5)

    Interiors—simple, colorful treatments

    Wood floors & colorful rugs

    Whitewashed walls with painted patterns

    Beamed or plastered ceilings

    Furniture—rural & urban

    Rural—medieval into 19th century

    Urban—influenced by & influences English

    Ladder-back chairs with rush seats, painted chests

    Fraktur—colorful, hand-decorated texts or documents

    Ceramics—slipware & sgraffito ware

    Glassware—mostly made by Germans in colonial period

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.27

    Painted chest, 1795-1810; Shenandoah Valley County, Virginia: Johannes Spitler. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    26

    Holland: Concepts & Architecture

    Dutch recreate buildings & furnishings from Holland

    Strong reciprocity between English & Dutch settlers

    Architecture—several house types

    Urban row house—gable end faces street with parapet wall in various shapes; shops below living quarters

    Other houses identified by roofs—straight-side gable & flared eave

    Wood, brick, or stone

    Mostly brick with patterns of blue, purple, or gray mixed with red

    Raised front-door and stoep or platform

    Linear floor plans—three adjacent rooms

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.28

    Terheun House, c. 1670 and later; Hackensack, New Jersey. Flare-eave roof. Dutch Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The west elevation shows a flare-eaved roof and chimneys. It has rectangular-shaped windows. The south elevation shows the slanting and flat roofs with chimneys. The windows with pediment. The glass windows are on the facade.

    28

    Interiors, Furnishings, Decorative Arts (5 of 5)

    Interiors—more colorful than English

    Tiles, ceramics, textiles, paintings

    Many are merchants so have objects from around the world

    White-washed walls, beamed or plastered ceilings

    Large fireplace with hood & cast-iron fireback; tiled surround & ruffled valance hanging from hood

    Furniture—reproduces Dutch prototypes, brought from home, or imported

    Kas—distinctive Dutch storage piece in Hudson River valley

    Beds sometimes built-in

    Tin-glazed earthenware (Delft) tiles & objects in blue &

    **## IDES312PowerPointInstructions.pptx**

    American Colonial: England, Spain, France, Germany and Holland.

    Chapter 16

    [This Photo](https://cod.pressbooks.pub/westernworlddailyreadingsgeography/chapter/historical-geography/nounproject_history_nithinantatah/) by Unknown Author is licensed under
    [CC BY-SA-NC](https://creativecommons.org/licenses/by-nc-sa/3.0/)

    Spanish foot

    Also called: Spanish scroll foot or Braganza toe
    Scrolled foot with curving vertical ribs

    A hoof-like, grooved and flared foot which ends in an inward curving scroll

    [This Photo](https://pinkbikepinksand.wordpress.com/tag/furniture-feet/) by Unknown Author is licensed under
    [CC BY-SA-NC](https://creativecommons.org/licenses/by-nc-sa/3.0/)

    [This Photo](https://www.earlyoakreproductions.co.uk/detail-quality/) by Unknown Author is licensed under
    [CC BY-NC-ND](https://creativecommons.org/licenses/by-nc-nd/3.0/)

    Ball foot

    Turned round foot.

    Similar to a bun foot, but rounder.

    Most popular in the William and Mary period

    Baluster Turned:

    [This Photo](https://www.earlyoakreproductions.co.uk/detail-quality/detail-quality-classical-baluster-oak-chair-turning-5711.php) by Unknown Author is licensed under
    [CC BY-NC-ND](https://creativecommons.org/licenses/by-nc-nd/3.0/)

    an object or vertical member (such as the leg of a table, a round in a chair back, or the stem of a glass) having a vaselike or turned outline.

    PowerPoint/Slide Deck Instructions

    Review the list of vocabulary/glossary terms

    Find an image for each term. You may use one image for each term or find one that reflects multiple terms. Confirm your images as correct – NO USE OF Wikipedia as it is not considered a scholarly source.

    Each term must be identified in the image. For example, for a Spanish foot image, add the complete definition and an arrow directing the reader from the image to the definition. If you chose an image with multiple term examples, provide all definitions and connect them with arrows. Site the source of each image. This can be done on each slide or as a Source page at the end of your presentation.

    The page format is your choice. For instance, the three slides I provided could be presented all on one page. As long as each term is included with an image, definition, and label/arrow are included, you are good.

    Consider using this website as a confirmed source.
    [Illustrated Dictionaries](https://buffaloah.com/dics/dics.html)

    The list of terms will vary each week. The key to success is allowing enough time to complete the slide deck assignment. This is a three-unit class, meaning three hours of content/book reading, supplemental reading, and videos. Allow six hours for homework, testing, etc.

    Some weeks will require most of the time mentioned above, and a few may require less time. Plan accordingly.

    ## image1.jpg

    ## image2.jpg

    ## image3.jpg

    ## image4.jpg

    **IMG_8523.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8523-png)

    **IMG_8517.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8517-png-10170285)

    **IMG_8514.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8514-png-10170287)

    **IMG_8515.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8515-png-10170289)

    **IMG_8516.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8516-png-10170291)

    **IMG_8519.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8519-png-10170293)

    **IMG_8518.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8518-png-10170295)

    **IMG_8513.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8513-png-10170279)

    **IMG_8524.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8524-png)

    **IMG_8525.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8525-png)

    **IMG_8526.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8526-png)

    **IMG_8527.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8527-png)

    **IMG_8529.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8529-png)

    **IMG_8528.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8528-png)

    **IMG_8521.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8521-png)

    **IMG_8520.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8520-png)

    **IMG_8522.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8522-png-10170281)

    **## ch-16-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 16

    American Colonial

    England, Spain, France, Germany, and Holland 17th – 19th Centuries

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    American Colonial

    Beginning late 16th century, European colonists arrive in the New World

    Seeking religious or political freedom, wealth

    English, Spanish, French, Germans & Dutch bring social & cultural traditions of homeland

    Recreate architecture, interiors, furniture, decorative arts knew at home

    Most unaware of high-style Renaissance

    Medieval & vernacular with exception of Spanish

    Settlement patterns originate according to each country’s territorial holdings

    But affected by country’s administration of its colonies

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    England: Concepts & Architecture

    Architecture, interiors, furnishings reflect familiar forms of England

    Vernacular & medieval

    Architecture—public & private–like that of home

    Small, functional, little embellishment

    Settled times—Tudor, Elizabethan, even classical styles

    Plans & materials vary with region

    Similar characteristics: steeply pitched gable roof, casement windows, timber-framed construction

    Plans—hall, hall & parlor, lean-to within 1,

    2 stories

    Little thought of symmetry or other classical attributes

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.2

    Bruton Parish Church and interior, 1711-1715; Williamsburg, Virginia; plans by Alexander Spotwood. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.3

    Adam Thoroughgood House, 1636-1640; Princess Anne County, Virginia. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.4

    Floor plan, hall and parlor house with lean-to, 17th century, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The floor plan of the hall and parlor house shows the main entry door, then the entry with steep stairs, small casement windows on the right side of the main entry door, a hall, a parlor, an oven, a central fireplace, a bedroom, a lean-to, kitchen, storage or buttery, another small casement windows in the bedroom, and a rear door.

    6

    16.5

    Parson Capen House, 1683, Topsfield, Massachusetts. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors, Furnishings, Decorative Arts (1 of 5)

    Interiors–vernacular & medieval

    Modest scale, functional, visible structure

    Rough textures, low ceilings, large fireplaces

    Multi-functional rooms

    Hall—center of family life & used for cooking, eating, socializing, sometimes sleeping

    Furniture—early crude and quickly made

    Later—closely follows English Elizabethan, Jacobean, William & Mary

    Often multifunctional

    Some rooms filled with furniture, particularly seating

    Chambers usually have more than one bed

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    8

    16.7

    Recreated interior with 17th-century fireplace and some furnishings; Ipswich, Massachusetts. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The interior is a vernacular and medieval architectural style that has a low ceiling and a large fireplace. There are chairs, and mats placed near the fireplace. Many utensils are arranged. The hall is used for multi-functional purposes.

    9

    16.8

    Hall and chamber (Hart Room), Hart House, before 1674; Ipswich, Massachusetts. English Colonial. [Courtesy, Winterthur Museum]

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    10

    16.12

    Carver chair, late 17th century; New Haven County, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    11

    16.13

    Connecticut or Wethersfield chest; 17th century; Hartford, Connecticut. English Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    Connecticut or Wethersfield chest is made from oak wood and in a rectangular shape. This chest has a hinged top to access storage, a stylized tulip at the center and a stylized Tudor rose at the left and right side of the chest, a split spindle, stile, rail, boss, and four drawers.

    12

    Spain: Concepts, Motifs, Architecture

    Impressive buildings establish, emphasize authority & power

    More influences from Spanish Renaissance & Baroque

    More provincial, adapted to local conditions, labor forces, materials

    Motifs—Spanish Renaissance & Baroque, Native American

    Architecture—missions & churches main survivors

    Built to impress new converts

    Unornamented adobe (Southwestern U.S.) to domed & vaulted stone with decorative portals (Texas, Arizona)

    Houses for protection from climate & attack instead of style

    Materials, construction unlike Spain but similar characteristics

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.16

    San Xavier del Bac, 1767-1797; near Tucson, Arizona; Ignacio Gaoma. Spanish Colonial.

    *[Substitute image]

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.17

    Sand Diego de Alcala Basilica and nave, 1774, rebuilt in 1803, 1812; Sand Diego, California. This was the first mission to be built in California. Spanish Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Interiors, Furnishings, Decorative Arts (2 of 5)

    Interiors—contrast of colors, shapes, light, dark

    Churches—plain exterior, richly decorated interiors

    Baroque devices, light; sculpture; & paintings to impress

    Domestic—white-washed walls, dark wood trim & floor

    Sparsely but luxuriously & colorfully furnished

    Furniture—Spanish prototypes but cruder, provincial

    Some brought from Spain, some made locally

    Local woods, board construction

    Simple form, rectilinear supports

    Simple painted or carved decoration

    Spindles carved instead of turned

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.20

    Sala, Governor’s Palace, 1749; San Antonio, Texas. Spanish Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Governor's Palace called Sala had dark wood vigas on the roof and walls were made of adobe or stone and white painted. There were dark wood lintels and a prominent fireplace with a dark wood mantel. The Palace had simply constructed wooden furniture and stone floor.

    17

    France: Concepts & Architecture

    Material culture resembles those in France & settlers’ classes & regions of origin

    Architecture—French medieval prototypes adapted to a range of climates

    Wood & stone in Canada

    Log houses Mississippi River valley

    Sophisticated cottages & townhouses in New Orleans

    Louisiana plantation houses

    Chief house type—small, hipped roof, with or without a porch in all climates

    Early plans 1 or 2 rooms; later 2 or 3 rooms and 1 or 2 rooms deep

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.22

    Cahokia Courtyard, 1737; Cahokia, Illinois. French Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Cahokia Courtyard has prominent chimneys, steep and double-pitched roof with shingles and a large overhang, and a wood post support overhang. The courtyard has a French door with a wood panel at the base, a galerie. It is an example of Poteaux sur sole construction.

    19

    Interiors, Furnishings, Decorative Arts (3 of 5)

    Multifunctional rooms follow French prototypes

    Simple treatments

    Paneled or plastered walls; low, beamed ceilings; taller ceilings in warmer climates; dirt or wood floors

    Little furniture

    Furniture follows French prototypes

    Similar construction methods, lines, forms, details

    Styles—Louis

    Louis

    Louis

    Louis

    continue after out of fashion at home

    Simplicity & mixing of styles give provincial appearance

    Some built-in

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.24

    Keeping Room, Louis Bolduc, 1770-1785; S. Genevieve, Missouri. French Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The keeping room of Louis Bolduc has plastered walls and a wood floor. There is a fireplace and two guns are placed above it. It has a dining table with chairs and plates arranged on the table. Windows are made of wood and have curtains. A wooden cupboard and many other pieces of furniture are present in the room.

    21

    Germany: Concepts & Architecture

    Traditional German medieval building & furnishing patterns

    Architecture—rural settlers maintain medieval building traditions into 19th century

    Some have collective European heritage, such as stone & wood

    Swedes bring log cabins to America; Germans spread them westward

    Affluent houses—stone or brick with gable, quoins; others of logs

    Texas & Wisconsin—fackwerk, half-timbering

    Early houses combine barns, stables, service & living areas under roof

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.25

    Klein-Naegelin, 1846; New Braunfels, Texas. Fachwerk construction. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    Klein-Naegelin's house was constructed using stones or bricks with gable and quoins. Walls are made with cedar timbers, then filled solid with sun-baked adobe brick. The porch across the front of the house has five squared, beveled, wood columns. Windows are double-hung and louvered shutters on the front windows.

    23

    16.26

    Muckleroy House, 1840; Round Top (now Henkel Square), Texas. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The Muckleroy House has a stone chimney on the end walls. It is a half-story house with low pitched roof. There is a pent roof too. The Muckleroy house is an example of a Dog trot. It is constructed with the log that is evident on the front facade and there is an extended porch for the living area. Lean-to can be seen in the rear for service areas.

    24

    Interiors, Furnishings, Decorative Arts (4 of 5)

    Interiors—simple, colorful treatments

    Wood floors & colorful rugs

    Whitewashed walls with painted patterns

    Beamed or plastered ceilings

    Furniture—rural & urban

    Rural—medieval into 19th century

    Urban—influenced by & influences English

    Ladder-back chairs with rush seats, painted chests

    Fraktur—colorful, hand-decorated texts or documents

    Ceramics—slipware & sgraffito ware

    Glassware—mostly made by Germans in colonial period

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.27

    Painted chest, 1795-1810; Shenandoah Valley County, Virginia: Johannes Spitler. German Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    26

    Holland: Concepts & Architecture

    Dutch recreate buildings & furnishings from Holland

    Strong reciprocity between English & Dutch settlers

    Architecture—several house types

    Urban row house—gable end faces street with parapet wall in various shapes; shops below living quarters

    Other houses identified by roofs—straight-side gable & flared eave

    Wood, brick, or stone

    Mostly brick with patterns of blue, purple, or gray mixed with red

    Raised front-door and stoep or platform

    Linear floor plans—three adjacent rooms

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    16.28

    Terheun House, c. 1670 and later; Hackensack, New Jersey. Flare-eave roof. Dutch Colonial.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The west elevation shows a flare-eaved roof and chimneys. It has rectangular-shaped windows. The south elevation shows the slanting and flat roofs with chimneys. The windows with pediment. The glass windows are on the facade.

    28

    Interiors, Furnishings, Decorative Arts (5 of 5)

    Interiors—more colorful than English

    Tiles, ceramics, textiles, paintings

    Many are merchants so have objects from around the world

    White-washed walls, beamed or plastered ceilings

    Large fireplace with hood & cast-iron fireback; tiled surround & ruffled valance hanging from hood

    Furniture—reproduces Dutch prototypes, brought from home, or imported

    Kas—distinctive Dutch storage piece in Hudson River valley

    Beds sometimes built-in

    Tin-glazed earthenware (Delft) tiles & objects in blue &

    **## IDES312PowerPointInstructions.pptx**

    American Colonial: England, Spain, France, Germany and Holland.

    Chapter 16

    [This Photo](https://cod.pressbooks.pub/westernworlddailyreadingsgeography/chapter/historical-geography/nounproject_history_nithinantatah/) by Unknown Author is licensed under
    [CC BY-SA-NC](https://creativecommons.org/licenses/by-nc-sa/3.0/)

    Spanish foot

    Also called: Spanish scroll foot or Braganza toe
    Scrolled foot with curving vertical ribs

    A hoof-like, grooved and flared foot which ends in an inward curving scroll

    [This Photo](https://pinkbikepinksand.wordpress.com/tag/furniture-feet/) by Unknown Author is licensed under
    [CC BY-SA-NC](https://creativecommons.org/licenses/by-nc-sa/3.0/)

    [This Photo](https://www.earlyoakreproductions.co.uk/detail-quality/) by Unknown Author is licensed under
    [CC BY-NC-ND](https://creativecommons.org/licenses/by-nc-nd/3.0/)

    Ball foot

    Turned round foot.

    Similar to a bun foot, but rounder.

    Most popular in the William and Mary period

    Baluster Turned:

    [This Photo](https://www.earlyoakreproductions.co.uk/detail-quality/detail-quality-classical-baluster-oak-chair-turning-5711.php) by Unknown Author is licensed under
    [CC BY-NC-ND](https://creativecommons.org/licenses/by-nc-nd/3.0/)

    an object or vertical member (such as the leg of a table, a round in a chair back, or the stem of a glass) having a vaselike or turned outline.

    PowerPoint/Slide Deck Instructions

    Review the list of vocabulary/glossary terms

    Find an image for each term. You may use one image for each term or find one that reflects multiple terms. Confirm your images as correct – NO USE OF Wikipedia as it is not considered a scholarly source.

    Each term must be identified in the image. For example, for a Spanish foot image, add the complete definition and an arrow directing the reader from the image to the definition. If you chose an image with multiple term examples, provide all definitions and connect them with arrows. Site the source of each image. This can be done on each slide or as a Source page at the end of your presentation.

    The page format is your choice. For instance, the three slides I provided could be presented all on one page. As long as each term is included with an image, definition, and label/arrow are included, you are good.

    Consider using this website as a confirmed source.
    [Illustrated Dictionaries](https://buffaloah.com/dics/dics.html)

    The list of terms will vary each week. The key to success is allowing enough time to complete the slide deck assignment. This is a three-unit class, meaning three hours of content/book reading, supplemental reading, and videos. Allow six hours for homework, testing, etc.

    Some weeks will require most of the time mentioned above, and a few may require less time. Plan accordingly.

    ## image1.jpg

    ## image2.jpg

    ## image3.jpg

    ## image4.jpg

    **IMG_8523.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8523-png)

    **IMG_8517.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8517-png-10170285)

    **IMG_8514.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8514-png-10170287)

    **IMG_8515.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8515-png-10170289)

    **IMG_8516.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8516-png-10170291)

    **IMG_8519.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8519-png-10170293)

    **IMG_8518.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8518-png-10170295)

    **IMG_8513.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8513-png-10170279)

    **IMG_8524.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8524-png)

    **IMG_8525.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8525-png)

    **IMG_8526.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8526-png)

    **IMG_8527.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8527-png)

    **IMG_8529.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8529-png)

    **IMG_8528.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8528-png)

    **IMG_8521.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8521-png)

    **IMG_8520.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8520-png)

    **IMG_8522.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8522-png-10170281)

  • [Solved] Art/Mold

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    Watch two videos and write about the two artists. How does their work relate to the world around us? What is interesting to you about their practice, or, what is your critique of their work? – 2 years ago

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    Assignment Prompt & Instructions

    Watch two videos and write about the two artists. How does their work relate to the world around us? What is interesting to you about their practice, or, what is your critique of their work?

    – 2 years ago

  • [Solved] Great

    ✓ Verified Academic Solution Available

    Executive Solution Overview

    – 2 years ago **files (1)** – ## Untitleddocument.docx **## Untitleddocument.docx** Choose ONE 1. Write a brief essay in which you reflect on the difference it would have made to "Slide to Unlock" if the author had written it in the first or third person rather than the second. 2. Thinking about "…

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    Assignment Prompt & Instructions

    – 2 years ago

    **files (1)**

    – ## Untitleddocument.docx

    **## Untitleddocument.docx**

    Choose ONE

    1. Write a brief essay in which you reflect on the difference it would have made to "Slide to Unlock" if the author had written it in the first or third person rather than the second.

    2. Thinking about "Eyeball," write of a time/situation when you didn't fit in or weren't accepted and possibly received criticism for it (got picked on). Maybe, like the narrator, you had a physical issue that kept you from participating in or excelling at a particular activity; OR discuss the references/allusions/parallels to other genres (literature, comics, movies).

    One important thing to remember when writing about literature: Always include the literature title and author in the introduction of your essay. This establishes a point of reference between your writing and the literature. You've got to show a relationship between the two pieces of writing.

    This essay needs to be a minimum of 300 words. Please double space your essay and submit it through the assignment drop box as a Microsoft Word document.
    **NO PDF FILES**. I will not accept them, you will receive a zero, and you won't be allowed to resubmit the assignment.

    There are a couple of items below that you need to read and follow:

    ###### **Some Guidance for Your Essays:**

    When writing essays about literature, one goal is to show your understanding of the work by relating to it in some way. Each piece of literature we read in this class has a theme or motif running through it. For your first essay assignment, the topic choices are both fairly easy to relate to in some way.

    Here's how I would like to see your essays organized.

    Format: APA style formatting with a title page, headers, page numbers, and References page*.

    *You'll always need a References page because I expect you to quote the literature at least once in each essay. There is an example of the correct way to cite the text in the Week 1 folder. It is an example, so you'll need to change the author, publication date, and title.

    Content:

    I. Introduction: This paragraph can begin with a broad statement related to your topic. In the next sentence or so, you should state the author and title of the work you are writing about so the reader can understand the relationship between what you've read and what you've written. There may be a sentence or two related to the main theme of the literature or a brief synopsis of the story to further relate your ideas to the literature. The final sentence or two should be the thesis statement presenting your controlling idea to the reader.

    II. Body: Each paragraph should relate to your thesis. You've written enough essays in 1101 to know this. Use examples/quotes from the text to support your main idea. I am also perfectly okay with your using other outside sources to support your essay as long as you document them properly with both in-text citations and a full citation on the References page. One danger of writing about literature is spending too much time retelling the story. I've read the literature; I don't need you to tell it to me again. I need you to show me you understand the literature by showing me how you relate to it.

    III. Conclusion: Wrap it up. Mention the title of the story/poem again to remind the reader that everything you've written has been relating to that piece of literature. Then bring your writing to a close.

    v

    **## Untitleddocument.docx**

    Choose ONE

    1. Write a brief essay in which you reflect on the difference it would have made to "Slide to Unlock" if the author had written it in the first or third person rather than the second.

    2. Thinking about "Eyeball," write of a time/situation when you didn't fit in or weren't accepted and possibly received criticism for it (got picked on). Maybe, like the narrator, you had a physical issue that kept you from participating in or excelling at a particular activity; OR discuss the references/allusions/parallels to other genres (literature, comics, movies).

    One important thing to remember when writing about literature: Always include the literature title and author in the introduction of your essay. This establishes a point of reference between your writing and the literature. You've got to show a relationship between the two pieces of writing.

    This essay needs to be a minimum of 300 words. Please double space your essay and submit it through the assignment drop box as a Microsoft Word document.
    **NO PDF FILES**. I will not accept them, you will receive a zero, and you won't be allowed to resubmit the assignment.

    There are a couple of items below that you need to read and follow:

    ###### **Some Guidance for Your Essays:**

    When writing essays about literature, one goal is to show your understanding of the work by relating to it in some way. Each piece of literature we read in this class has a theme or motif running through it. For your first essay assignment, the topic choices are both fairly easy to relate to in some way.

    Here's how I would like to see your essays organized.

    Format: APA style formatting with a title page, headers, page numbers, and References page*.

    *You'll always need a References page because I expect you to quote the literature at least once in each essay. There is an example of the correct way to cite the text in the Week 1 folder. It is an example, so you'll need to change the author, publication date, and title.

    Content:

    I. Introduction: This paragraph can begin with a broad statement related to your topic. In the next sentence or so, you should state the author and title of the work you are writing about so the reader can understand the relationship between what you've read and what you've written. There may be a sentence or two related to the main theme of the literature or a brief synopsis of the story to further relate your ideas to the literature. The final sentence or two should be the thesis statement presenting your controlling idea to the reader.

    II. Body: Each paragraph should relate to your thesis. You've written enough essays in 1101 to know this. Use examples/quotes from the text to support your main idea. I am also perfectly okay with your using other outside sources to support your essay as long as you document them properly with both in-text citations and a full citation on the References page. One danger of writing about literature is spending too much time retelling the story. I've read the literature; I don't need you to tell it to me again. I need you to show me you understand the literature by showing me how you relate to it.

    III. Conclusion: Wrap it up. Mention the title of the story/poem again to remind the reader that everything you've written has been relating to that piece of literature. Then bring your writing to a close.

    v