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La convivencia armónica de la antigüedad era muy distinta a la convivencia de la actualidad.
En la antigüedad, el núcleo familiar era más sólido y se convivía mucho tiempo entre los integrantes de una familia. Era tiempos en los que la tecnología no existía y todo el tiempo se le dedicaba al trabajo. Las condiciones económicas no eran favorables como para andar perdiendo el tiempo. Los momentos de descanso se aprovechaban para fomentar la convivencia familiar y el convivio con otras familias en lugares sociales o en la iglesia.
Era una época en donde la interacción personal directa era muy importante y valorada.
La convivencia moderna de nuestros días es fría, y cada vez se enfría más debido al excesivo uso de la tecnología que cada vez está separando más a las familias y a los amigos.
Hoy en día es triste ver como en una reunión en casa o en un restaurante, cada persona está inmerso en su teléfono celular, apartándose completamente de la relación interpersonal directa.
You would be forgiven for thinking that Princess Diana had very little in common with Henry VIII or the artist Hans Holbein. But you would be wrong. The Tudors invented the portrait as a means of projecting personality, often by linking striking images with words.
If you look at any member of the Royal family in the last few hundred years capable of playing the same game, it’s the late Princess of Wales, posing alone in front of the Taj Mahal, anticipating the headlines.
In the first episode of a new series, The Genius of British Art, I will be examining how royal portraiture has reflected and defined the changing face of England. Five other presenters, including Jon Snow and Sir Roy Strong, will then explore other areas of our artistic heritage, from war art to landscapes.
In so many ways, the Tudor reign was transformative, and art is no exception. In 16th-century England, the idea of using a painting to capture and transmit the personality of a ruler was revolutionary. Until then, royal portraits consisted of a squiggle and a crown on a coin or a seal – they were merely tokens. But if you look at Hans Holbein’s 1537 portrait of Henry VIII, what you see is the man himself: there are no royal emblems, no crown, no flummery. The painting shows the King in all his thuggish dignity, a rugger player gone to seed. While paint can flatter or lie, steel in the form of a made-to-measure suit of armour with a 54-inch waist cannot. It’s clear from Henry’s surviving armour that the painting shows his actual, hulking physique.
There were two factors which drove this transformation of the portrait. One was the Renaissance: English artists and thinkers were influenced by continental Europe’s urge to recreate the lavish, realistic art of Rome. The second was the Reformation. The idea of English identity was invented in Henry’s reign after the break from the Catholic Church and Rome; you could say that he was the first Eurosceptic.
Answer:
During the 1920s, the Federal Reserve increased the money supply and kept interest rates very low, encouraging consumer spending and the brisk borrowing of money.
Explanation:
Jackson--his presidency was marked by the Indian Removal Act and forced migration of the Cherokee people.
Jackson supported the right of white men to land access in the Southeast. Though the Cherokee had assimilated, owned land, and had created a democratic government they were still not white and therefore not fully accepted by the American people or society. Jackson supported Georgia's efforts to relocate the Cherokee which led to the Trail of Tears and relocation to Indian Territory now the state of Oklahoma.
They should be that they helped grow food and sll
