Confounding Variable Examples

Confounding Variable Examples Confounding Variable A confounding variable is an outside influence that changes the effect of a dependent and independent variable. This extraneous influence is used to influence the outcome of an experimental design. Simply, a confounding variable is an extra variable entered into the equation that was not accounted for. Confounding variables can ruin an experiment and produce useless results. They suggest that there are correlations when there really are not. In an experiment, the independent variable generally has an effect on the dependent variable. For example, if you are researching whether a lack of exercise has an effect on weight gain, the lack of exercise is the independent variable and weight gain is the dependent variable. A confounding variable would be any other influence that has an effect on weight gain. Amount of food consumption is a confounding variable, a placebo is a confounding variable, or weather could be a confounding variable. Each may change the effect of the experiment des ign. In order to reduce confounding variables, make sure all the confounding variables are identified in the study. Make a list of everything thought of, one by one, and consider whether those listed items might influence the outcome of the study. Understanding the confounding variables will result in more accurate results. Examples of Confounding Variable: 1. A mother's education Suppose a study is done to reveal whether bottle-feeding is related to an increase of diarrhea in infants. It would appear logical that the bottle-fed infants are more prone to diarrhea since water and bottles could easily get contaminated, or the milk could go bad. However, the facts are that bottle-fed infants are less likely to get diarrhea than breast-fed infants. Bottle feeding actually protects against illness. The confounding variable would be the extent of the mother's education on the matter. If you take the mother's education into account, you would learn that better educated mothers are more likely to bottle-feed infants. 2. Weather Another example is the correlation between murder rate and the sale of ice-cream. As the murder rate raises so does the sale of ice-cream. One suggestion for this could be that murderers cause people to buy ice-cream. This is highly unlikely. A second suggestion is that purchasing ice-cream causes people to commit murder, also highly unlikely. Then there is a third variable which includes a confounding variable. It is distinctly possible that the weather causes the correlation. While the weather is icy cold, fewer people are out interacting with others and less likely to purchase ice-cream. Conversely, when it is hot outside, there is more social interaction and more ice-cream being purchased. In this example, the weather is the variable that confounds the relationship between ice-cream sales and murder. 3. Slanted wood Another example is the relationship between the force applied to a ball and the distance the ball travels. The natural prediction would be that the ball given the most force would travel furthest. However, if the confounding variable is a downward slanted piece of wood to help propel the ball, the results would be dramatically different. The slanted wood is the confounding variable that changes the outcome of the experiment.

Loss in Sonnet on the Death of Mr. Richard West and Ode on the Death of a Favourite Cat - Literature Essay Samples

Thomas Gray and Thomas Hardy both explore the treatment of loss in their poems ‘Sonnet on the Death of Mr. Richard West’, ‘Ode on the Death of a Favourite Cat, Drowned in a Tub of Goldfishes’, and ‘The Voice’. Each of these works provide a contrasting presentation of the concept of loss, which underlines the fact that as humans we react to grief differently. Whilst Gray’s ‘Ode on the Death of a Favorite Cat’ is a satirical poem, mocking the death of his friend Horace Walpole’s cat Selima, his ‘Sonnet on the Death of Mr. Richard West’ has a far more sombre, sincere tone. Similarly, Hardy’s ‘The Voice’ reflects his own pain following the death of his wife Emma in 1912, as he reveals his desperate longing to hear her voice once again. However this poem remains focused on the notion of denial, whereas Gray’s sonnet is more bitter, conveying a sense of futility with regards to the los s of friend since preparatory school, who died at age twenty-six. Despite the varied approaches to the theme of loss, it is to be noted that the texts have certain elements in common, such as the use of natural imagery, but also the elevated language in each of Gray’s works which serves to produce either a humorous or a formal effect. The unconventional presentation of loss in Thomas Gray’s ‘Ode on the Death of a Favorite Cat’ almost mimics human sentimentality, as the exaggerated and grandiose language is more amusing than sorrowful. Despite its refined appearance, as the poem develops the reader discovers that the aggrandized expressions simply mark the lack of sympathy for the loss of Walpoles cat. Gray’s lack of interest is evident in the first manuscript of the poem, a letter to Walpole, where Gray asks â€Å"Selima was it? or Fatima?† when writing his condolences. Gray goes on to say â€Å"you will excuse me if I do not begin to cry†, which further demonstrates his lack of compassion on the sensitive matter. The language of the poem is lofty, and far more extravagant than necessary when describing such an inane occurrence. As a result, Gray cleverly produces a clear contrast between the style of language utilized and the event being described; implying that the poem i s merely mocking the cat’s death. Gray likens the cat’s plight to the tragic fall of an epic hero, constructing a majestic, almost mythical image of Selima, the ‘hapless nymph’ (l.19). This metaphor is humorous due to its obscurity; the use of the word ‘nymph’ is so out of context to the domestic incident that the reader is forced to imagine the event in a more dignified light. However, the sheer contrast between the image of the cat desperately drowning and that of a divine spirit only serves to provide amusement. Likewise, the incorporation of religious language produces a comical effect due to its incongruousness in relation to the occurrence. For example, the cat is described as ‘emerging from the flood’ (l.31) this carries religious connotations of the Genesis Flood and adds to the poem’s sense of sophistication, yet at the same time this builds on the insincere tone as it is somewhat laughable that the image of a cat in a fishbowl is by any means comparable to The Great Flood. Gray’s use of religious language is also embedded in the third stanza: Still had she gazed; but ’midst the tide Two angel forms were seen to glide, The genii of the stream; (ll. 13-15) To an extent, the elegant language presents the death of the cat as beautiful, as the metaphorical description of the fish as ‘angel forms’ makes the event seem rather peaceful and dreamy. Furthermore, the choice of the word ‘genii’ refers to guardian spirits this suggests that the fish are holy, therefore implying that the cat’s death is the natural work of God. This description of the celestial nature of the fish is somewhat reassuring the reader is led to believe that the loss of Selima is tranquil rather than erratic. Nevertheless, it’s likely that Gray’s intentions are not to present Selima’s end as peaceful, but rather to continue building up comedic effect, as the bizarre link between the cat and God contributes to the overall insincerity. Despite the fact that the title of the poem refers to the piece as an ode, it is rather a parody of the ode form again hinting at the lack of seriousness. Regardless of this, the poem is, in some ways, characteristic of an Horatian ode, due to the gentle use of humor and the reflective style. The text also possesses a sense of detachment when discussing the loss of Selima, whilst maintaining an elegant and dignified tone; an aspect often present in Horatian odes. The stanzaic rhyme scheme builds on this sense of uniformity, however, at the same time this contributes to the satirical feel the regular rhyme produces a light-hearted and strangely upbeat feel to the poem. This mock-heroic style is unusual, and differs to the majority of Gray’s other poems which are often more gloomy such as his ‘Hymn to Adversity’ which has a deeply melancholic mood. On the other hand, it is evident that the treatment of loss in ‘Ode on the Death of a Favorite Cat’ is insincere, as Gray denotes the over-sentimentality of man by transforming a standard event into an exaggerated account. Gray’s poem, ‘Sonnet on the Death of Mr. Richard West’ adopts a similar level of elevated language, however, the tone of the poem appears far more genuine and sombre than the ode. The poem is spoken through the voice of Gray himself, as he reveals his sorrows on the death of his dearest friend. Gray’s translation of his lament acts as a cathartic release, as the reader can consider how Gray himself is pained by grief something which is not addressed in the previous poem. The opening of the poem instantly informs the reader of the speaker’s aggrieved attitude: In vain to me the smiling mornings shine, And reddening PhÅ“bus lifts his golden fire; The birds in vain their amorous descant join; Or cheerful fields resume their green attire; These ears, alas! for other notes repine, (ll.1-5) The abrupt nature of the phrase ‘in vain’ marks Gray’s anger at the injustice of Mr. West’s death this phrase is repeated on another two occasions in the poem, stressing the futility of his loss. This bitter attitude is further demonstrated by the sibilance of ‘smiling mornings shine’, as the harsh, piercing sound produced hints at the distress of Gray. The constant use of alliteration throughout the poem builds on the speaker’s resentment, as the poet’s choice of jarring sounds means the text carries a sense of annoyance throughout. For example, the alliteration in ‘Phoebus lifts his golden fire’ creates a forceful and somewhat explosive tone. The sonnet is also embedded with sibilance, producing an almost continuous sense of joltiness again reflecting Gray’s agony. For example, the use of the words ‘birds’, ‘amorous’, ‘descant’, ‘fields’, ‘resumeâ₠¬â„¢, ‘ears’, ‘alas’ and ‘notes’ in the lines above produces a semi-constant hiss. This builds an eerie, solemn mood, yet similarly, it conveys a sense of slight aggression in the speaker’s voice meaning that when read aloud, the reader is able to notice his frustration. The pain of loss is also intensified by the use of ecphonesis, as the exclamation ‘these ears, alas!’ hints at Gray’s inability to maintain total composure. This outburst indicates how loss can lead to erratic, uncontrolled behavior. The repeated use of personal pronouns also reveals how the grief has deeply affected Gray himself, as the speaker refers to ‘me, my, mine, I’, and there is no mention of ‘him’ [Mr. West] until line thirteen. This may be indicative of the fact that loss can make some people selfish perhaps Gray is demonstrating how death can lead one to become absorbed in self-pity rather than viewing matters fr om a wider, more sensible perspective. Nevertheless, at the same time the speaker’s focus on himself allows the poem to become an act of self-exploration; a therapeutic manner of coping with the effects of loss. The significance of the death of Mr. West is also demonstrated by the use of natural imagery, as Gray implies that the courses of nature have now been tainted. This links to Gray’s ‘Ode on the Spring’, written in 1742, which displaces Spring’s association with restoration, and replaces it with that of death. This sombre stance is likely influenced by the fact that Gray’s life himself was plagued by hardship as he reveals in a letter to West, declaring himself a frequent victim of ‘a white Melancholy, or rather Leucocholy’. Gray’s pessimistic attitude is captured in the opening of the sonnet as he discusses how the sun and the birds have no real purpose merely referring to their actions as ‘in vain’. The dramatic description of nature being futile is to a certain degree, similar to the style of ‘Ode on the Death of a Favorite Cat’, as the hyperbolized notion of the natural world being pointless is somewh at ridiculous like the strangely elevated and spiritual description of the cat’s death. The use of the Italian sonnet form also demonstrates the importance of Mr. West’s death, as it’s traditionally used for love poems. Perhaps the choice of a sonnet is Gray’s attempt to express his affection and love for his friend, however, similarly, it could be another example of a poem mocking the conventions like the ‘Ode on the Death of a Favorite Cat’. On the other hand, the use of iambic pentameter means that the poem possesses a heightened sense of formality, as the regular rhythm produces a sense of control. This indicates the sincerity of Gray in this poem the smart structural layout allows the speaker to express his lament clearly and appropriately. The use of alternative rhyme means the text maintains an ordered structure, perhaps indicating how Gray is trying to make sense of matters following the shock of his dear friend’s death. Nevertheless, the rhyme carries a lot of repetition of the vowel ‘i’, for example in th e words ‘shine’, ‘fire’, ‘attire’, ‘repine’, ‘require’ again producing a somewhat whiny undertone. In addition, the sonnet has a similar internal rhyme: ‘smilingshine’ (l.1), ‘cheerful fields’ (l.4), ‘lonelyno’ (l.7). This only heightens the melancholic undertones of the poem, and builds on the idea that loss causes great agony for those left behind. Thomas Hardy’s ‘The Voice’ is similar to Gray’s sonnet in the sense that the use of natural imagery is incorporated in order to express the concept of loss. Despite this, the poem’s approach to the theme is slightly different, as the speaker remains dominated by their overwhelming feelings of denial. In this case, the speaker is Hardy himself, as he is reflecting on the death of his wife Emma, in 1912. Hardy’s longing to hear her voice is captured in the opening stanza of the poem: Woman much missed, how you call to me, call to me,Saying that now you are not as you wereWhen you had changed from the one who was all to me,But as at first, when our day was fair. (ll.1-4) The repetition of ‘call to me’ in the first line instantly highlights the speakers’ desperation to communicate with his dead wife once again, as Hardy creates a dazed, chant-like feel this suggests that perhaps the speaker is not fully accepting of his loss. The use of triple rhymes also adds to this sense of bewilderment ‘call to me’, ‘all to me’, ‘view you then’ (l.5), ‘knew you then’ (l. 7). This allows the reader to consider the effects of loss with regards to one’s rationality; it would appear as if the speaker is unable to view matters coherently. The overuse of rhyme in the poem makes the work sound somewhat artificial, and for this reason it is unclear as to whether the voice can truly be heard, or if it is simply imagined. The speaker’s lack of control would suggest that the voice is imagined, as upon reading the poem, one can see the obscurity of their thoughts. Likewise, this adds to th e presentation of denial, as the overdeveloped rhyme links to the speaker’s unhealthy dwelling on the voice. Hardy’s choice to use dactylic tetrameter further contributes to the disorientated feel of the poem, as the uncommon metre has a dizzying effect implying that the speaker is not compos mentis. In the last two stanzas of the poem Hardy use of sibilance and alliteration continues to build on the confused attitude of the speaker, as this makes the poem rather dense: Or is it only the breeze, in its listlessnessTravelling across the wet mead to me here,You being ever dissolved to wan wistlessness, (ll.9-11) Here the sibilance is onomatopoeic of the wind; therefore indicating how the speaker is desperately struggling to hold onto his wife’s voice. The use of natural imagery is similar to that of Gray’s sonnet, yet here the loss of the wife seems to have given nature a greater purpose as the wind is said to carry her voice, whereas in Gray’s poem Mr. West’s death is said to have made nature futile. The last stanza of the poem disrupts the rhythmic scheme meaning all focus is drawn to the state of the speaker, who is ‘faltering forward’ (l.13) with leaves ‘falling’ (l.14) around him. The alliteration here is quite sharp, producing a slightly jarring effect. Likewise, the caesura and end stopping in this last stanza creates a faltering rhythm; implying that life is forcing him onward, yet his renewed feelings for his dead wife mean that he keeps stumbling. This lamentable tone is characteristic to Hardy’s lyrical poetry which is often distinguished by its pervasive fatalism. When considering the treatment of loss in the above poems, it is evident that the concept can be explored from a variety of angles. Whilst both of Gray’s poems are significantly different in terms of sincerity, it is to be noted that they are from notably different contexts. For example, Gray’s comedic approach towards the loss of Walpole’s cat contrasts greatly with his sonnet for his dearest friend perhaps due to the personal involvement behind the poem. Similarly, the serious tone of Hardy’s poem for his wife is likely due to the fact that he is discussing a loss that is extremely important on his behalf. Consequently, it is clear that the portrayal of death in poetry is determined by the circumstances under which the text is created with regards to the above poems, the author’s emotions of bitterness, frustration, despair and denial are all reflective of the importance of their loss experienced in their own life.

Love and Hate Expressed by Characters in William...

Love and Hate Expressed by Characters in William Shakespeares Othello In the play Othello, by William Shakespeare, different characters contribute to the development of particular themes. Three strong themes portrayed by the characters are of; misplaced trust, love vs. Hate and jealousy, and shattered innocence. The first theme of misplaced trust is clearly evident in most of all the characters that are manipulated by the depraved Iago. Roderigo is the first character to be entangled in his web of deception, whom I will focus on. Iago essentially uses Roderigo as a source of financial gain and a tool in extracting his revenge on the other characters. In Act I, Iago has him awaken Brabantio in order to spoil Othellos†¦show more content†¦Ultimately it is only in his own death that he finally recognizes the true nature of the malevolent Iago, as he is stabbed to death by him; O damned Iago! O inhuman dog! (5.1.63) Another one of the themes illustrated is of love vs. hate and jealousy. 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In this essay let us find the proper place for this play, and consider critical opinion in the process.    Othello would appear to have a beauty about it which is hard to match – thus ranking high. Helen Gardner in â€Å"Othello: A Tragedy of Beauty and Fortune† touches on this beauty which enablesRead MoreLove and Death in Shakespeares Romeo and Juliet and Othello Essay1324 Words   |  6 Pagesof the plays. In Othello, the main relationship in the play is around Othello and his bride Desdemona. Othello, because of his jealous rage, murders wife who he later finds to be innocent. Romeo and Juliet, which is named for the featured couple, kill themselves in order to be together in an afterlife. They take their own lives because the world around them will not allow them to be together. It would appear that the marriages in these two plays are primarily based on love and should last, butRead MoreOthello and the Seven Deadly Sins1743 Words   |  7 Pagesdisplayed as a set of seven. 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Ultimately, actions speak louder than words. Iago is evil in his actions

Stability And Security During Life The American Dream

Name: Amy Robinson School ID: 2083737 Phone Number: (512) 964-4409 School: University of Connecticut Address: 233 Glenbrook Road, Storrs, CT 06269 The (Reasonable) American Dream Stability and security in life: the American dream. These virtues drive many life goals, namely, owning a home. Unfortunately, since the â€Å"Great Recession† of the early 2000s, the American dream has become that much farther from reach as millions of Americans were foreclosed upon. Now that the once plummeting economy has begun to level off, the recovering people are seeking homeownership in the near future. The problem: affordability. The ideal home takes away about a third of one’s income, leaving those transitioning from temporary housing to new home in a financial limbo.Despite the bleak situation, it is still possible to navigate through hardships into a new home. Boomerang buyers make up a large and ever growing population, which caught the eye of many economists. As the supply of houses increases with every foreclosure, and the pool of eligible buyers decreases for the same reason, sellers are becoming desperate to dump houses they cannot afford to keep or no longer want responsibility for. Simple supply and demand models indicate that a buyer’s market has formed. Sweetening the deal, the government stepped in to entice buyers with foreclosure forgiveness through the FHA and HUD, shortening waiting periods and adding special discounts to housing in depressed areas. Experts forecast thatShow MoreRelatedThe American Dream976 Words   |  4 PagesThe American Dream is the following; Go to college, get a good job, and finally get your own family. The concept of the American Dream is created by this value system. The American Dream is intended to be a way of life attainable to all Americans. The American dream once was having a family, a nice home and materialistic items. 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The Death Penalty Is Inhumane - 1494 Words

They say the death penalty is inhumane, but people will never know unless they have someone close to them killed, raped, mutilated in ways that couldn’t even be replicated in the movie theaters. Who could possibly be qualified to make such a judgment? Is it judges or jurors? Is it even ethically or morally correct to do so? Since the beginning of time, different methods of execution have been used. These forms have been hanging, guillotine, gas chambers, electric chair, drowning, torched, and firing squads. The first recorded execution was in 1608 and it was for treason. The creator of the death penalty was King Hammurabi of Babylon, and it could be issued for 25 different crimes. Throughout time the British improvised it and it influenced every other country, specially the United States. Some countries use it as a form of population control, others as a show of force. But even still to this day, the world is still individually split on whether they should keep the death penal ty or abolish it. The reason people still to this day argue the fact that the capital punishment should be used, is because it bring a sense of satisfaction to the family of the victim, it puts fear within society’s, it eliminates over crowdedness within the prisons, and the mental and physical stress inmates go through. However, people argue it should be abolished because it doesn’t deter crime; there is a chance of executing the wrong individual, cost to taxpayers, discrimination against skin color,Show MoreRelatedThe Death Penalty Is Inhumane1441 Words   |  6 PagesDeath row inmates around the world are held in appalling conditions: the cells are not suitable for a human being; the dietary regime is inadequate; and access to medical care is difficult. â€Å"Not only are inmates placed in physically cruel and unusual circumstances, but their mind is also greatly affected by their situation, with many death row inmates suffering from mental illness and mental disabilities as a result of their death sentence,† stresses the World Coalition Against the Death PenaltyRead MoreDeath Penalty Inhumane1011 Words   |  5 PagesDeath Penalty The first established death penalty laws date as far back as the Eighteenth Century B.C. 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Perception and Individual Decision-Making - 1619 Words

Perception and Individual decision-making (Robertson) Perception Perception is a process by which individuals organize and interpret their sensory impressions in order to give meaning to their environment. However, what we perceive can be substantially different from objective reality. People’s behaviour is based on their perception of what reality is, not reality itself. Factors that influence it Attribution theory The attribution theory is an attempt to determine whether an individual’s behaviour is internally or externally caused. Internally caused behaviours are those we believe to be under the personal control of the individual whereas externally caused behaviour†¦show more content†¦Decision-making occurs as a reaction to a problem. That is, a discrepancy exists between the current state of affairs and some desired state, requiring us to consider alternative courses of action. The awareness that a problem exists and whether a decision needs to be made is a perceptual issue. Models of decision making Rational model: a decision-making model that describes how individuals should behave in order to maximise the outcome given specific constraints. The rational decision making model relies on a number of assumptions, including that the decision maker has complete information, is able to identify all the relevant options in an unbiased manner, and chooses the option with the highest utility. Most decisions in the real world don’t follow the rational model. Most significant decisions are made by judgement, rather than by a defined prescriptive model. What’s more, people are remarkably unaware of making suboptimal decisions. Bounded rationality: a process of making decisions by constructing simplified models that extract the essential features from problems without capturing all their complexity. Intuitive decision-making: a non conscious process created from distilled experience. 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Tintern Abbey Essay Example For Students

Tintern Abbey Essay What was the picturesque in eighteenth century British art, and where in Britain did artists go to find it? According to a modern dictionary, the definition of the word picturesque is visually pleasing, as in being striking or quaint1. The definition of picturesque in the eighteenth century was a lot different. The word originated from the Italian word Pittoresco, which meant after the manner of painters. In the eighteenth century, it became very fashionable in the middle classes to look for and paint the picturesque. Up until then, painters of landscape had been frowned on, and were not very successful. Landscape and picturesque painting became even more popular during the Romantic period (1780-1830), when literature and other forms of art were also becoming focused on the countryside and nature scenes. The picturesque became popular with the middle class in particular because the lower class did not have the time or means to go off on tours in to the countryside in search of the picturesque, and the upper class were still interested in portraiture: they would much rather have an impressive looking picture of themselves in a historical and noble pose, than a picture of the countryside. Also, the middle class were not really able to take the time off to go on the grand tour in Europe and discover the classics, and the countryside picturesque tour was more easily accessable. This did gradually change, but when the picturesque first became popular it was mainly restricted to the middle class. We can define what was considered to be picturesque by looking mainly at the work of William Gilpin and Uvedale Price. However, the first guidelines at the time came with the publication of Archibald Alisons Principles of Taste in 1790. This included a statement about the principle of association, which said that beauty was not neccessarily contained within an object, and instead that it depended on the feelings of association that were aroused by it. This was linked to the picturesque, as in the eighteenth century picturesque was more likely to refer to something that was not perfect for example a ruined building, or a fallen down tree. Therefore, the beauty in the picturesque was occasioned by the feelings the scene or object caused. William Gilpin believed that the picturesque must be split into two categories; the sublime and the beautiful. This was a different view to other artists and theorists, who believed that the sublime, the beautiful and the picturesque were all different. Gilpin said that the picturesque included not only the objects form and composition, but also the atmostphere. However, if one of these was lacking he believed that the imagination could be used to cover the deficiency. He also thought that to be picturesque, the scene or object must not be too perfect; he said of Cardiff that it appeared with more of the furniture of antiquity about it, than any other town we had seen in Wales: but on the spot the picturesque eye finds it too intire to be in full perfection. 2 When Gilpin visted Tintern Abbey, he described how it was picturesque as it was a ruin, but also said that it was not a dilapitated enough ruin; to be truly picturesque, it would be a good idea to destroy it even more. Gilpin looked at what was picturesque using a number of rules. This can be seen in his paintings, for example A View into a Winding Valley. The picture has clear side borders in the valley sides; the castle that can be seen is a ruin, and so is not perfect and therefore picturesque; the atmostphere, or weather in the painting is not tranquil; and the brightness of the sky is in contrast to the darkness of the foreground. One of the most important rules that Gilpin had for the picturesque was that of contrast and variety. .u1801cc520444730038fa7c71f547ff1d , .u1801cc520444730038fa7c71f547ff1d .postImageUrl , .u1801cc520444730038fa7c71f547ff1d .centered-text-area { min-height: 80px; position: relative; } .u1801cc520444730038fa7c71f547ff1d , .u1801cc520444730038fa7c71f547ff1d:hover , .u1801cc520444730038fa7c71f547ff1d:visited , .u1801cc520444730038fa7c71f547ff1d:active { border:0!important; } .u1801cc520444730038fa7c71f547ff1d .clearfix:after { content: ""; display: table; clear: both; } .u1801cc520444730038fa7c71f547ff1d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1801cc520444730038fa7c71f547ff1d:active , .u1801cc520444730038fa7c71f547ff1d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1801cc520444730038fa7c71f547ff1d .centered-text-area { width: 100%; position: relative ; } .u1801cc520444730038fa7c71f547ff1d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1801cc520444730038fa7c71f547ff1d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1801cc520444730038fa7c71f547ff1d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1801cc520444730038fa7c71f547ff1d:hover .ctaButton { background-color: #34495E!important; } .u1801cc520444730038fa7c71f547ff1d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1801cc520444730038fa7c71f547ff1d .u1801cc520444730038fa7c71f547ff1d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1801cc520444730038fa7c71f547ff1d:after { content: ""; display: block; clear: both; } READ: One and the Same EssayHe said that in a picturesque painting, the background should be smooth, and that the foreground should be varied and textured in contrast. Gilpins definition of the picturesque can be summed up best by two paintings he did of the same landscape. One of them is a picturesque view of it, and the other is a non-picturesque. It is not possible to tell which one is actually like the landscape Gilpin saw because of his theories about imagining what is not actually picturesque in a view or object. The picturesque painting can easily be recognised even without the non-picturesque landscape because it fits into all Gilpins rules. Gilpins understanding of what was picturesque in the eighteenth century is very important. He published tour guides to different areas of England informing the public where to look for the picturesque, and how to view it. This can be seen also in his Essay on Picturesque Travel (1794). He describes how the first source of amusement to the picturesque traveller, is the pursuit of his object After the pursuit we are gratified with the attainment of the object 3 Gilpins tour guides and essays on understanding the picturesque were very popular, which means that a lot of the public took the picturesque in British art to be as Gilpin defined it. We can also use Gilpins work to help us discover where in Britain artists went to discover the picturesque. Gilpins most famous tour guide was his Observations on the River Wye. He also wrote about areas such as Tintern Abbey, Cardiff, North Wales, Cornwall, and Yorkshire.