3 Family Road Trips You Cant Miss - Free Essay Example

Sample details Pages: 2 Words: 608 Downloads: 9 Date added: 2019/02/15 Category Society Essay Level High school Topics: Family Essay Did you like this example? There are certain places that everybody has on their travel bucket list. Whether you love cities, the countryside or a little bit of magic, you can do it all with an RV. When you have a family, admittedly, travelling becomes a little different. When you have young children, you have to pack more, take more pitstops and make time for fun-filled excitement. With all that being said, RV road trips as a family are cost-effective, memorable and fun experiences that will allow you to see the world, creating memories together, with no restrictions. Below weve listed the top family road trips that are sure to be filled with memories for your family, and children of all ages. Don’t waste time! Our writers will create an original "3 Family Road Trips You Cant Miss" essay for you Create order 1. San Francisco to Crater Lake Starting your trip in San Francisco, youre automatically off to a good start. This beautiful city has a little bit of everything in it, with lots of outdoor attractions—a perfect first stepping stone for children. Dont forget to check out the iconic Golden Gate Bridge. On your way to Crater Lake, make sure to visit Lassen Volcanic Park and Klamath Falls. These are filled with jaw-dropping views and will create amazing experiences. When you pull into Crater Lake, you will not be disappointed. In fact, pictures dont do it any justice. Everyone in the family will be completely stunned. Spend the day or the week at Crater Lake National Park enjoying the family-friendly activities like bike trails, water sports and fishing. This road trip is definitely one for the outdoor loving family. 2. Auckland to Rotorua Starting in New Zealands largest city and ending in aquatic heaven is a road trip with something for the whole family. Auckland is bursting with interesting places to visit and things to do. Get a real taste of big city life and admire all the modern architecture. Take a tiny detour on your way to Rotorua to stop at Waitomo. You just dont want to pass at a chance to witness the Waitomo Glowworm Caves. These will leave your family, no matter the age, completely enchanted. Head towards Matamata and try to find some hobbits. This is must-see for all the Lord of the Rings fans out there. Youll actually be able to see Bilbos house and the Green Dragon Inn. Finally, reach your destination at Rotorua. The magic doesnt end. Explore Whakarewarewa Forest or, if youre not really up for mountain biking, visit Rainbow Springs, the cute conservation park where you can see endangered species all for yourself. This will be a truly magical road trip. 3. Pisa to Rome Ah, Italy, a country filled with culture, history and amazing scenery. What more could you need for an amazing road trip? Starting in Pisa, make sure to see the leaning tower (and capture one of the classic photos with it). Torre Pendente Camping Village is nestled between the leaning tower and San Rossore Park, providing ample excitement for everyone. From there we suggest making stops at Florence, Siena and Orvieto. All three of these cities will fill you with so much culture and knowledge (and maybe pasta). Finally, make your way to Rome. Park at one of the resort-like camping villages and take trips to the Colosseum, Ancient Forum and perhaps the Vatican City, returning for a soak in the pool at the end of the day. This is a road trip jam-packed with tourist attractions, culture and great food. Just remember the saying, its not the destination, its the journey. No matter how amazing Crater Lake, the Colosseum or Bilbos house was to see, youll always remember your RV road trip and the fun you had with your family.

Into The Wild By Jon Krakauer - 1128 Words

Into the Wild Jon Krakauer’s compelling novel, â€Å"Into the Wild† is a true story about Christopher McCandless’ search for identity. McCandless was enamored in the idea of escaping a life that revolves around material possessions. The non-fiction treatment of this young life illustrates through the rebuilding of events in McCandless’ life the idea that McCandless seemed obsessed with how people appeared blind to the fact that they were living unhappy lives yet were terrified of giving up that life because it was safe, provided security and stability. However, for McCandless, nothing was more dangerous to the free spirit within him than that safe secure future. Krakauer with an eye to journalistic detail describes McCandless’ journey using†¦show more content†¦For example, a few months before he embarked on his journey his parents offered him a new car. McCandless not only refused the car but was furious that his parents had even offered to give something like this to him in the first place because he already had a car that ran like a champ, which was a yellow 1982 Datsun B210 with over two hundred thousand miles on it, and anything more luxurious than that would be an unnecessary material item or as he called it, just a thing, it was a good thing he refused that new car because that Datsun without a doubt aided him on his search for identity. Most people have a search for self-identity and the meaning of life but McCandless took it to the extreme. He was so wrapped up in finding himself and his identity that he felt the only way to do just that was to burn all of his money, leave his car in the dessert, and travel all around the country in search of a better place, where the people didn’t place all of their value in material possessions and statuses. Chris even created a fake identity for himself while on his search to find his real one, everyone he met on his journey knew him as Alexander Supertramp as th is is the name he chose for himself on his â€Å"great Alaskan adventure†. He traveled all over the US and even ended up in Mexico for a couple months but he knew all along that the ultimate destination was the Alaskan wilderness where there was no one because he knew that he

Social Class - Jane Eyre/Pride and Prejudice - 1761 Words

Examine the use of the theme of social class in ‘Jane Eyre’ and how this is illuminated by your reading of ‘Pride and Prejudice’ by Jane Austen. The novel ‘Jane Eyre’ highlights the idea of social class and the position of women in society. It tells the story of how protagonist Jane progresses through different social classes in life, beginning as the low position of an orphan and ending in the higher position of being both wealthy and married. Charlotte Bronte’s own social background was that of being relatively middle class as she was the daughter of a clergyman, which may have impacted on Jane’s attitude towards the ranks of society: it is shown at many points in the novel that social classes are unfair and prejudiced. Austen†¦show more content†¦She rebels against the opinions society has tried to enforce, desiring more, showing early feminist views. Becoming a governess in a stately manor home does little for Jane’s social standing. Though she now has a respectable job and behaves exactly as a lady should, for this was a key part of being a governess, she is treated appallingly by people who are in a ‘better’ class, such as Miss Ingram. Miss Ingram is continually rude to Jane, at one point calling her a ‘creeping creature’ which shows how she considers Jane to be a lesser-being due to her class. By using the word ‘creature’ it is implied that she is amongst the same class as animals: the word ‘creeping’ attaches connotations of Jane being sly and untrustworthy. When this is said, Jane does not say anything in return which implies that she, too, believes she is a lesser-being. This is also replicated by the use of Jane continually referring to Mr Rochester being at ‘Miss Ingram’s side’. Clearly, Jane believes that Miss Ingram has a better social standing and therefore she is more suited to Mr Rochester, another point that is repeated throughout the novel. 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Panofskys Views On Van Eyck Essay Example For Students

Panofskys Views On Van Eyck Essay Panofskys purpose in writing this article was to identify a painting discovered in Brussels in 1815 (referred to as the London portrait) as the portrait of Geovanni Arnolfimi and his wife Jeanne de Cename, painted in 1434. Panofsky uses historical documentation and iconography to prove his point. Because a paintings value can be enhanced by its historical significance, it is important to discover its background. Identifying a painting from several centuries ago is not easy. Because there is no photocopy available, we must depend on physical descriptions provided by others for recognition. Only paintings possessed by rich or historically significant people would be described in inventories or letters saved over hundreds of years. Wars often brought destruction and chaos, destroying historical documentation. Panofsky traces the provenance of this picture to provide a logical argument that the London portrait could be the Arnolfimi painting. He carefully documents the historical journey of the Arnolfimi painting, providing a continuous list of ownership from Don Diego de Guevara of Spain in the 1500s to Charles III in 1789. This careful documentation is to prove that the Amolfimi painting was still listed as being in Madrid in 1789. The timing of its disappearance and the subsequent discovery of the London portrait in Brussels in 1815 could easily be attributed to the chaos caused by Napoleons conquering of Spain during the lost time period. Since written documentation is often used as proof of historical happenings, it is very important that the content be interpreted correctly, within its historical context. Because a language translation can easily twist the contents meaning, scholars usually provide a quote in the language of its origin. In Panofskys era, most research scholars were f luent in German, French, and Latin. Today fluency in English is also essential. Because the Art History discipline addresses a wide variety of objects from all over the world, and from all known times, misinterpretations caused by language translation can be a critical problem. As a student of Art History, I am depending on the authors interpretation of the quotes documentation. I dont have to understand the non-English text because the foreign quotes are explained in the context of the article. Foreign quotes are provided as just additional proof to the arguments presented by the author. Artists frequently use symbols to present an idea or concept to the audience. An icon is an image whose association with a particular meaning is wide accepted. This symbol can convey emotions associated with its meaning, to have symbolized a particular meaning. Iconography provides a description of icons used throughout history. Iconology, the study of iconography, can provide us with a better understanding of an art object by providing its historical context. Panofsky points out that the writings of Varnewyck and Vermander are unreliable. Vermander was trying to describe a painting he had never seen, depending on Varnewycks written accounts as his only source. Panofsky points out that Vermander not only had just hearsay evidence, but also twisted the meaning of those written accounts in his attempt to interpret them. Actually the first error Vermander committed was using Varnewyck as a source to begin with. Varnewyck had also never seen the picture, and had used an unknown source fo r his writing. Establishing a source as reliable and supported by other evidence is very important for an art historian. Before the Council of Trent was held in 1583, the rule regarding matrimony dictated only that two people accept each other to form a legal marriage. The Council of Trent added the stulation that 2 witnesses and a priest were also required. This distinction is important because the Van Eyck painting represented a marriage, and only two people are in it. Because the marriage occurred before 1583, this was allowable. .u608223e270957ffb69591a6d87beb09d , .u608223e270957ffb69591a6d87beb09d .postImageUrl , .u608223e270957ffb69591a6d87beb09d .centered-text-area { min-height: 80px; position: relative; } .u608223e270957ffb69591a6d87beb09d , .u608223e270957ffb69591a6d87beb09d:hover , .u608223e270957ffb69591a6d87beb09d:visited , .u608223e270957ffb69591a6d87beb09d:active { border:0!important; } .u608223e270957ffb69591a6d87beb09d .clearfix:after { content: ""; display: table; clear: both; } .u608223e270957ffb69591a6d87beb09d { 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; } .u608223e270957ffb69591a6d87beb09d:active , .u608223e270957ffb69591a6d87beb09d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u608223e270957ffb69591a6d87beb09d .centered-text-area { width: 100%; position: relative ; } .u608223e270957ffb69591a6d87beb09d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u608223e270957ffb69591a6d87beb09d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u608223e270957ffb69591a6d87beb09d .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; } .u608223e270957ffb69591a6d87beb09d:hover .ctaButton { background-color: #34495E!important; } .u608223e270957ffb69591a6d87beb09d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u608223e270957ffb69591a6d87beb09d .u608223e270957ffb69591a6d87beb09d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u608223e270957ffb69591a6d87beb09d:after { content: ""; display: block; clear: both; } READ: Tim O'Brien's The Things They Carried: The Man Underneath the Helmet EssayPanofsky uses the anecdote about Willibald Pirckheimers mother to support his argument an undocumented wedding could lead to misunderstanding and problems. He talks about how Willibald Pirckheimers mother was secretly married to Sigmund Stromer, but was able to abandon him for another man because the marriage or joining of hands had been done in secret. 1 Pirckheimer, a wealthy citizen of Nuremberg, was a German humanist and book collector. He often made his library available to scholars and his house a literary and artistic center. It was Pirckheimers great collection that fascinated Panofsky and he was able to study about Pirckheimers life. The London portrait has the inscription Johannes de Eyck fuit hic. 1434 which is Latin for Jon van Eyck has been here. This inscription had been misinterpreted as This was Jan van Eyck, meaning that the portrait contained the figures of Van Eyck and his wife. Since Van Eycks child was baptized in June, 1434, he was probably married in 1433 at the latest. Also this inscription is used to make this painting an actual marriage document, with the artist as the signing witness. Capturing two people standing side by side, portrayed full length in a richly furnished room was not commonly done by 15th century artists. The allusion to Holbeins Ambassadors was to compare the content of it to Van Eycks painting. The marriage of David and Michal also shows two people standing side by side, but had the brides father and his courtier in it as well. All of the scenes represent a ceremony-taking place without a priest, and signified by the joining of hands. The author uses these allusions to show that two people standing next to each other, joining hands was a common icon representing a marriage ceremony. Some symbols have been designed to represent a particular ritual or object. For instance, a crown represents royalty, and can be used to convey the same attributes. Van Eyck used commonly found object such as furnishings and room ornaments as symbols. In this painting he uses these symbols to reinforce the matrimonial theme. The single candle in the chandelier is used as a symbol of the marriage candle given to the bride by the groom. The scene-taking place in a bedroom instead of a sitting room suggests a Nuptial Chamber. This work is important historically because it tells us so much about the people and rituals of its time. Also Van Eyck presents us with an art object that symbolizes matrimonial fidelity and religious faith in a simple, but original way. His use of such materials as brass, velvet, wood and fur not only make the background more realistic, but also are used as symbols to reinforce the paintings theme. Panofsky carefully examined and explained the validity of his sources, document events by tracing their chronological sequence, and used carefully constructed evidence to destroy his opponents (i.e., Vermander, Varnewyck etc.) arguments. Bibliography1. Found at www.encyclopedia.comArts and Painting