You must include at least five images (one visual example from at least four different historical style movements, plus one contemporary visual example).

Each image should be identified in full: title of work or description of object (e.g., ceramic bowl), artist or designer, date of creation, medium (e.g., lithograph poster, bronze sculpture, etc.), and design style (e.g., De Stijl).

Under each image, you will provide a brief summary of one to two paragraphs of the required accompanying text for each image (see final project guidelines)

This assignment must be in the form of an outline, but the actual format is up to you (e.g., bulleted, numbered). Whichever format you use, your outline must be organized and labeled clearly. 

Please try to incorporate all of the readings, using direct quotes. The criteria is in the RS politics of difference file. 

Here are some points that can be made from the Tahmima Anam reading:

Quote: “‘They were restoring order,’ Silvi said, tugging the knot under her chin. ‘Making things safe’” (Anam 2007, 248). This is Silvi’s response to Maya accusing her of not believing in soon to be independent country of Bangladesh. This conversation takes place right before Bangladesh declares independence in December of 1971. At this point, Pakistani army cannot regain control and they occupy Dhaka out of anger, fear, and inability to keep both wings of the Pakistan united. As Maya once claimed, it would be a show of force (Anam 2007, 252). However, what underlines this quote is Silvi’s altered attitude that separating wings would be against their religion (Anam 2007, 248). To put it bluntly, it is a sin. In accordance with her understanding of what means to be Muslim, Silvi sees God as vengeful and the obligation to atone to God (Anam 2007, 161). Her new perception of religion is obvious even earlier in the book when she gives back all the letters Sohail wrote her (Anam 2007, 162). This is the evidence how Quran (word of God) is interpreted by human beings in accordance with social, cultural, and political happenings. Silvi’s interpretation of the Islam core text matched the notion Pakistani Army was enforcing and it is shown how the language of religion, and not the religion itself, is used to construct nationalism. In this instance, Silvi could be portrayed as the traitor of Bangladesh because she resists its independence, but her sense of national belonging is influenced by the new oppressive (mis)conception of Islam where she needs to unmistakably showcase her repentance.

Quote: “The war will be over soon. It’ll be like it was before. You can stay at Shona – we’ll be neighbors again” (Anam 2007, 237). These are the words Rehana chooses to relieve the sadness of Mrs. Sengupta. Supriya Sengupta came to the refugee camp where Maya and Rehana were helping the refugees. Supriya left her son, Mithuin, in the pond and Mr. Sengupta was shot. There are two important points to recognize. First, the overall attitude of war ending soon was reinforced with the Indo-Soviet treaty signed in 1971. In that sense, not only that Bangladesh had India as an ally, but The USSR as well. That meant two things: East Pakistanis would have their own state and Hindus would no longer be in danger. Second, Rehana puts aside the initial condemnation of Mrs. Sengupta. Leaving her son in the pond was excusable for the circumstances that she was in. But it was not justifiable. However, Rehana realizes that it is not on her to understand how Supriya could have done such a thing. It’s between Mrs. Sengupta and her maker (Anam 2007, 233). Once again, the author depicts one’s understanding of religion and their relationship to the God. Rehana prays to God that is God of comfort and consolation (Anam 2007, 162). According to Quran, killing one is equivalent to killing the whole of mankind (Qur’an 5:32, translated by Majid Fakhry). Even though Supriya didn’t kill her son with her own hands, she had left him and was responsible for what had happened to him. Rehana was aware of the responsibility Mrs. Sengupta failed to meet and the burden Supriya would carry for the rest of her life, but it is no matter of hers to reprehend that. 

Something similar can be used, as well as from other sources attached. 

Please use either hirst and zavos or Zamindar at least once. 

Implied texture, also known as visual texture, is perceived by the viewer when looking at art.  In his painting The Waterseller of Seville, Diego Velazquez uses color, light, shadow, shape and other techniques to make a flat, two-dimensional canvas appear three dimensional.  The figure and the variety of fabric and objects in the painting have very specific textures.  Look carefully at this painting and discuss the various textures that are achieved by Velazquez.  Describe the variety of surfaces that you see.  How does Velazquez achieve such a variety of implied texture?

In 300-500 words, compare and contrast da Vinci’s and Tintoretto’s paintings of The Last Supper. Analyze the stylistic choices made by both artists that make each painting symbolic of their respective time periods .How does each artist approach the topic? How are the paintings organized? How does the viewer experience each work/ how does the location of the painting influence its meaning?