The late 1920s and 1930s were a time when many americans endured the humiliation of rampant racism as well as crushing poverty. yet most mainstream popular music (exemplified by the tin pan alley style) avoided these issues and focused instead on escapist themes of privacy and romance. why might this have been the case? do you feel that contemporary popular music also focuses on escapist themes like the 1920s and 1930s or do you feel that it tackles the relevant issues of the day? do you feel that popular music works best as an escape from the problems of the world or as a forum to explore and engage such issues? be as specific as possible in citing examples.

i believe the answer is  the similarity is that both are sacrifices which have the same purpose and sacrifice - jesus christ, but the difference is in offering of that sacrifice.

the similarity is that both are sacrifices which have the same purpose (repenting our sins) and sacrifice - jesus christ.  the difference is in the way of the offering that sacrifice. the sacrifice of jesus on the calvary is sacrifice of his actual living body and blood, but the sacrifice of the mass is the sacrifice of the jesus through bread (body) and blood (wine). in the sacrifice on calvary jesus was offered for us; while at mass he offers himself through us.

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

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