concrete vs. abstract

2. The easiest math quiz you’ve ever taken

3. The easiest math quiz you’ve ever taken
Solve the equation by filling in the blank:
3 apples + 6 apples – 2 apples = ___ apples

4. The easiest math quiz you’ve ever taken
Solve the equation by filling in the blank:
3 apples + 6 apples – 2 apples = ___ apples
3 oranges + 6 oranges – 2 oranges = ___ oranges

5. The easiest math quiz you’ve ever taken
Solve the equation by filling in the blank:
3 apples + 6 apples – 2 apples = ___ apples
3 oranges + 6 oranges – 2 oranges = ___ oranges
3 acarologists + 6 acarologists – 2 acarologists = ___
acarologists

6. The easiest math quiz you’ve ever taken
Solve the equation by filling in the blank:
3 apples + 6 apples – 2 apples = ___ apples
3 oranges + 6 oranges – 2 oranges = ___ oranges
3 acarologists + 6 acarologists – 2 acarologists = ___
acarologists
3 + 6 - 2 = _____

7. The easiest math quiz you’ve ever taken
Solve the equation by filling in the blank:
3 apples + 6 apples – 2 apples = ___ apples
3 oranges + 6 oranges – 2 oranges = ___ oranges
3 acarologists + 6 acarologists – 2 acarologists = ___
acarologists
3 + 6 - 2 = _____
3 x 6 ÷ 2 = _____

8. Concepts
• Arithmetic is conceptual. Concepts are abstract ideas that
we can apply to concrete things — such as apples,
oranges, and acarologists.

9. Concepts
• Arithmetic is conceptual. Concepts are abstract ideas that
we can apply to concrete things — such as apples,
oranges, and acarologists.
• Arithmetical concepts are formulaic: i.e., they’re algorithms
that, when applied, yield certain answers.

10. Concepts
• Arithmetic is conceptual. Concepts are abstract ideas that
we can apply to concrete things — such as apples,
oranges, and acarologists.
• Arithmetical concepts are formulaic: i.e., they’re algorithms
that, when applied, yield certain answers.
• Some concepts, however, aren’t formulaic in nature; they’re
heuristic: i.e., when you apply them, they yieldnot certain
answers but arguable interpretations.

11. Concepts
• Arithmetic is conceptual. Concepts are abstract ideas that
we can apply to concrete things — such as apples,
oranges, and acarologists.
• Arithmetical concepts are formulaic: i.e., they’re algorithms
that, when applied, yield certain answers.
• Some concepts, however, aren’t formulaic in nature; they’re
heuristic: i.e., when you apply them, yield certain answers.
They’re heuristics, which, when you apply them, yield
interpretations.
• In Essay 1, your thesis will be the interpretive argument you
create by applying Lynn Hunt’s heuristic concepts to a
concrete cultural artifact of your choice.

12. My (first) summary of Hunt
Is “human nature” natural, or is it cultural? Historian Lynn Hunt
argues that the concept of “the human” that underlies human rights
philosophy is not grounded in a natural human essence; rather, Hunt
contends, in the early 18th century we learned new ways of being
human through exposure to cultural artifacts such as sensationalist
journalism, realist portraiture, and, especially, the epistolary novel
(Hunt 2008). Through the use of intimate, first-person narrative,
Hunt contends, novels such as Samuel Richardson’s Pamela and
Clarissa granted their middle-class readers access to the interior
worlds of their working-class narrators, thus teaching those readers a
brand new emotion: empathy, i.e., the ability to imaginatively see and
feel the world as seen and felt by people of a different class. It was this
new emotion, empathy, Hunt argues, that enabled members of the
18th -century European middle class to perceive, in Thomas
Jefferson’s words, “that all men are created equal,” the newly “self-
evident” basis of the human rights of equality and liberty.

13. Pamela
Epistolary novel / internal monologue
What shall I do, what steps take, if all this be designing—O the perplexities
of these cruel doubtings!—To be sure, if he be false, as I may call it, I have
gone too far, much too far!—I am ready, on the apprehension of this, to bite
my forward tongue (or rather to beat my more forward heart, that dictated to
that poor machine) for what I have said. But sure, at least, he must be
sincere for the time!—He could not be such a practised dissembler!—If he
could, O how desperately wicked is the heart of man!—And where could he
learn all these barbarous arts?—If so, it must be native surely to the sex!—
But, silent be my rash censurings; be hushed, ye stormy tumults of my
disturbed mind! for have I not a father who is a man?—A man who knows
no guile! who would do no wrong!—who would not deceive or oppress, to
gain a kingdom!—How then can I think it is native to the sex? And I must
also hope my good lady's son cannot be the worst of men!—If he is, hard
the lot of the excellent woman that bore him!—But much harder the hap of
your poor Pamela, who has fallen into such hands!—But yet I will trust in
God, and hope the best: and so lay down my tired pen for this time.

14. Twilight
YA novel / internal monologue
I tried to concentrate on the angel's voice instead. "Bella, please! Bella,
listen to me, please, please, please, Bella, please!" he begged.
Yes, I wanted to say. Anything. But I couldn't find my lips.
"Carlisle!" the angel called, agony in his perfect voice. "Bella, Bella, no, oh
please, no, no!"
And the angel was sobbing tearless, broken sobs.
The angel shouldn't weep, it was wrong. I tried to find him, to tell him
everything was fine, but the water was so deep, it was pressing on me, and
I couldn't breathe.

15. My (second) summary of Hunt
Is “human nature” natural, or is it cultural? Historian Lynn Hunt argues that the
concept of “the human” that underlies human rights philosophy is not grounded in a
natural human essence; rather, Hunt contends, in the early 18th century we learned new
ways of being human through exposure to cultural artifacts such as sensationalist
journalism, the epistolary novel, and realist portraiture (Hunt 2008). Whereas,
formerly, portraitists depicted aristocratic figures in mythologic settings, to be displayed
privately on the estate walls of the aristocrats patrons who funded them, and which
evoked the supposedly divine source of the aristocratic class's earthly power, early 18th-
century portraitists, by contrast, rendered middle class figures in settings drawn from
everyday work and domestic life, to be displayed publicly on the walls of the galleries
that sold them, and which evoked the economic source of the power of the ascendant
bourgeoisie. Hunt argues that this new, more realistic style of portraiture, encountered
in public, commercial settings, engendered in middle class viewers a new and
revolutionary feeling: the sense of bodily autonomy and, with it, the desire for freedom.
Seeing themselves and their everyday worlds represented in a medium heretofore
reserved for their aristocratic "betters" evoked in middle class viewers the feeling that
they, too, had inherent, inviolable value and thus that they, too, had inherent rights,
notably, the liberty to do as they pleased, subservient to no one but God. And the
context in which they encountered these portraits -- commercial galleries, open to the
public, where art is bought and sold -- reminded them of where their inherent values
and rights came from: the marketplace.

16. Portraits
Allegorical Portrait of Anna of
Austria as Minerva (ca. 1643)
Allegorical Portrait of Diane de
Poitiers (ca. 1556)

17. Portraits
Portrait of Captain John Pigott (ca. 1700–1763)

18. Portraits
François Boucher, Le Déjeuner, (1739)