MEMENTO MORI, REMEMBER DEATH WILL COME.

For this topic, let’s imagine how we’d like to “leave this mortal coil,” to “make our exit,” or to “start pushing up the daisies.” The chapter reading for this week gives us ample examples and suggestions, a kind of blueprint, for how we could image this. These range from the personally eccentric examples laid out in the “Going out BIG” section, to the monumental markers on an architectural scale laid out in the section on “Ego,” or would you prefer to be physically preserved forever for all to see?

These are just some starting points to get you inspired- you don’t have to answer these questions, they are meant to fire up some ideas within your brainstorming.

• Are there special items that you’d like to accompany your corpse? Maybe it’s that favorite light saber, lucky hat, wedding ring, your baseball card collection, an important religious object, or that 1967 Chevy Camero with white leather interior?
• Do you want to share your (cremated) remains among your loved ones? What should they do with them—put them in amulets on chains, in an urn on the mantle, or resting in more traditional place like a cemetery?
• Or would you select a burial, in your favorite car perhaps, in a custom Kane Kwei-style coffin shaped like a chicken, or in a giant crypt with your favorite 60” television, with a full bar and a butler, or with any of the other things you need in the afterlife?
• Do you want a ritualized celebration honor with fireworks, dancing, or the Pope, or any other religious figure’s, blessing?

These examples are all rooted in ancient traditions, the art of which is covered in this chapter, that predate our contemporary traditions. Keep in mind that these scenarios are imaginary, so be as creative as possible.

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Provide the following for your summary:

1. Describe your idea of how you would like to orchestrate your end of life ceremony.
   1. List a minimum of 3 specific ideas that are personal and individually tailored to the person you are.
2. Provide specific examples of how your ideas are related to the art of this specific section of the textbook.
   1. All of your ideas must be related to an example from the week’s chapter reading. Describe how something you learned this week relates to the three personalized ideas listed above remember to be specific.
   2. Provide the image embedded within your discussion.
3. Your summary must use this template below:

Your overall description

1. Your ideas

a. The example from the textbook that relates to this idea, describe how it relates.

b. Image

2. Your ideas

a. The example from the textbook that relates to this idea, describe how it relates.

b. Image

3. Your ideas

a. The example from the textbook that relates to this idea, describe how it relates.

b. Image

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Here is an example from a recently deceased pet in my family. Milli, our basset hound was 15 years old when she died a few months ago. For your summary, make sure to provide images.

1. She is buried in the back yard, where family can visit anytime. It’s a quiet space, with other pets that have passed, which is a “community” gathering place, like a traditional cemetery.

a. Traditional cemetery

2. We buried her wrapped in a favorite dog blanket, with a bacon chew toy, and sage. These are things she may need in the afterlife and objects that she enjoyed in life.

a. Ancient Egyptians/ Qin Shi Huang’s tomb (terra cotta warriors)

3. There is a memorial on my bookshelf, with ofrendas: a toy, a flower, some treats

a. Day of the Dead remembrances

4. We have an annual memorial planned for the future.

a. Dogon dama funeral; anniversary rituals

5. We saved some dog hair and placed it in a special container to hold onto a physical part of Milli to maintain a sense continued connection.

a. Reliquary that houses a physical part of the deceased

WRITTEN SUMMARY REQUIREMENTS:

1. Provide the information in the numbered format above.
2. CITE sources, if you use them (it is not necessary to use another source other than your text book). Your submission will be scanned through for originality. I will use this data to inform your grade. If you do not cite, it will “appear” that plagiarism is taking place.
3. Limit your Summary to one page. Exceeding WILL result in a grade drop.
4. Must be submitted as a pdf file.

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Safari File Edit View History Bookmarks Window Help 66% Thu 2:25 PM ng.cengage.com Chapter 12: Multiple Choice Chapter Quiz Due Nov 10 Mind Tap – Cengage Learning + Safa v « CENGAGE MINDTAP Q Search this course MAIN MENU Chapter 12: Race, Gender, Clan, and Class X My Home A A A Chapter Contents Courses A-Z CENGAGE UNLIMITED + – © Browse Catalog Partner Offers EE Print Options i College Success Ancestors For many, the founding members of a clan have a major impact on the prestige of the living people and on their ability to function with power and authority. Our focus figure is from ancient Rome, whose people believed their ancestry was tremendously important. They preserved portraits of their ancestors and venerated their memory as a way of establishing their own importance as they went about the business of living. At first, these ancestor portraits were simply death masks, made by pressing soft wax on the face of a deceased family member shortly after death. However, the wax masks deteriorated after a few years and looked like death, with sagging tissue and sunken eyes. Around the first century BCE, affluent Romans began having copies of the death masks made in marble for permanence, and so the face could be sculpted to appear energetic or even monumental. The Statue of Togato Barberini ( Fig. 12.13 ) is an excellent example of Roman portrait sculpture made to worship an ancestor and to glorify the lineage. Career Center ? Help Give Feedback 12.13 Statue of Togato Barberini, Rome, early first century CE. Marble, 65″ high. Palazzo Barberini, Rome. Genealogy was important to the ancient Romans, and ople of rank were xpected to splay busts of their ancestors. Back Next Study Smarter, Not Harder Do women h get into Run script”;” NOV PAGES 7 …. … HA TB Safari File Edit View History Bookmarks Window Help 66% Thu 2:25 PM ng.cengage.com Chapter 12: Multiple Choice Chapter Quiz Due Nov 10 Mind Tap – Cengage Learning + Safa v « CENGAGE MINDTAP Q Search this course MAIN MENU Chapter 12: Race, Gender, Clan, and Class X My Home A A A Chapter Contents Courses A-Z CENGAGE UNLIMITED + – © Browse Catalog Partner Offers EE Print Options i College Success Ancestors For many, the founding members of a clan have a major impact on the prestige of the living people and on their ability to function with power and authority. Our focus figure is from ancient Rome, whose people believed their ancestry was tremendously important. They preserved portraits of their ancestors and venerated their memory as a way of establishing their own importance as they went about the business of living. At first, these ancestor portraits were simply death masks, made by pressing soft wax on the face of a deceased family member shortly after death. However, the wax masks deteriorated after a few years and looked like death, with sagging tissue and sunken eyes. Around the first century BCE, affluent Romans began having copies of the death masks made in marble for permanence, and so the face could be sculpted to appear energetic or even monumental. The Statue of Togato Barberini ( Fig. 12.13 ) is an excellent example of Roman portrait sculpture made to worship an ancestor and to glorify the lineage. Career Center ? Help Give Feedback 12.14 Portrait Heads from Tomb 6, Lambityeco, Oaxac Mexico, 640–755. Stucco, each head 10/2″ x 1142″. Ancestors provided legitimacy for rulers in this ancient culture and were consulted on difficult matters. Back Next Study Smarter, Not Harder Do women h get into NOV PAGES 7 …. … HA TB Safari File Edit View History Bookmarks Window Help 66% Thu 2:26 PM ng.cengage.com Chapter 12: Multiple Choice Chapter Quiz Due Nov 10 Mind Tap – Cengage Learning + Safa v « CENGAGE MINDTAP Q Search this course MAIN MENU Chapter 12: Race, Gender, Clan, and Class X My Home A A A Chapter Contents Courses 歷 A-Z CENGAGE UNLIMITED + – © Browse Catalog Partner Offers EE Print Options i College Success Art Used in Clan Rituals Clan ties are strengthened through rituals, and art is often an essential part of those rituals. Among the Asmat people of Papua New Guinea, the living engaged in elaborate rituals to pass on the life force of the deceased clansmen to the rest of the group. They carved and erected tall poles from wild nutmeg trees called Bis or Bisj Poles ( Fig. 12.17 ), which could reach up to 25 feet high. These pole sculptures were named to represent deceased clansmen, now called ancestors. The large openwork projections on the top figures are phalluses, representing power in warfare and in fertility. The height and intricate carving make the poles impressive. The negative and positive shapes and grim faces speak of bristling warlike energy. Sometimes poles were painted in high-contrast colors. As recently as the 1950s, the Asmat were headhunters, and part of their rituals involved avenging a clansman’s death, as they believed that death is not natural but caused by enemy warfare or magic. After the men carved and painted the Bisj Poles, the ritual feast prepared them for actual headhunting. Warriors Career Center Help Give Feedback 12.17 Bisj Pole , Asmat, Papua New Guinea, mid-twentieth century. Wood, paint, fiber; 212″ x 39″ x 63″. Metropo Museum of Art, New York. Large sculptures such as these are associated with rituals that enhance male power and fertility. Back Next Study Smarter, Not Harder Do women h get into NOV PAGES 7 …. … TB Safari File Edit View History Bookmarks Window Help 65% Thu 2:26 PM ng.cengage.com Chapter 12: Multiple Choice Chapter Quiz Due Nov 10 Mind Tap – Cengage Learning + Safa v « CENGAGE MINDTAP Q Search this course MAIN MENU Chapter 12: Race, Gender, Clan, and Class X My Home A A A Chapter Contents Courses A-Z CENGAGE UNLIMITED + – © Browse Catalog Partner Offers MENU EE Print Options i College Success Art Used in Clan Rituals Clan ties are strengthened through rituals, and art is often an essential part of those rituals. Among the Asmat people of Papua New Guinea, the living engaged in elaborate rituals to pass on the life force of the deceased clansmen to the rest of the group. They carved and erected tall poles from wild nutmeg trees called Bis or Bisj Poles ( Fig. 12.17 ), which could reach up to 25 feet high. These pole sculptures were named to represent deceased clansmen, now called ancestors. The large openwork projections on the top figures are phalluses, representing power in warfare and in fertility. The height and intricate carving make the poles impressive. The negative and positive shapes and grim faces speak of bristling warlike energy. Sometimes poles were painted in high-contrast colors. As recently as the 1950s, the Asmat were headhunters, and part of their rituals involved avenging a clansman’s death, as they believed that death is not natural but caused by enemy warfare or magic. After the men carved and painted the Bisj Poles, the ritual feast prepared them for actual headhunting. Warriors Career Center Help Give Feedback 12.18 BAMGBOYE OF ODO – Owa. Epa Headdress Called “Orangun,” Yoruba, Erinmope, Nigeria, 1974. Wood and Paint. The Epa Headdress contains an image of the founder of the clan and is used in rituals to promote fertility and the well-being of the community. Back Next Study Smarter, Not Harder Do women h get into NOV PAGES 7 …. … SA A TB Safari File Edit View History Bookmarks Window Help 65% Thu 2:26 PM ng.cengage.com Chapter 12: Multiple Choice Chapter Quiz Due Nov 10 Mind Tap – Cengage Learning + Safa v « CENGAGE MINDTAP Q Search this course MAIN MENU Chapter 12: Race, Gender, Clan, and Class X My Home A A A Chapter Contents Courses * A-Z CENGAGE UNLIMITED EMA © Browse Catalog + – E மாமlைists Partner Offers EE Print Options i College Success Class Status and Body Styles Our focus figure is from ancient Egypt, where the human body was sculpted in different ways, depending on the person’s class. Upper classes, consisting of the pharaoh and his family, the nobility, and the priests, were depicted in formal, highly standardized ways that indicated immediately their importance in the social hierarchy. The four gigantic statues at the Temple of Ramses II at Abu Simbel ( Fig. 12.22 ), dated c. 1275–1225 BCE, are examples of official images of the pharaoh. Befitting his semidivine status, he is enormous. The repetition of the image reinforces the idea of his imposing grandeur and divinity. Another eight standing statues of Ramses II are just inside the doorway, each standardized, each 32 feet high. The seated pose is frontal, composed, and symmetrical, according to the Egyptian aesthetic, with few breakable parts. The expressionless face and staring eyes look outward in timeless serenity. The body of Ramses II is well developed and flawless, frozen forever in idealized, youthful prime. Smaller figures at Ramses’ knees and feet are members of his Career Center Help Give Feedback 12.22 Temple of Ramses II, 19th Dynasty, Abu Simbel, Egypt (now relocated), c. 1275-1225 BCE. Each colossal statue is 65′ high. John P. Stevens/Ronald Sheridan Ancient Art & Architecture Library. In ancient Egypt, members of the ruling class were depicted in art in a formal, compact, frontal, idealized way. Back Next Study Smarter, Not Harder Do women h get into NOV PAGES 7 …. … TB
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