• What were the broad causes of the Pacific War?
• Were these causes open to negotiated solutions?
• Do the documents indicate that there was a fatal lack of communication between Washington and Tokyo?
• Do you think that if there had been any ways for the US and the Japanese governments to avoid the war?
• When did the Japanese government adopt Proposals A and B? Why?
• Who participated in the imperial conference on Nov 5, 1941?
• What did the record of the imperial conference indicate?
• What were the items of the agenda?
• Why Japan decided to go to war against US and GB?
• How did Tōgō view the US attitudes toward Japan since the start of the German-Soviet War?
• What did Tōgō expect to Germany and Italy?
• Summarize the view of Sugiyama. Did he expect easy victory?
• According to Sugiyama, why Japan should go to war against US and GB sooner?
• What did US and Japan agreed, and what not?
• What were the Four Principles proposed by US?
• Why Nagano was so confident of victory?
• What was Hara’s concern about race?
• How did the American leaders learn the contents of Plans A and B?
• According to Hull, what were the three issues that Japan need to accomplish?
• Based on the reading of the documents (pp. 41-62), do you think that many US leaders thought that it would make any sense to consider accepting part of Plan B as a temporary expedient?

• Compare the two draft proposals with the final one. What are the similarities and differences? What do these documents suggest?
• What was Churchill’s view regarding the proposed agreement with Japan?
• Why do you think the US government decided to present the so-called Hull note, instead of the drafted proposal?
• What was the “Hull note”?
• From the view point of the Japanese government, which items in Section II were hard to agree? (pp. 75-77)
• Discuss Japan’s view of the Hull note
• Discuss the Imperial Conference on December 1, 1941.
• According to Tōgō, why shouldn’t the Japanese empire accept the Hull note?
• Why do you think that the Conference decided to go to war? If you had participated in the Conference what would have been your position?
• What role did the emperor seem to play?
• What was Japan’s December 7 note? What did it say?
• When did the US leaders receive from the Japanese envoys? When did the US leaders learn the contents of the note?
• Why was the note delivered to the Statement after the Pearl Harbor attack?
• When did the ambassador and Kurusu arrive at the State Department? What time were they supposed to see Hull? When did they actually see the Secretary?
• How did the Secretary respond to the note delivered by the Japanese envoys?
• What document did the Japanese Foreign Ministry draft? What was it about? Was it actually delivered to the US embassy in Tokyo?
• China had been divided loosely into three segments. What were they?
• When did the Soviet Union signed a neutrality treaty with Japan?
• What was the official Chinese policy regarding US?
• What were Chiang’s tactics to achieve his objectives?
• Why did the Soviet Union conclude the neutrality pact with Japan?
• Which countries benefited from the growing crisis in US-Japanese relations?
• Who was Richard Sorge?
• What was the Atlantic Charter?
• Which territories were included in the British Commonwealth?
• What was the Tydings-McDuffie Act (1934)?
• What was the Vichy government in Indochina? (1940-3/45)?

• What was the First Committee?
• What was an optimistic view prevailed among middle-rank army and navy officers around April 1941?
• Who was Matsuoka Yōsuke?
• Why didn’t the Japanese leaders abrogate the Tripartite Pact?
• According to Minoru Nomura, what prodded Japan into the war?
• When did the political party government system cease?
• According to Nomura, who controlled the government from 1936 to 1945?
• How did the Japanese leaders expect to end the war?
• According to Nomura, what was the major reason for adopting the Kamikaze dives in the final stage of the war?
• Who was Joseph Grew?
• Why did Grew think that US should not rush into war w/ Japan?
• What was the purpose of Grew’s telegram of Nov 3, 1941?
• According to Heinrichs, why did the American government back away from the modus vivendi idea?
• When did Grew meet with Tōgō? What document did Grew receive? What did Tōgō do to Grew?
• Grew believed that war with Japan could have been avoided. Would you agree with Grew?
• Who was Frank B. Rowlett?
• When did Rowlett break Purple?
• Who was Laurance F Safford?
• Who was William F. Friedman?
• What did Secretary of State Henry Stimson do as to the department’s funds for cryptanalysts? Did he believe that codebreaking was a legitimate function of a diplomatic service?
• According to David Kahn, what was Japan’s intention when it attacked Pearl Harbor?
• According to Kahn, why did the US gov’t failed to forsee the Pearl Harbor attack? What went wrong?
• According to Wang Xi, what was a major reason that dragged Japan into the Chinese-Japanese and the Pacific Wars?
• As of September 1939, what was Britain’s policy toward Japan?
• What was the Asaka Maru?
• Who said “I could not conceal my relief and did not have to try to. I felt that whatever happened now, it was merely a matter of time”?
• According to Bernd Martin, how close German-Japanese ties were?
• When did he come up with a basic plan for Operation Barbarossa?
• What was the central topic of discussion at Liaison Conferences? What was Matsuoka Yōsuke’s position?
• According to Martin, what was the influence of the Tripartite Pact on US-Japanese peace negotiations?
• When did the other Axis Powers agreed in writing to enter an eventual war with the United States?
• How did the Soviet leaders view US-Japanese relations?
• According to Filtov, why the Soviet Union decided to sign the Neutrality Treaty with Japan?
• What was the concern for Soviet diplomacy in the wake of Pearl Harbor?

   

   

   

  I need all the question answered and I answerd the first couple as examples. They dont need to be quoted I just quoted the ones I had found in the book.

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EACH answer should be 300 words long,

 

Quotation: You may quote directly from primary sources, i.e. the readings we have used in class.  This

includes Shafer-Landau, Korsgaard, and Feldman.  You must cite all quotations. Do not quote excessively in an attempt to up your word count; it will generally only weaken your answer!

You may NOT use other sources (Wikipedia, SparkNotes, etc.).

 

1)One of Kant’s formulations of the categorical imperative is “Always act in such a way that you treat humanity, whether in yourself or another person, never merely as a means but always at the same time as an end.”  What does it mean to treat human beings as ends rather than merely means? Why does Kant think human beings are ends in themselves?  Do you agree with Kant that this is why we should treat persons ethically?  Give reasons for your answer.

 

2)

Onora O’Neill contrasts Kantian and Utilitarian Ethics with regard to their emphasis on justice vs. beneficence.  Briefly say what O’Neill means by justice and beneficence (you may just give an example).  Then discuss this contrast.  What is the role of justice and

beneficence in each theory? How are they different?

 

 

3) What are the behaviors that DeWaal thinks constitute chimpanzee justice? Do you think that the chimpazees’ behavior really is ethical/moral (as opposed to instinctual or accidental or something else)? Why or why not? Do you think this behavior entitles

them to special ethical/moral treatment by humans? Why or why not?

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The purpose of this paper is to analyze, synthesize, and discuss the perspectives, viewpoints, and ideas discussed during the week in the course materials and lectures.  In this way, we will engage in historical / cultural analysis, make cross-cultural comparisons and connections, and further develop writing skills.

1. Topic : Compare and contrast the theme of “infection” and “contamination” in American Werewolf in London and the novel Dracula.  Do the two works have similar messages in this regard?
2. Ideally, you will structure your paper as follows (based on the minimum 350-word requirement):
3. A clear statement of your main idea or thesis on the subject.
4. Connections between the topic and the course material (readings and class discussions)
5. A brief summation and a final statement that represents the key take-away / idea from your paper.
6. You may deviate from this structure, but the majority of the paper should be given to drawing your own connections between the course materials.  You do not have a lot of space, so be sure to get straight to the point and not worry about making a lengthy introduction or conclusion.
7. You should consider the course materials both individually and collectively.  Consider the any key claims or arguments from the materials, the strengths and weaknesses of authors’ arguments, possible counterarguments, how the texts relate to one another (do they agree or disagree?, formulate the problem in different ways?, strengthen or weaken each other’s argument?), and why the problem(s) or argument(s) are interesting or important.
8. You should not just summarize the texts or worry about re-telling ideas or a plot (if discussing a narrative); assume the reader is familiar with the texts referenced.  You need to react and respond to the materials, making connections which will lead to analysis.  Any personal opinions included in the essay should be based on thoughtful analysis of the topic and materials themselves.

Your scene analysis should:

• Be typed, double-spaced, with no changes to the margins
• Be in Calibri 11 or Times New Roman 12 font
• Be spell- and grammar-checked
• Include your name, but do not put your student ID number on the paper.
• Include a title that connects in a meaningful way with your essay

*American Werewolf in London

link: https://arizona.hosted.panopto.com/Panopto/Pages/Viewer.aspx?id=7eebca59-1a29-4402-a2f3-c078ce623c1e

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“Leonardo, the Renaissance Master” Please respond to the following, using sources under the Explore heading as the basis of your response:

• Many people have different perceptions of the moment captured in Leonardo’s Last Supper painting. Share your thoughts on the following questions:
  • Why do you think the disciples are shown on the same side of the table?
  • Which of Leonardo’s most well-known techniques do you believe gives the most realism to his paintings? Explain your answer.

Explore

Leonardo da Vinci

• Chapter 14 (pp. 489-492), art of da Vinci; review Week 7 Music Folder
• Partial restoration of the Last Supper at http://www.philvaz.com/apologetics/LeonardoLastSupper.htm
• Images, article, and 16th century copy of the Last Supper at http://www.abcgallery.com/L/leonardo/leonardo4.html
• Leonardo’s work in science and invention at http://www.museoscienza.org/english/leonardo/models-exhibited (scroll down to thumbnail photos; click to enlarge and read more information)

Notes:

• (If Link has moved or expired, please continue your own research online.)
• Please avoid using Forbidden websites such as Course Hero, Cheggs, Wikipedia, etc., or any websites that have the answers “prepared” or “for sale.” Also please avoid posting content that is missing in-text citations and references. Both are examples of plagiarism. Your post or paper will be “Flagged” by Black Board and returned.

Week 7 Discussion Template: Please copy, fill in with your own research and words:  Template for Week Discussion Please fill in each section with your summary of your research using your own words.

Please copy and paste template:  Fill in template, copy and paste to Blackboard (please no attachments are allowed in discussion area, those using tablets or phones cannot open attachments, therefore unable to read or comment on your post.) Minimum of 125 Words

Hello incredible classmates and Dr. C , here is my main discussion post for Week 7 Discussion – “Leonardo, the Renaissance Master“, I hope you enjoy it.  It was fun learning about Leonardo da Vinci this week:Assessing Leonardo da Vinci’s Last Supper

• Ok, so first let’s tackle the question of why he puts all the disciples on the same side of the table.  Obviously in real life no one eats dinner with everyone on one side of the table right?  So why does he choose to paint it in this way?  Give me a few sentences as to why you think did that and then assess a little bit about what you think of this work.  Then discuss some of the painting techniques he used.  This website http://www.italianrenaissance.org/a-closer-look-leonardo-da-vincis-last-supper/ will be helpful for finding information about his techniques.  Of course, remember to put all of this in your words.  This section should probably be at least two paragraphs

The invention of Leonardo that I find most fascinating was

• Pick one of his inventions and tell me why you think it was significant and cool.  This website lists a bunch of them in great detailhttp://www.museoscienza.org/english/leonardo/models-exhibited so that should get you started here.  For some reason, last term a bunch of people cited the Mona Lisa as an invention, which it is not, so steer clear of assessing that here please

A modern comparison to Leonardo would be

• Ok, this should be fun.  Leonardo is often described as the epitome of a ‘Renaissance Man’, but what does that mean?  A Renaissance Man is someone who was so skilled in many areas and was a real game changer in the world.  Remember for this section someone who did something amazing in just one area of the world would be a weak comparison.  Leonardo was a painter, inventor, weapons designer, etc. and was amazing at all of those things.  Who today reminds of someone like that?  So name the person and then explain WHY you think they are a modern Renaissance Man.

Of course, after you make your main post please remember to respond to at least two others to max out your discussion points Template:  Responding to a Classmate:  Hello  (Name of Classmate), Great Post! I really enjoyed reading your post. One of the things I find interesting is:  The reason it is of interest is: (Minimum of 2 sentences)  Why do you think….? (ask your classmate a question pertaining to the post) Thanks(Your first name/name you want to be called)

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Week 8: Martha Graham

Week EIGHT: Martha Graham: the Mother of Modern Dance

This week, we focus solely on Martha Graham. There is quite a bit of viewing in this assignment. Please allow ample time to complete this week’s work, your due date for this week’s journal submissions is Monday November 4th by 10am. Please turn in all Journal Entry questions via email to me with Week 8 Journal and YOUR NAME with DL3 in the subject line.

Week 8: Modern Dance  in the 20th Century- Martha Graham- the Mother of Modern Dance

GRAHAM: Martha Graham is often called the mother of modern dance. She revolutionized the world and form of modern dance through the development of her technique which focused on contraction and release, all based from the pelvis. Her work was most always sexual in its nature of dancing from the center of one’s body, which she considered to be the pelvis.

-Please view this documentary on Martha Graham: you can skim this, you do not need to watch the entire doc. It is wonderful footage of Martha Graham performing, be sure to watch a few of the pieces to get a great idea of this artist, it is rare to have such rich footage of such an early pioneer.

Video: Graham: In Performance – this is 2 hour documentary on Graham and her work.

https://www.youtube.com/watch?v=30Qz_etlhtg

-Please view this brief video on Martha Graham and her technique:

https://www.youtube.com/watch?v=itKJXEoBWWg

More on Graham, from the Martha Graham Company’s historical page, please read:

In Brief

Recognized as one of the greatest artists of the 20th century Martha Graham created a movement language based upon the expressive capacity of the human body. It all began in 1926 when Martha Graham started teaching a group of dancers who had been drawn to her creative work. Thus began the Martha Graham Studio, to remain under her personal guidance for the next 66 years. When official accreditation came to dance in 1980 with the formation of the National Association of Schools of Dance (NASD), it adopted Martha Graham’s term, “Professional Studio School” to denote independent dance studios that teach to professional standards. Students who have studied at the Martha Graham School have moved on to professional dance companies such as the Martha Graham Dance Company, Paul Taylor Dance Company, Jose Limon Dance Company, the Buglisi Dance Theater, Rioult Dance Theater, The Battery Dance Company, Noemi Lafrance Dance Company, as well as other companies throughout the world and well known Broadway shows.

Martha Graham

Martha Graham’s creativity crossed artistic boundaries and embraced every artistic genre. She collaborated with and commissioned work from the leading visual artists, musicians, and designers of her day, including sculptor Isamu Noguchi and fashion designers Halston, Donna Karan, and Calvin Klein, as well as composers Aaron Copland, Samuel Barber, William Schuman, Norman Dello Joio, and Gian Carlo Menotti.

Influencing generations of choreographers and dancers including Merce Cunningham, Paul Taylor, and Twyla Tharp, Graham forever altered the scope of dance. Classical ballet dancers Margot Fonteyn, Rudolf Nureyev, and Mikhail Baryshnikov sought her out to broaden their artistry, and artists of all genres were eager to study and work with Graham—she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson, and Joanne Woodward to utilize their bodies as expressive instruments.

Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular, and direct movements of her technique were a dramatic departure from the predominant style of the time.

With an artistic practice deeply ingrained in the rhythm of American life and the struggles of the individual, Graham brought a distinctly American sensibility to every theme she explored. “A dance reveals the spirit of the country in which it takes root. No sooner does it fail to do this than it loses its integrity and significance,” she wrote in the 1937 essay A Platform for the American Dance.

Consistently infused with social, political, psychological, and sexual themes, Graham’s choreography is timeless, connecting with audiences past and present. Works such as Revolt (1927), Immigrant: Steerage, Strike (1928), and Chronicle (1936)—created the same year she turned down Hitler’s invitation to perform at the International Arts Festival organized in conjunction with the Olympic Games in Berlin—personify Graham’s commitment to addressing challenging contemporary issues and distinguish her as a conscientious and politically powerful artist.

Martha Graham remained a strong advocate of the individual throughout her career, creating works such as Deaths and Entrances (1943), Appalachian Spring (1944), Dark Meadow (1946), and Errand into the Maze (1947) to explore human and societal complexities. The innovative choreography and visual imagery of American Document(1938) exemplified Graham’s genius. The dramatic narrative, which included the Company’s first male dancer, explored the concept of what it means to be American. Through the representation of important American cultural groups such as Native Americans, African-Americans, and Puritans and the integration of text from historical American documents, Graham was able to capture the soul of the American people.

During her long and illustrious career, Graham created 181 masterpiece dance compositions, which continue to challenge and inspire generations of performers and audiences. In 1986, she was given the Local One Centennial Award for dance by her theater colleagues, awarded only once every 100 years, and during the Bicentennial she was granted the United States’ highest civilian honor, The Medal of Freedom. In 1998, TIME Magazine named her the “Dancer of the Century.” The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation and expanded the boundaries of contemporary dance. “I have spent all my life with dance and being a dancer,” she said. “It’s permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.”

Please read Brittanica’s page on Graham:

https://www.britannica.com/biography/Martha-Graham#ref173873

Errand Into the Maze is one of Graham’s most famous works

From the Oxford Dictionary:

Errand into the Maze is a “modern dance work in one act with choreography by Graham, music by Menotti, set by Noguchi, and costumes by Edythe Gilfond. Premiered 28 Feb. 1947 by Martha Graham Dance Company at Ziegfeld Theater, New York, with Graham and M. Ryder. Based on the legend of Theseus and the Minotaur, it symbolizes the struggle between the self and its most secret terrors.”

The piece is set within a Greek Myth, some feel it represents the female protagonist’s struggle to conquer her inner demons, more specifically, fear of sexual intimacy.

The original program notes from its first performance describing the piece, read: “that errand-journey into the maze of the heart to face and do battle with the Creature of Fear.”

Please read this review of Errand Into the Maze from a 1988 performance:

https://www.nytimes.com/1988/10/13/arts/review-dance-graham-s-phaedra-and-errand-into-the-maze.html

Please view the following Martha Graham pieces and clips:

1.    1. Errand Into the Maze

https://www.youtube.com/watch?v=ieMO1Z0UhGQ

1. Lamentation– Martha Graham

https://www.youtube.com/watch?v=xgf3xgbKYko

Some of next few clips involve Graham technique with regard to floor barre. This is the way in which her dancers warm up- all of it centering from the pelvis and core. This is instrumental to the Graham technique, everything stems from the pelvis and contraction.

1. graham floor barre:

https://www.youtube.com/watch?v=p78zYG6-aHI

1. Crockett demonstrates as Richard Move does Graham:

https://www.youtube.com/watch?v=zYu-wL2ti80

1. Katharine Crockett in rehearsal (please watch the last half of this video)

https://www.youtube.com/watch?v=R9enlyT1_Vk

1. Crockett as Clytemenestra

https://www.youtube.com/watch?v=Y8Q5zHH-pIY

1. Graham technique

https://www.youtube.com/watch?v=vitRYWTQuys

Journal Entries:

Please pull from your viewing and reading of Chapter 6 in your text to answer the following questions.

1. What was unique about Martha Graham’s technique and approach to modern dance? Why do you think it was so revolutionary?
2. Do you think her being a powerful woman focusing her work on female heroines and sexual power was important in the mid 20th century?
3. What part of the body is the Graham based technique centered around?
4. Who were Graham’s teachers, what influence do you think they had on her?
5. What do you think Errand Into the Maze is about?
6. Choose another Graham piece- Lamentation or Appalachian Spring, and write briefly about why you think this piece stands the test of time and was really something unique and original at the time of its conception.
7. Balanchine and Graham were contemporaries, both creating ground breaking works in the same city in the same time period, while working in two very different genres of dance. Compare the work of these two choreographic giants: George Balanchine (Ballet) and Martha Graham (Modern Dance). How are they different, similar? Do you have a preference for one or the other, or do you appreciate both, explain.
8. Have you ever done anything similar to Graham technique, what do you think it will feel like to center all movement from one place?

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