Herbert James Draper in the context of "Self control"

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⭐ Core Definition: Herbert James Draper

Herbert James Draper ((1863-11-26)26 November 1863 – (1920-09-22)22 September 1920) was an English Neoclassicist painter whose career began in the Victorian era and extended through the first two decades of the 20th century.

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👉 Herbert James Draper in the context of Self control

Self-control is the ability to regulate one's emotions, thoughts, and behavior in the face of temptations and impulses. It is an aspect of inhibitory control, one of the core human executive functions. Executive functions are cognitive processes that are necessary for regulating one's behavior in order to achieve specific goals.

As an executive function, self-control supports goal-directed behavior, planning, and decision making. In psychology, self-control is often distinguished from the broader construct of self-regulation, which includes the monitoring, adjustment, and maintenance of behavior and emotional states across changing situations.

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Herbert James Draper in the context of Self-control

Self-control is an aspect of inhibitory control, one of the core executive functions. Executive functions are cognitive processes that are necessary for regulating one's behavior in order to achieve specific goals.

Defined more independently, self-control is the ability to regulate one's emotions, thoughts, and behavior in the face of temptations and impulses. Thought to be like a muscle, acts of self-control expend a limited resource. In the short term, use of self-control can lead to the depletion of that resource. However, in the long term, the use of self-control can strengthen and improve the ability to control oneself over time.

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Herbert James Draper in the context of Ulysses and the Sirens (Draper)

Ulysses and the Sirens is a 1909 oil painting by Herbert James Draper measuring 69.25 in × 84 in (175.9 cm × 213.4 cm). It is now in the Ferens Art Gallery in Kingston upon Hull, England. The gallery bought the painting from Draper in 1910 for £600. Draper also painted a reduced replica that is now in the Leeds Art Gallery.

The subject of the painting is an episode in the epic poem Odyssey by Homer in which Ulysses is tormented by the voices of Sirens, although there are only two Sirens in Homer's poem and they stay in a meadow. The painting depicts Ulysses tied to the mast and forcibly attendant to the Sirens' seductions.

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Herbert James Draper in the context of Absyrtus

In Greek mythology, Absyrtus (Ancient Greek: Ἄψυρτος) or Apsyrtus was a Colchian prince and the younger brother of Medea. He was involved in Jason's escape with the golden fleece from Colchis.

The Absyrtides were named after him.

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Herbert James Draper in the context of Potpourri

Potpourri (/ˌppʊˈr/ POH-puurr-EE) is a mixture of dried, naturally fragrant plant materials used to provide a gentle natural scent, commonly in residential settings. It is often placed in a decorative bowl.

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Herbert James Draper in the context of Tristan and Iseult

Tristan and Iseult, also known as Tristan and Isolde and other names, is a medieval chivalric romance told in numerous variations since the 12th century. Of disputed source, usually assumed to be primarily Celtic, the tale is a tragedy about the illicit love between the Cornish knight Tristan and the Irish princess Iseult in the days of King Arthur. During Tristan's mission to escort Iseult from Ireland to marry his uncle, King Mark of Cornwall, Tristan and Iseult ingest a love potion, instigating a forbidden love affair between them.

The legend has had a lasting impact on Western culture. Its different versions exist in many European texts in various languages from the Middle Ages. The earliest instances take two primary forms: the so-called courtly and common branches, respectively associated with the 12th-century poems of Thomas of Britain and Béroul, the latter believed to reflect a now-lost original tale. A subsequent version emerged in the 13th century in the wake of the greatly expanded Prose Tristan, merging Tristan's romance more thoroughly with the Arthurian legend. Finally, after the revived interest in the medieval era in the 19th century under the influence of Romantic nationalism, the story has continued to be popular in the modern era, notably Wagner's operatic adaptation.

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