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Medieval
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What is Medieval?

The medieval period occupies a central place in history courses, humanities programs, and interdisciplinary studies because it represents a vast, transformative stretch of human civilization that shaped the modern world. Students are regularly asked to examine it across fields including European history, religious studies, art history, literature, and the history of science. What makes the period academically compelling is its complexity — it encompassed dramatic shifts in theology, political power, cultural production, and intellectual life, and understanding it requires reading that past on its own terms rather than through modern assumptions.

The papers archived on this topic reflect a genuinely wide range of approaches. Some take a cultural and transitional angle, examining the shift from medieval to Renaissance Europe or tracing the development of the scientific method through and beyond the medieval period. Others focus on religious and philosophical thought, including Christian mysticism, Islamic philosophy, and the history of figures like Satan across Judaism, Christianity, and Islam. Literary analysis appears through works like Sir Gawain and the Green Knight, while art historical approaches surface in examinations of the nude and zodiac symbols in Northern Renaissance artwork. The Byzantine Empire's construction and cultural history represents yet another case-study angle these papers take.

A strong essay on a medieval topic requires a clearly scoped thesis that situates its argument within a specific time, place, or tradition rather than making sweeping claims about "the Middle Ages" as a whole. Primary sources and period-specific context carry the most weight as evidence. The most common pitfall is imposing contemporary values onto medieval works or institutions without acknowledging the significant cultural distance involved.

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Essay Doctorate
Los Angeles Fine Arts Building: Architecture and Design
"Form follows function" may be a cliché nowadays, one that's parroted in chic commercials for high-end, luxury sedans, but at some point, before the phrase devolved into a catchphrase for Cadillacs, it had real meaning. The architects who designed and built the Los Angeles Fine Arts Building knew what it meant, and they applied that philosophy to their stunning 12-story masterpiece in the city of angels. That issay, the design of the Fine Arts Building not only enriches the architecture, but it gives voice to the activities of the building's original tenants (Several, 1999). It is the purpose of this paper to discuss the elements of architectural style in the Los Angeles Fine Arts Building. But first, here is a brief history of the men behind the masterpiece. The Los Angeles Fine Arts Building was designed by the acclaimed duo of Walker & Eisen; that is Albert R. Walker and Percy A. Eisen. It was built in 1925, during the roaring twenties, a time of unprecedented urban growth and construction, and is located at 811 West 7th Street in downtown Los Angeles. The Building was designed to be more than just a building, but a cultural Mecca for artists, bohemians, and other visionaries of Los Angeles (Several, 1999). The ultimate goal of Walker & Eisen was to create an ideal place (one that was a work of art in and of itself) where people could create, showcase and enjoy art. The first thing one notices about the Fine Arts Building is its Romanesque style. Even if one doesn't know the term "Romanesque" he/she knows that this building is different. This building is not created equal. It's clear, given its context, that this building is different than the other non-descript buildings that surround it. The carefully wrought, semi-circular, two-story arch of the façade tell the visitor that he/she is about to experience something special. Upon closer inspection, this sensation is only accented by the present but not imposing architectural sculptures on the building's exterior. On the terracotta arch itself the visitor is confronted by an array of different stylized birds, griffins, gargoyles, and flowers. On other parts of the façade there are sculptures of flute players and other assorted fantastic creatures (Several 1999). It can be argued that this attention to detail is not something a resident of Los Angeles is used to seeing manifested in local architecture. These details continue on. Both as one looks up the towering edifice and as one prepares to enter its mouth. There are two large terracotta figures representing "Architecture" on the viewer's left and "Sculpture" on the viewer's right, both of these sculptures lean into the ledges on the third story. The inimitable Burt Johnson was commissioned to create these beauties. As one's eyes continue up, there are two nude figures perched on 9th story ledges and two 12' high panels titled "Inspiration" mark the 12th story (LA Conservatory). As one enters the Fine Arts Building, there are more touches of Burt Johnson. That is, seventeen bronze figures line the foyer and the corridor, which eventually leads to, as it's been described, a "Spanish Renaissance ‘courtyard' lobby with a galleried mezzanine" and fountain (Several, 1999). To say that the lobby is spectacular would be an understatement. However, before one goes on to detail the less quantifiable aspects of the Building (traffic flow, appeal to the senses, aesthetics, etc.) a quick point should be made about the materials used to create this awe-inspiring aggregate effect. As mentioned, much of the façade is created from tile and terracotta block to give the effect of stone. Initially, Walker & Eisen wanted to use stone, but opted for terracotta because it was more malleable and would allow for the detailed ornamentation they had envisioned (SOURCE). The large front doors are bronze, which carries on or, depending on one's perspective, initiates the bronze theme throughout the Building. Despite these rather "heavy" medieval or church-like materials, the building has weightlessness to it. That is to say one doesn't feel cloistered in its environs, like the way one does when attending a Catholic Mass. The lobby's high, two-story ceilings uplift one's spirit while shifting focus to the artwork displayed around the capacious room. The colored tiles are rich, but not overbearing on the senses. The fountain in the center of the room, with its purling waters also gives the place a vitality lacking in other Romanesque buildings (consider the staid and placid stoups filled with holy water at a different churches vs. the fountain in the Fine Arts Building with the bronze figures dancing about its circumference). The lines in the Building are symmetrical, but not stifling. In other words, the hard angles do not emphasize conformity over creativity. Instead they show a structure that is arguably sensitive to the soul of an artist. The beautiful columns draw the outward and up, not inward and down. Again, the intent of the building is vocalized by way of its care and attention to detail. This is a place for artists. This is a climate for creative people. This is a destination for deliverance. What's ironic though, is shortly after the building was constructed it was converted to an office building. After the market crashed in 1929, the Great Depression sunk in and monetary concerns became a priority. A malaise of pedestrian worries clouded the cultural milieu. Art took a back seat to business and commerce. The Fine Arts building was renamed by each of its successive owners: The Signal Oil Building, the Havenstrite Building, and Global Marine House. Thankfully though, in 1983 it was purchased by Ratkovich Bowers and Perez and completely restored to its original beauty (Vincent, 2008). Today, when one looks at the Fine Arts Building, he/she knows that it was constructed with a purpose in mind, and that purpose was painstakingly incorporated into every square inch of the building's design, from the materials, to layout, to the ornamentation, to the sensory appeal, etc. The Fine Arts Building is a treasure to behold and a testament do architecture that embraces the notion that form should always follow function. Works Cited Several, M. (1999, November). Fine arts building background information . Retrieved from http://www.publicartinla.com/Downtown/FineArts/background.html Los Angeles Conservancy Tours. (n.d). Los Angeles Fine Arts Building. Retrieved from http://www.laconservancy.org/tours/downtown/finearts.php4. Vincent, R. (2008, May 27). Fine Arts Building Los Angeles Attorneys to Do Justice to Fine Arts Building. Los Angeles Times. Retrieved from http://articles.latimes.com/2008/may/27/business/fi-attorneys27.
Research Paper Doctorate
Hamlet vs. Laertes: Revenge and Honor in Shakespeare
¶ … revenge in the characters of Hamlet and Laertes in the light of the revenge code and the related concept of honor.
Research Paper Doctorate
Slavery Reparations Debate: Arguments For and Against
One issue that has come to the surface in recent discussions of race in America is the issue of Slavery Reparations. This is essentially the idea that modern descendents of American slaves should receive some form of…
Essay Doctorate
Madrid's Cultural Landmarks: Museums and Monuments
While the café's of Paris may have captured the romantic imagination of Western visitors to the Old Continent, and London's blend of medieval and modern architecture attracts the historically minded, the ancient city of Madrid is home to countless cultural sites, museums, and monuments which are definitely worth exploring. The capital city of Spain and the historical seat of the Spanish monarchy, Madrid is a sprawling metropolitan center located on the banks of the Manzanares River that serves as the economic, political, and cultural heart of the country. Home to approximately 3.3 million residents in Madrid proper, and over 6.5 million within the greater metropolitan area including suburbs and surrounding communities, the city is considered to be the third-largest urban center in the European Union, behind London and Berlin (UN Data, 2013). From the 16th through 18th centuries, when the Spanish empire's naval dominance allowed the nation's dominance to circle the globe, Madrid experienced a corresponding cultural revival, with King Carlos III using his royal authority to transform the venerable city into a capital worthy of his crown.
Paper Doctorate
The Myth of Repressed Memory: A Critical Book Review
this is a five page review of The Myth of Repressed Memory: False Memories and Allegations of Sexual Abuse by Loftus and Ketcham. this is not a summary, but a thorough review and opinion of the book. the review discusses the way the book changed my attitudes and beliefs about the topic of false memory. False memory phenomenon can be incredibly destructive.
Research Paper Doctorate
The Early Renaissance: Art, Culture, and Rebirth in Florence
The word Renaissance means "rebirth" and people living during the time began to see themselves as "reborn" from medieval, feudal times. The Early Renaissance formed the backbone for the movement that continued through…
Research Paper Doctorate
Consumer Society and Capitalism: Features, Effects, and Critique
Consumer society which evolves out of capitalism has its advantages as well as its disadvantages. But even with its disadvantages, consumer society has now become an accepted from of modern society.
Research Paper Doctorate
Doctor Faustus: Marlowe's Tragic Hero and Eternal Damnation
¶ … Faustus' Acceptance to Eternal Damnation
Research Paper Doctorate
Holy Grail Quests: Healing, Chivalry, and Christian Symbolism
In Christian mythology, the Holy Grail was the dish, plate, cup or vessel that caught Jesus' blood during his crucifixion. The Holy Grail was said to have the power to heal all wounds.
Paper High School
Five Notable Examples of Medieval Art and Architecture
I have travelled around the world and looked for the top five examples of Medieval Art. I believe the following are these: