When considering “Ojibwe culture,” we have discussed current troubling social problems in Anishinaabe communities in a comparison of sorts to “Traditional Culture.” What do we mean when we say “traditional culture”? Has Ojibwe culture changed over time? If so, how? Do you know of any cultures that haven’t changed? If so, who/where?
We posed the question, “How long does something have to occur or go on in a particular community before it becomes ‘traditional’?” What do you think?
When discussing traditional Ojibwe culture, we discussed the seasonal round of the Anishinaabe and we started with the spring time. Why is that so? What is the significance of the spring time for the Ojibwe?
Some people talk about just how traditional certain people are, suggesting that there may be a range of traditional to consider. Others seem to be competing with one another over their degree of ndn-ness. Are such debates prevalent in other cultures? How about in “main-stream American culture,” if such a thing exists?

answer; ravenna,italy;

cad, or computer-aided design and drafting (cadd), is a software for design and technical documentation, which is an automated process as opposed to the manual drawing of plans. this gives a person an advance in making plans as an architect in a short period of time. one who can render plans through this software will gain a skill that is better than one who makes plans manually. this is a skill some companies look for in an employee.

perhaps donatello’s landmark work – and one of the greatest sculptural works of the early renaissance – was his bronze statue of david.  this work signals the return of the sculpture in the round figure, and because it was the first such work like this in over a thousand years, it is one of the most important works in the history of western art.

david is shown at a triumphal moment within the biblical storyline of his battle with the philistine, goliath.  according to the account, after david struck goliath with the stone from his slingshot, he cut off his head with goliath’s sword.  here, we see the aftermath of this event as david stands in a contemplative pose with one foot atop his enemy’s severed head.  david wears nothing but boots and a shepherd’s hat with laurel leaves on top of it, which may allude to his victory or to his role as a poet and musician.

before donatello’s work, david was typically depicted as a king, given his status in the old testament.  here, however, we have a stark change in the way david is depicted.  not only is he shown in the, but he’s also a youth.  in middle ages, nudity was not used in art except in certain moral contexts, such as the depiction of adam and eve, or the sending of souls off to the underworld.  in the classical world, was often used in a different, majestic context, such as with figures who were gods, heroes, or athletes.  here, donatello seems to be calling to mind the type of heroic nudity of antiquity, since david is depicted at triumphal point in the biblical narrative of his victory over goliath.

as for david’s youthfulness, donatello has gone back to the early life of the biblical david to depict him, rather than to his later life as a king.  it seems that donatello is trying to associate david’s youth with an innocent and virtuous life.  david looks young here – so young, in fact, that his muscles have barely developed enough to hold the large sword – that his victory over his foe is all the more improbable.  could david’s victory have been gained without divine intervention?   donatello’s work seems to imply that the answer is “no” – the victory was god’s rather than man’s.

in any case, donatello’s david is a classic work of renaissance sculpture, given its judaeo-christian subject matter modeled on a classical sculptural type.  it was revolutionary for its day – so much so that it did not get copied right away.  the idea of the life-sized sculpture-in-the-round evidently took some time to sink in and become an acceptable statue type

the correct answer is the first option. the principle of design that suggests a structural relationship between different elements within a work of art is unity.  unity is the principle of the quality of cohesiveness that is expressed with compositional similarity, oneness and cohesion.