Fashion Illustration Quotes

...that, to repeat what I heard for years and years and suspect you’ve been hearing over and over, yourself, something’s meaning is nothing more or less than its function. Et cetera et cetera et cetera. Has she done the thing with the broom with you? No? What does she use now? No. What she did with me--I must have been eight, or twelve, who remembers--was to sit me down in the kitchen and take a straw broom and start furiously sweeping the floor, and she asked me which part of the broom was more elemental, more fundamental, in my opinion, the bristles or the handle. The bristles or the handle. And I hemmed and hawed, and she swept more and more violently, and I got nervous, and finally when I said I supposed the bristles, because you could after a fashion sweep without the handle, by just holding on to the bristles, but couldn’t sweep with just the handle, she tackled me, and knocked me out of my chair, and yelled into my ear something like, ’Aha, that’s because you want to sweep with the broom, isn’t it? It’s because of what you want the broom for, isn’t it?’ Et cetera. And that if what we wanted a broom for was to break windows, then the handle was clearly the fundamental essence of the broom, and she illustrated with the kitchen window, and a crowd of the domestics gathered; but that if we wanted the broom to sweep with, see for example the broken glass, sweep sweep, the bristles were the thing’s essence. No? What now, then? With pencils? No matter. Meaning as fundamentalness. Fundamentalness as use. Meaning as use. Meaning as fundamentalness.

With every passing day, we add a page to our personal story, an illustrative script that casts our character shaped by an implacable external environment and fashioned by our supple state of inwardness.

Designed or planned social order is necessarily schematic; it always ignores essential features of any real, functioning social order. This truth is best illustrated in a work-to-rule strike, which turns on the fact that any production process depends on a host of informal practices and improvisations that could never be codified. By merely following the rules meticiously, the workforce can virtually halt production. In the same fashion, the simplified rules animating plans for, say, a city, a village or a collective farm were inadequate as a set of instructions for creating a functional social order, The formal scheme was parasitic on informal processes that, alone, it could not create or maintain.

Now the thing for YOU to do is to droop your tails and go home and crawl in a hole.  If any real lynching's going to be done it will be done in the dark, Southern fashion;

My God, man!" I gargled. "The cravat! The gent's neckwear! Why? For what reason?

Since the dawn of time, several billion human (or humanlike) beings have lived, each contributing a little genetic variability to the total human stock. Out of this vast number, the whole of our understanding of human prehistory is based on the remains, often exceedingly fragmentary, of perhaps five thousand individuals. You could fit it all into the back of a pickup truck if you didn't mind how much you jumbled everything up, Ian Tattersall, the bearded and friendly curator of anthropology at the American Museum of Natural History in New York, replied when I asked him the size of the total world archive of hominid and early human bones. The shortage wouldn't be so bad if the bones were distributed evenly through time and space, but of course they are not. They appear randomly, often in the most tantalizing fashion. Homo erectus walked the Earth for well over a million years and inhabited territory from the Atlantic edge of Europe to the Pacific side of China, yet if you brought back to life every Homo erectus individual whose existence we can vouch for, they wouldn't fill a school bus. Homo habilis consists of even less: just two partial skeletons and a number of isolated limb bones. Something as short-lived as our own civilization would almost certainly not be known from the fossil record at all. In Europe, Tattersall offers by way of illustration, you've got hominid skulls in Georgia dated to about 1.7 million years ago, but then you have a gap of almost a million years before the next remains turn up in Spain, right on the other side of the continent, and then you've got another 300,000-year gap before you get a Homo heidelbergensis in Germany and none of them looks terribly much like any of the others. He smiled. It's from these kinds of fragmentary pieces that you're trying to work out the histories of entire species. It's quite a tall order. We really have very little idea of the relationships between many ancient species which led to us and which were evolutionary dead ends. Some probably don't deserve to be regarded as separate species at all.

One conceivable way to discriminate between a scientific intellectual and a literary intellectual is by considering that a scientific intellectual can usually recognize the writing of another but that the literary intellectual would not be able to tell the difference between lines jotted down by a scientist and those by a glib nonscientist. This is even more apparent when the literary intellectual starts using scientific buzzwords, like “uncertainty principle,” “Godel’s theorem,” “parallel universe,” or “relativity,” either out of context or, as often, in exact opposition to the scientific meaning. I suggest reading the hilarious Fashionable Nonsense by Alan Sokal for an illustration of such practice (I was laughing so loudly and so frequently while reading it on a plane that other passengers kept whispering things about me).

You sometimes hear people say, with a certain pride in their clerical resistance to the myth, that the nineteenth century really ended not in 1900 but in 1914. But there are different ways of measuring an epoch. 1914 has obvious qualifications; but if you wanted to defend the neater, more mythical date, you could do very well. In 1900 Nietzsche died; Freud published The Interpretation of Dreams; 1900 was the date of Husserl Logic, and of Russell's Critical Exposition of the Philosophy of Leibniz. With an exquisite sense of timing Planck published his quantum hypothesis in the very last days of the century, December 1900. Thus, within a few months, were published works which transformed or transvalued spirituality, the relation of language to knowing, and the very locus of human uncertainty, henceforth to be thought of not as an imperfection of the human apparatus but part of the nature of things, a condition of what we may know. 1900, like 1400 and 1600 and 1000, has the look of a year that ends a saeculum. The mood of fin de siècle is confronted by a harsh historical finis saeculi. There is something satisfying about it, some confirmation of the rightness of the patterns we impose. But as Focillon observed, the anxiety reflected by the fin de siècle is perpetual, and people don't wait for centuries to end before they express it. Any date can be justified on some calculation or other. And of course we have it now, the sense of an ending. It has not diminished, and is as endemic to what we call modernism as apocalyptic utopianism is to political revolution. When we live in the mood of end-dominated crisis, certain now-familiar patterns of assumption become evident. Yeats will help me to illustrate them. For Yeats, an age would end in 1927; the year passed without apocalypse, as end-years do; but this is hardly material. 'When I was writing A Vision,' he said, 'I had constantly the word "terror" impressed upon me, and once the old Stoic prophecy of earthquake, fire and flood at the end of an age, but this I did not take literally.' Yeats is certainly an apocalyptic poet, but he does not take it literally, and this, I think, is characteristic of the attitude not only of modern poets but of the modern literary public to the apocalyptic elements. All the same, like us, he believed them in some fashion, and associated apocalypse with war. At the turning point of time he filled his poems with images of decadence, and praised war because he saw in it, ignorantly we may think, the means of renewal. 'The danger is that there will be no war.... Love war because of its horror, that belief may be changed, civilization renewed.' He saw his time as a time of transition, the last moment before a new annunciation, a new gyre. There was horror to come: 'thunder of feet, tumult of images.' But out of a desolate reality would come renewal. In short, we can find in Yeats all the elements of the apocalyptic paradigm that concern us.

The point is that you have here a direct, unmistakable assault on sanity and decency; and even - since some of Dali’s pictures would tend to poison the imagination like a pornographic postcard - on life itself. What Dali has done and what he has imagined is debatable, but in his outlook, his character, the bedrock decency of a human being does not exist. He is as anti-social as a flea. Clearly, such people are undesirable, and a society in which they can flourish has something wrong with it. Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” - in fact, to any “sensible” art-hating English person - it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be æsthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot. But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the æsthetic sense. Since “Mannequin rotting in a taxicab” is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschewismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals. It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art,” and everything is O.K.

LADY TEAZLE. Sir Peter — Sir Peter you — may scold or smile, according to your Humour[,] but I ought to have my own way in everything, and what’s more I will too — what! tho’ I was educated in the country I know very well that women of Fashion in London are accountable to nobody after they are married. SIR PETER. Very well! ma’am very well! so a husband is to have no influence, no authority? LADY TEAZLE. Authority! no, to be sure — if you wanted authority over me, you should have adopted me and not married me[:] I am sure you were old enough.

Vitellius gave orders for depleting the strength of the legions and auxiliaries. Recruiting was forbidden, and discharges offered without restriction. This policy was disastrous for the country and unpopular among the soldiers, who found that their turn for work and danger came round all the more frequently, now that there were so few to share the duties. Besides, their efficiency was demoralized by luxury. Nothing was left of the old-fashioned discipline and the good rules of our ancestors, who preferred to base the security of Rome on character and not on money.

There is an old-fashioned distinction between the novel of character and the novel of incident, which must have cost many a smile to the intending romancer who was keen about his work. It appears to me as little to the point as the equally celebrated distinction between the novel and the romance- to answer as little to any reality. There are bad novels and good novels, as there are bad pictures and good pictures; but that is the only distinction in which I see any meaning, and I can as little imagine speaking of a novel of character as I can imagine speaking of a picture of character. When one says picture, one says of character, when one says novel, one says of incident, and the terms may be transposed. What is character but the determination of incident? What is incident but the illustration of character? What is a picture or a novel that is not of character? What else do we seek in it and find in it?

My friends, you constrain me unto that which I was altogether resolved never to do, considering how hard a thing it is to find a wife whose fashions sort well within one’s own humour and how great an abundance there is of the contrary sort and how dour a life is his who happeneth upon a woman not well suited unto him.

Neither can beauty or strength make you blessed, for none of these qualities can withstand old age. What we have to seek for, then, is that which does not each day pass more and more under the control of some power which cannot be withstood. And what is this? It is the soul, – but the soul that is upright, good, and great. What else could you call such a soul than a god dwelling as a guest in a human body? A soul like this may descend into a Roman knight just as well as into a freedman's son or a slave. For what is a Roman knight, or a freedmen's son, or a slave? They are mere titles, born of ambition or of wrong. One may leap to heaven from the very slums. Only rise And mould thyself to kinship with thy God. This moulding will not be done in gold or silver; an image that is to be in the likeness of God cannot be fashioned of such materials; remember that the gods, when they were kind unto men, were moulded in clay. Farewell.

None of these men will bring about your death any time sooner, but rather they will teach you how to die. None of them will shorten your lifespan, but each will add the wisdom of his years to yours. In other words, there is nothing dangerous about talking to these people and it won’t cost you a penny. Take from them as much as you wish. It’s up to you to squeeze the most you can from their wisdom. What bliss, what a glorious old age awaits the man who has offered himself as a mate to these intellects! He will have mentors and colleagues from whom he may seek advice on the smallest of matters, companions ever ready with counsel for his daily life, from whom he may hear truth without judgment, praise without flattery, and after whose likeness he may fashion himself. They say ‘you can’t choose your parents,’ that they have been given to us by chance; but the good news is we can choose to be the sons of whomever we desire. There are many respectable fathers scattered across the centuries to choose from. Select a genius and make yourself their adopted son. You could even inherit their name and make claim to be a true descendant and then go forth and share this wealth of knowledge with others. These men will show you the way to immortality, and raise you to heights from which no man can be cast down. This is the only way to extend mortality – truly, by transforming time into immortality. Honors, statues and all other mighty monuments to man’s ambition carved in stone will crumble but the wisdom of the past is indestructible. Age cannot wither nor destroy philosophy which serves all generations. Its vitality is strengthened by each new generation’s contribution to it. The Philosopher alone is unfettered by the confines of humanity. He lives forever, like a god. He embraces memory, utilizes the present and anticipates with relish what is to come. He makes his time on Earth longer by merging past, present and future into one.

All rebel thought, as we have seen, is expressed either in rhetoric or in a closed universe. The rhetoric of ramparts in Lucretius, the convents and isolated castles of Sade, the island or the lonely rock of the romantics, the solitary heights of Nietzsche, the primeval seas of Lautreamont, the parapets of Rimbaud, the terrifying castles of the surrealists, which spring up in a storm of flowers, the prison, the nation behind barbed wire, the concentration camps, the empire of free slaves, all illustrate, after their own fashion, the same need for coherence and unity. In these sealed worlds, man can reign and have knowledge at last.

Obviously, in those situations, we lose the sale. But we’re not trying to maximize each and every transaction. Instead, we’re trying to build a lifelong relationship with each customer, one phone call at a time. A lot of people may think it’s strange that an Internet company is so focused on the telephone, when only about 5 percent of our sales happen through the telephone. In fact, most of our phone calls don’t even result in sales. But what we’ve found is that on average, every customer contacts us at least once sometime during his or her lifetime, and we just need to make sure that we use that opportunity to create a lasting memory. The majority of phone calls don’t result in an immediate order. Sometimes a customer may be calling because it’s her first time returning an item, and she just wants a little help stepping through the process. Other times, a customer may call because there’s a wedding coming up this weekend and he wants a little fashion advice. And sometimes, we get customers who call simply because they’re a little lonely and want someone to talk to. I’m reminded of a time when I was in Santa Monica, California, a few years ago at a Skechers sales conference. After a long night of bar-hopping, a small group of us headed up to someone’s hotel room to order some food. My friend from Skechers tried to order a pepperoni pizza from the room-service menu, but was disappointed to learn that the hotel we were staying at did not deliver hot food after 11:00 PM. We had missed the deadline by several hours. In our inebriated state, a few of us cajoled her into calling Zappos to try to order a pizza. She took us up on our dare, turned on the speakerphone, and explained to the (very) patient Zappos rep that she was staying in a Santa Monica hotel and really craving a pepperoni pizza, that room service was no longer delivering hot food, and that she wanted to know if there was anything Zappos could do to help. The Zappos rep was initially a bit confused by the request, but she quickly recovered and put us on hold. She returned two minutes later, listing the five closest places in the Santa Monica area that were still open and delivering pizzas at that time. Now, truth be told, I was a little hesitant to include this story because I don’t actually want everyone who reads this book to start calling Zappos and ordering pizza. But I just think it’s a fun story to illustrate the power of not having scripts in your call center and empowering your employees to do what’s right for your brand, no matter how unusual or bizarre the situation. As for my friend from Skechers? After that phone call, she’s now a customer for life. Top 10 Ways to Instill Customer Service into Your Company   1. Make customer service a priority for the whole company, not just a department. A customer service attitude needs to come from the top.   2. Make WOW a verb that is part of your company’s everyday vocabulary.   3. Empower and trust your customer service reps. Trust that they want to provide great service… because they actually do. Escalations to a supervisor should be rare.   4. Realize that it’s okay to fire customers who are insatiable or abuse your employees.   5. Don’t measure call times, don’t force employees to upsell, and don’t use scripts.   6. Don’t hide your 1-800 number. It’s a message not just to your customers, but to your employees as well.   7. View each call as an investment in building a customer service brand, not as an expense you’re seeking to minimize.   8. Have the entire company celebrate great service. Tell stories of WOW experiences to everyone in the company.   9. Find and hire people who are already passionate about customer service. 10. Give great service to everyone: customers, employees, and vendors.

EVERY workman knows the necessity of keeping his tools in a good state of repair, for “if the iron be blunt, and he do not whet the edge, then must he put to more strength.” If the workman lose the edge from his adze, he knows that there will be a greater draught upon his energies, or his work will be badly done. Michael Angelo, the elect of the fine arts, understood so well the importance of his tools, that he always made his own brushes with his own hands, and in this he gives us an illustration of the God of grace, who with special care fashions for himself all true ministers. It is true that the Lord, like Quintin Matsys in the story of the Antwerp well-cover, can work with the faultiest kind of instrumentality, as he does when he occasionally makes very foolish preaching to be useful in conversion; and he can even work without agents, as he does when he saves men without a preacher at all, applying the word directly by his Holy Spirit; but we cannot regard God’s absolutely sovereign acts as a rule for our action. He may, in His own absoluteness, do as pleases Him best, but we must act as His plainer dispensations instruct us; and one of the facts which is clear enough is this, that the Lord usually adapts means to ends, from which the plain lesson is, that we shall be likely to accomplish most when we are in the best spiritual condition; or in other words, we shall usually do our Lord’s work best when our gifts and graces are in good order, and we shall do worst when they are most out of trim. This is a practical truth for our guidance. When the Lord makes exceptions, they do but prove the rule.

I remember that a Korak once brought to me an old tattered fashion-plate from "Frank Leslie's Illustrated Newspaper," containing three or four full-length figures of imaginary ladies, in the widest expansion of crinoline which fashion at that time prescribed. The poor Korak said he had often wondered what those curious objects could be; and now, as I was an American, perhaps I could tell him. He evidently had not the most remote suspicion that they were intended to represent human beings. I told him that those curious objects, as he called them, were American women. He burst out into a "tyee-e-e-e" of amazement, and asked with a wondering look, "Are all the women in your country as big as that at the bottom?" It was a severe reflection upon our ladies' dress, and I did not venture to tell him that the bigness was artificial, but merely replied sadly that they were.

Three researchers at Stanford University noticed the same thing about the undergraduates they were teaching, and they decided to study it. First, they noticed that while all the students seemed to use digital devices incessantly, not all students did. True to stereotype, some kids were zombified, hyperdigital users. But some kids used their devices in a low-key fashion: not all the time, and not with two dozen windows open simultaneously. The researchers called the first category of students Heavy Media Multitaskers. Their less frantic colleagues were called Light Media Multitaskers. If you asked heavy users to concentrate on a problem while simultaneously giving them lots of distractions, the researchers wondered, how good was their ability to maintain focus? The hypothesis: Compared to light users, the heavy users would be faster and more accurate at switching from one task to another, because they were already so used to switching between browser windows and projects and media inputs. The hypothesis was wrong. In every attentional test the researchers threw at these students, the heavy users did consistently worse than the light users. Sometimes dramatically worse. They weren’t as good at filtering out irrelevant information. They couldn’t organize their memories as well. And they did worse on every task-switching experiment. Psychologist Eyal Ophir, an author of the study, said of the heavy users: “They couldn’t help thinking about the task they weren’t doing. The high multitaskers are always drawing from all the information in front of them. They can’t keep things separate in their minds.” This is just the latest illustration of the fact that the brain cannot multitask. Even if you are a Stanford student in the heart of Silicon Valley.

In ten minutes Peg had returned with a bundle of stuff. She washed her mistress's rat-tails at the stand, and then tucked her back into freshly laundered sheets. Enticing pattern books and journals lay across the coverlet. To Peg's satisfaction, her mistress began to leaf through The Lady's Magazine. "Your hair has a natural wave." Peg snipped at the ends with the scissors from her chatelaine, curling them into charming spirals. "Would you care for this style?" She held up an illustration of the "Grecian Manner", and deftly wound a bandeau of blue ribbon around her mistress's crown and temple. When Mrs. Croxon lifted the mirror, her face softened. She turned her head from left to right, admiring her reflection. "Now see that ribbon. That is the color you must have for your new gowns. Forget-me-not, and that pistachio color, they are all fashion. Forget those paces and daffodils.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

A silver hairbrush, old and surely precious, with a little leopard's head for London stamped near the bristles. A white dress, small and pretty, the sort of old-fashioned dress Cassandra had never seen, let alone owned- the girls at school would laugh if she wore such a thing. A bundle of papers tied together with a pale blue ribbon. Cassandra let the bow slip loose between her fingertips and brushed the ends aside to see what lay beneath. A picture, a black-and-white sketch. The most beautiful woman Cassandra had ever seen, standing beneath a garden arch. No, not an arch, a leafy doorway, the entrance to a tunnel of trees. A maze, she thought suddenly. The strange word came into her mind fully formed. Scores of little black lines combined like magic to form the picture, and Cassandra wondered what it would feel like to create such a thing. The image was oddly familiar and at first she couldn't think how that could be. Then she realized- the woman looked like someone from a children's book. Like an illustration from an olden-days fairy tale, the maiden who turns into a princess when the handsome prince sees beyond her ratty clothing.

PUBLISHERS WEEKLY REVIEW Collagist Fabe adds flair to Jane Austen’s Pride and Prejudice with 39 original illustrations that accompany the unabridged text. Fabe’s collages overlay bright, watercolor-washed scenes with retro cut-paper figures and objects sampled from fashion magazines from the 1930s to the ’50s. Accompanying each tableau is a quote from the Pride and Prejudice passage that inspired it. Like Austen’s book, Fabe’s work explores arcane customs of beauty and courtship, pageantry and social artifice: in one collage, a housewife holds a tray of drinks while a man sits happily with a sandwich in hand in the distance. While tinged with irony and more than a dash of social commentary, the collages nevertheless have a spirit of glee and evidence deep reverence for the novel. As Fabe describes in a preface, Austen “was a little bit mean—the way real people are mean—so there are both heroes and nincompoops. Family is both beloved and annoying. That is Austen’s genius, her ability to describe people in all their frailty and humor.” This is a sweet and visually appealing homage. (BookLife) “While tinged with irony and more than a dash of social commentary, the collages nevertheless have a spirit of glee and evidence deep reverence for the novel. As Fabe describes in a preface, Austen “was a little bit mean—the way real people are mean—so there are both heroes and nincompoops.” #publishersweeklyreview #booklife #elliefabe #janeausten #prideandprejudice #cincinnatiartist

Sadly, however, it is not serious historians who, for the most part, form the historical consciousness of their times; it is bad popular historians, generally speaking, and the historical hearsay they repeat or invent, and the myths they perpetuate and simplifications they promote, that tend to determine how most of us view the past. However assiduously the diligent, painstakingly precise academical drudge may labor at his or her meticulously researched and exhaustively documented tomes, nothing he or she produces will enjoy a fraction of the currency of any of the casually composed (though sometimes lavishly illustrated) squibs heaped on the front tables of chain bookstores or clinging to the middle rungs of best-seller lists. For everyone whose picture of the Middle Ages is shaped by the dry, exact, quietly illuminating books produced by those pale dutiful pedants who squander the golden meridians of their lives prowling in the shadows of library stacks or weakening their eyes by poring over pages of barely legible Carolingian minuscule, a few hundred will be convinced by what they read in, say, William Manchester’s dreadful, vulgar, and almost systematically erroneous A World Lit Only by Fire. After all, few have the time or the need to sift through academic journals and monographs and tedious disquisitions on abstruse topics trying to separate the gold from the dross. And so, naturally, among the broadly educated and the broadly uneducated alike, it is the simple picture that tends to prevail, though in varying shades and intensities of color, as with any image often and cheaply reproduced.

Nietzsche's case is an especially interesting one for whoever wishes to undertake a critical examination of the “neotraditionalist” path. Two main reasons justify this evaluation: ― Nietzsche's work, on the one hand, explicitly and in an exemplary manner articulates the critique of democratic modernity and the denunciation of the argumentative foundation of norms: in this way it permits us ―better than does the work of other philosophers― to grasp all that is involved, within the choice between tradition and argumentation, in the rejection of the latter. ― On the other and perhaps more important hand, the way Nietzsche went about this rejection illustrates in a particularly significant fashion one of the main difficulties this type of philosophical projects comes up against: the neotraditionalist avoidance of democratic modernity makes it necessary to look for and ―we insist on this― whatever could be today's analogue of a traditional universe: the analogue, for (as Nietzsche knew better than anyone) it is out of question that in a time when “God is dead”, tradition should function as it does in theological cultures, in which whatever renders the value of tradition “sacred” and gives it its power is never unrelated to its rootedness in the divine will or in the world order supposed to express this will. Situating as he does his reflections at the same time after the “death of God” and after the (inseparably associated) discovery that the world once “dedivinized”, appears to be devoid of any order and must be thought of as “chaos”, Nietzsche take into account the end of cosmological and theological universe, an end that in general defines the intellectual and cultural location of the Moderns: we are thus dealing here, by definition and, we could say, at the stage of working sketch (since Nietzsche is, in philosophy, the very man who declared the foundations of the traditional universe to be antiquated), with a very peculiar mixture of antimodernism and modernity, of tradition and novelty ―which is why the expression “neotraditionalism” seems perfectly appropriate here, right down to the tension expressed within it. The question is of course one of knowing what such a “mixture” could consists of, both in its content and in its effects. Since, more than most of the representative of ordinary conservatism, Nietzsche cannot contemplate a naïve resumption of tradition, his “neo-conservative” approach permits us to submit the traditionalist option to an interrogation that can best examine its limitations and unintended consequences ―namely: what would a modern analogue of tradition consist of?

Where the bloody hell is my wife?” Godric yelled into the aether. As if in response, a footman came up the stairs and handed Cedric a slip of paper. Dumbfounded, Cedric opened it and read it aloud. My Dear Gentlemen, We await you in the dining room. Please do not join us until you have decided upon a course of action regarding the threat to Lord Sheridan. We will be more than delighted to offer our opinions on the matter, but in truth, we suspect you do not wish to hear our thoughts. It is a failing of the male species, and we shan’t hold it against you. In the future, however, it would be advisable not to lock us in a room. We simply cannot resist a challenge, something you should have learned by now. Intelligent women are not to be trifled with. Fondest Regards, ~ The Society of Rebellious Ladies ~ “Fondest regards?” Lucien scoffed. A puzzled Jonathan added, “Society of Rebellious Ladies?” “Lord help us!” Ashton groaned as he ran a hand through his hair. “They’ve named themselves.” “I’ll wager a hundred pounds that Emily’s behind this. Having a laugh at our expense,” Charles said in all seriousness. “Let’s go and see how rebellious they are when we’re done with them.” Cedric rolled up the sleeves of his white lawn shirt as he and the others stalked down the stairs to the dining room. They found it empty. The footman reappeared and Cedric wondered if perhaps the man had never left. At the servant’s polite cough he handed Cedric a second note. “Another damn note? What are they playing at?” He practically tore the paper in half while opening it. Again he read it aloud. Did you honestly believe we’d display our cunning in so simple a fashion? Surely you underestimated us. It is quite unfair of you to assume we could not baffle you for at least a few minutes. Perhaps you should look for us in the place where we ought to have been and not the place you put us. Best Wishes, ~ The Society of Rebellious Ladies ~ “I am going to kill her,” Cedric said. It didn’t seem to matter which of the three rebellious ladies he meant. The League of Rogues headed back to the drawing room. Cedric flung the door open. Emily was sitting before the fire, an embroidery frame raised as she pricked the cloth with a fine pointed needle. Audrey was perusing one of her many fashion magazines, eyes fixed on the illustrated plates, oblivious to any disruption. Horatia had positioned herself on the window seat near a candle, so she could read her novel. Even at this distance Lucien could see the title, Lady Eustace and the Merry Marquess, the novel he’d purchased for her last Christmas. For some reason, the idea she would mock him with his own gift was damned funny. He had the sudden urge to laugh, especially when he saw a soft blush work its way up through her. He’d picked that particular book just to shock her, knowing it was quite explicit in parts since he’d read it himself the previous year. “Ahem,” Cedric cleared his throat. Three sets of feminine eyes fixed on him, each reflecting only mild curiosity. Emily smiled. "Oh there you are.

Being able at last to see the ‘adult’ Gina Lollobrigida or Marilyn Monroe films did little to calm the raging need males of that age—or of any age—feel for female companionship. Those were the days before prudery became fashionable and much before the moral police had begun flexing their biceps in India. Playboy magazine could be found in bookstores, nestling between copies of the Illustrated Weekly of India and Woman & Home. While

Ihrig’s book is illustrated with haunting political cartoons about Turkey’s example excavated from Nazi and other Weimar newspapers. The images make the point Ihrig intends, namely, that there can be no doubt about the significance of Atatürk’s inspiration in Nazi circles. They also remind us, as archival texts alone could not, how dark and threatening the German political imagination became after Versailles. Atatürk died in 1938, but Hitler’s admiration of him persisted until the Führer’s final days; he cherished a bust of Atatürk fashioned by the Nazi sculptor Josef Thorak.

Scripture is perfect, and Paul's analogy is perfect for its purpose. It illustrates that the divine potter has the right to fashion the human clay into any type of vessel and for any purpose he chooses, and the creature has no right to protest against the Creator.

Poetry and Genre The hallmark of rhetoric in ancient Near Eastern literature is repetition; in poetry, this takes the form of what scholars call “parallelism.” Frequently, the first line of a verse is echoed in some way by the second line. The second line might repeat the substance of the first line with slightly different emphasis, or perhaps the second line amplifies the first line in some fashion, such as drawing a logical conclusion, illustrating or intensifying the thought. At times the point of the first line is reinforced by a contrast in the second line. Occasionally, more than two lines are parallel. Each of these features, frequently observed in Biblical psalms, is represented in songs from Egypt, Mesopotamia and Ugarit. Unlike English poetry, which often depends on rhyme for its effect, these ancient cultures attained impact on listeners and readers with creative repetition. Psalms come in several standard subgenres, each with standard formal elements. Praise psalms can be either individual or corporate. Over a third of the psalms in the Psalter are praise psalms. Corporate psalms typically begin with an imperative call to praise (e.g., “Shout for joy to the LORD” [Ps 100:1]) and describe all the good things the Lord has done. Individual praise often begins with a proclamation of intent to praise (e.g., “I will praise you, LORD” [Ps 138:1]) and declare what God has done in a particular situation in the psalmist’s life. Mesopotamian and Egyptian hymns generally focus on descriptive praise, often moving from praise to petition. Examples of the proclamation format can be seen in the Mesopotamian wisdom composition, Ludlul bel nemeqi. The title is the first line of the piece, which is translated “I will praise the lord of wisdom.” As in the individual praise psalms, this Mesopotamian worshiper of Marduk reports about a problem that he had and reports how his god brought him deliverance. Lament psalms may be personal statements of despair (e.g., Ps 22:1–21, dirges following the death of an important person (cf. David’s elegy for Saul in 2Sa 1:17–27) or communal cries in times of crisis (e.g., Ps 137). The most famous lament form from ancient Mesopotamia is the “Lament Over the Destruction of Ur,” which commemorates the capture of the city in 2004 BC by the Elamite king Kindattu. For more information on this latter category, see the article “Neo-Sumerian Laments.” In the book of Psalms, more than a third of the psalms are laments, mostly by an individual. The most common complaints concern sickness and oppression by enemies. The lament literature of Mesopotamia is comprised of a number of different subgenres described by various technical terms. Some of these subgenres overlap with Biblical categories, but most of the Mesopotamian pieces are associated with incantations (magical rites being performed to try to rid the person of the problem). Nevertheless, the petitions that accompany lament in the Bible are very similar to those found in prayers from the ancient Near East. They include requests for guidance, protection, favor, attention from the deity, deliverance from crisis, intervention, reconciliation, healing and long life. Prayers to deities preserved

In the matter of alms-giving the Master warned against, and inferentially denounced, ostentation and hypocritical display. To give to the needy is praiseworthy; but to give for the purpose of winning the praise of men is rank hypocrisy. The tossing of alms to a beggar, the pouring of offerings into the temple treasure chests, to be seen of men,[534] and similar displays of affected liberality, were fashionable among certain classes in the time of Christ; and the same spirit is manifest today. Some there be now who cause a trumpet to be sounded, through the columns of the press perchance, or by other means of publicity, to call attention to their giving, that they may have glory of men—to win political favor, to increase their trade or influence, to get what in their estimation is worth more than that from which they part. With logical incisiveness the Master demonstrated that such givers have their reward. They have received what they bid for; what more can such men demand or consistently expect? "But" said the Lord, "when thou doest alms, let not thy left hand know what thy right hand doeth: That thine alms may be in secret: and thy Father which seeth in secret himself shall reward thee openly!

M. Keith Chen, an economist now at UCLA, was one of the first to explore the connection between language and economic behavior. He first grouped thirty-six languages into two categories—those that have a strong future tense and those that have a weak or nonexistent one. Chen, an American who grew up in a Chinese-speaking household, offers the differences between English and Mandarin to illustrate the distinction. He says, “[I]f I wanted to explain to an English-speaking colleague why I can’t attend a meeting later today, I could not say ‘I go to a seminar.’” In English, Chen would have to explicitly mark the future by saying, “I will be going to a seminar” or “I have to go to a seminar.” However, Chen says, if “on the other hand I were speaking Mandarin, it would be quite natural for me to omit any marker of future time and say Wŏ qù tīng jiăngzò (I go listen seminar).”13 Strong-future languages such as English, Italian, and Korean require speakers to make sharp distinctions between the present and the future. Weak-future languages such as Mandarin, Finnish, and Estonian draw little or often no contrast at all. Chen then examined—controlling for income, education, age, and other factors—whether people speaking strong-future and weak-future languages behaved differently. They do—in somewhat stunning fashion. Chen found that speakers of weak-future languages—those that did not mark explicit differences between present and future—were 30 percent more likely to save for retirement and 24 percent less likely to smoke. They also practiced safer sex, exercised more regularly, and were both healthier and wealthier in retirement. This was true even within countries such as Switzerland, where some citizens spoke a weak-future language (German) and others a strong-future one (French).14 Chen didn’t conclude that the language a person speaks caused this behavior. It could merely reflect deeper differences. And the question of whether language actually shapes thought and therefore action remains a contentious issue in the field of linguistics.15 Nonetheless, other research has shown we plan more effectively and behave more responsibly when the future feels more closely connected to the current moment and our current selves. For example, one reason some people don’t save for retirement is that they somehow consider the future version of themselves a different person than the current version. But showing people age-advanced images of their own photographs can boost their propensity to save.16 Other research has found that simply thinking of the future in smaller time units—days, not years—“made people feel closer to their future self and less likely to feel that their current and future selves were not really the same person.”17 As with nostalgia, the highest function of the future is to enhance the significance of the present.

Freedom, likewise, after having put a stop to tyranny, frequently becomes no less tyrannical and arbitrary. So the phenomenon of conscious departure from fashion illustrates how ready the fundamental forms of human character are to accept the total antithesis of contents and to show their strength and their attraction in the negation of the very thing to whose acceptance they seemed a moment before irrevocably committed. It is often absolutely impossible to tell whether the elements of personal strength or of personal weakness preponderate in the group of causes that lead to such a departure from fashion. It may result from a desire not to make common cause with the mass, a desire that has at its basis not independence of the mass, to be sure, but yet an inherently sovereign position with respect to the latter.

A certain intermediate stage is often realized within narrow circles between individual mode and personal fashion. Ordinary persons frequently adopt some expression, which they apply at every opportunity — in common with as many as possible in the same set — to all manners of suitable or unsuitable objects. In one respect this is a group fashion, yet in another respect it is really individual, for its express purpose consists in having the individual make the totality of his circle of ideas subject to this formula. [...] In this manner the inner world of the individual is made subject to fashion, and thus reflects the aspects of the external group governed by fashion, chiefly by reason of the objective absurdity of such individual manners, which illustrate the power of the formal, unifying element over the objective rational element.

Penguin Books Ltd., Registered Offices: 80 Strand, London WC2R 0RL, England     The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions and do not participate in or encourage electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated.   Text copyright © 2011 by AJ Stern. Illustrations copyright © 2011 by Penguin Group (USA) Inc. All rights reserved. Published by Grosset & Dunlap, a division of Penguin Young Readers Group, 345 Hudson Street, New York, New York 10014. GROSSET & DUNLAP is a trademark of Penguin Group (USA) Inc. S.A.   Library of Congress Control Number: 2011018038

I’ve been wanting to do this for a long time,” he said in a dangerous drawl, “and you just gave me the excuse I needed.” “What—what are you talking about?” Lily demanded, stepping backwards. A drop of rainwater from the leaky roof landed with a disconcerting ker-plop on the top of her head. Caleb was unbuttoning his cuffs, rolling up his sleeves. “I’m talking,” he replied evenly, “about raising blisters on your sweet little backside.” Lily was careful to keep to the opposite side of the table. “Now, Caleb, that wouldn’t be wise.” “Oh, I think it would be about the smartest thing I’ve ever done,” Caleb answered, advancing on her again. Lily kept the table between them. “I might be pregnant!” she reasoned desperately. “Then again,” Caleb countered, “you might not.” The muscles of his forearms were corded, the skin covered with maple-sugar hair. “I wasn’t going to shoot you—I only wanted to scare you away.” Lily dodged him, moving from one side of the table to the other, always keeping it between them. “Caleb, be reasonable. I wouldn’t shoot you—I love you!” “I love you, too,” Caleb returned in a furious croon, “and right now I’d like nothing better than to shoot you!” Lily picked up a chair and held it as she’d seen a lion tamer do in an illustration in one of her beloved dime novels. Helga of the Circus, if she remembered correctly. “Now, just stay back, Caleb. If you lay a hand on me, I assure you, you’ll regret it!” “I doubt that very much,” Caleb replied. And then he gripped one leg of the chair, and Lily realized what a pitiful defense it had been. He set it easily on the floor even as his other arm shot out like a coiled snake and caught Lily firmly by the wrist. Like a man sitting down to a cigar and a glass of port after a good dinner Caleb dropped comfortably into the chair. With a single tug he brought Lily facedown across his lap. Quick as mercury he had her skirts up and her drawers down, and when she struggled he simply imprisoned her between his thighs scissor fashion. “Caleb Halliday,” Lily gasped, writhing between his legs, “you let me go this instant!” “Or else you’ll do what?” he asked evenly. Lily felt his hand caress one cheek of her bottom and then the other, as though charting them for assault. “I’ll scream, and Hank Robbins will run over here and shoot you for the rascal you are!” Caleb laughed thunderously at that. “You’ve had your little joke,” Lily huffed, “now let me up!” “No,” Caleb replied. Lily threw back her head and screamed as loudly as she could. “You can do better than that,” Caleb said. “Hell, nobody would hear a whimper like that in this rain.” Lily filled her lungs to capacity and screamed again. She was as surprised as Caleb when the door flew open and Velvet burst in, ready for battle. Color filled her face when she understood the situation. In no particular rush, Caleb released Lily, and she scrambled to her feet unassisted, blushing painfully as she righted her drawers and lowered her skirts. Caleb chuckled at her indignation and then stood up respectfully.

Despite the power of the office, the waiting room was done up in Early American Dentist. The carpet was threadbare. The furniture managed to be neither fashionable nor functional. There were a dozen different issues of Sports Illustrated on the table and nothing else. The walls seemed to plead for a paint job. They were stained and barren, except for the photographs of past U.S. attorneys, a remarkable lesson in what not to wear and how not to pose when taking a picture for posterity. No

the swinging pendulum of HUMAN WILL, which decides our fate. God does not choose for us, or compel our love — we are free to fashion out our own futures; but in making our final choice we cannot afford to waste one moment of our precious, unreturning time. MARIE CORELLI.

Am I then to believe that the same God Who expends millions of years in slowly fitting this earth for man's habitation, will only allow to man himself a few fleeting years, or months, or hours, as it may be, as his sole preparation time for eternity? To settle questions so unspeakably great in their issue -questions stretching away to a horizon so far distant that no power of thought can follow them-in such hot haste, does seem quite at variance with our heavenly Father's ways. Is God's action outside man so slow, and within man so hurried? Is the husk of far more value than the seed? Are millions of years allotted to fashioning man's earthly home, while for man's spiritual training for eternity, but a few brief years are given, and these so largely broken up by sleep, by work, by disease, by ignorance? What should we say -to take a homely illustration -of an arrangement allotting 10,000 years to fashioning a man's coat, or building his house, while assigning to his whole education but a few hours?

FASHION DESIGN @ IIIFT Mumbai IIIFT’s curriculum aim to equip students with knowledge on Design Concept, Fashion Illustration, Textile Design, Pattern Making, Garment Construction, colours, silhouette, proportion, fabric, print, pattern, texture, sampling and construction; the prototyping stage of flat pattern cutting, structure, and embellishment till the promotion of the design. Focus on practical work makes IIIFT the best fashion design college in mumbai.

Naturally, von Neumann’s picture of the player as a completely intelligent, completely ruthless person is an abstraction and a perversion of the facts. It is rare to find a large number of thoroughly clever and unprincipled persons playing a game together. Where the knaves assemble, there will always be fools; and where the fools are present in sufficient numbers, they offer a more profitable object of exploitation for the knaves. The psychology of the fool has become a subject well worth the serious attention of the knaves. Instead of looking out for his own ultimate interest, after the fashion of von Neumann’s gamesters, the fool operates in a manner which, by and large, is as predictable as the struggles of a rat in a maze. This policy of lies—or rather, of statements irrelevant to the truth—will make him buy a particular brand of cigarettes; that policy will, or so the party hopes, induce him to vote for a particular candidate—any candidate—or to join in a political witch hunt. A certain precise mixture of religion, pornography, and pseudoscience will sell an illustrated newspaper. A certain blend of wheedling, bribery, and intimidation will induce a young scientist to work on guided missiles or the atomic bomb. To determine these, we have our machinery of radio fan ratings, straw votes, opinion samplings, and other psychological investigations, with the common man as their object; and there are always the statisticians, sociologists, and economists available to sell their services to these undertakings. Luckily for us, these merchants of lies, these exploiters of gullibility, have not yet arrived at such a pitch of perfection as to have things all their own way. This is because no man is either all fool or all knave. The average man is quite reasonably intelligent concerning subjects which come to his direct attention and quite reasonably altruistic in matters of public benefit or private suffering which are brought before his own eyes. In a small country community which has been running long enough to have developed somewhat uniform levels of intelligence and behavior, there is a very respectable standard of care for theunfortunate, of administration of roads and other public facilities, of tolerance for those who have offended once or twice against society. After all, these people are there, and the rest of the community must continue to live with them. On the other hand, in such a community, it does not do for a man to have the habit of overreaching his neighbors. There are ways of making him feel the weight of public opinion. After a while, he will find it so ubiquitous, so unavoidable, so restricting and oppressing that he will have to leave the community in self-defense.

Here are some services you can offer as a freelance fashion designer: ● Digital fashion flats (Adobe Illustrator) ● Tech packs ● Pattern making / pattern drafting (sample sewing / fittings) ● Design (trend / color research / collection design) ● Merchandising

One conceivable way to discriminate between a scientific intellectual and a literary intellectual is by considering that a scientific intellectual can usually recognize the writing of another but that the literary intellectual would not be able to tell the difference between lines jotted down by a scientist and those by a glib nonscientist. This is even more apparent when the literary intellectual starts using scientific buzzwords, like “uncertainty principle,” “Gödel’s theorem,” “parallel universe,” or “relativity,” either out of context or, as often, in exact opposition to the scientific meaning. I suggest reading the hilarious Fashionable Nonsense by Alan Sokal for an illustration of such practice (I was laughing so loudly and so frequently while reading it on a plane that other passengers kept whispering things about me).

I am told that it is no longer fashionable to believe in a devil — but I care nothing for fashion! A devil there is I am sure, who for some inscrutable reason has a share in the ruling of this planet — a devil who delights in mocking us from the cradle to the grave.

Superstring theory in the thirteenth century?!” Katherine wasn’t buying it. “Come on!” Superstring theory was a brand-new cosmological model. Based on the most recent scientific observations, it suggested the multidimensional universe was made up not of three . . . but rather of ten dimensions, which all interacted like vibrating strings, similar to resonating violin strings. Katherine waited as her brother heaved open the book, ran through the ornately printed table of contents, and then flipped to a spot near the beginning of the book. “Read this.” He pointed to a faded page of text and diagrams. Dutifully, Katherine studied the page. The translation was old-fashioned and very hard to read, but to her utter amazement, the text and drawings clearly outlined the exact same universe heralded by modern superstring theory—a ten-dimensional universe of resonating strings. As she continued reading, she suddenly gasped and recoiled. “My God, it even describes how six of the dimensions are entangled and act as one?!” She took a frightened step backward. “What is this book?!” Her brother grinned. “Something I’m hoping you’ll read one day.” He flipped back to the title page, where an ornately printed plate bore three words. The Complete Zohar. Although Katherine had never read the Zohar, she knew it was the fundamental text of early Jewish mysticism, once believed so potent that it was reserved only for the most erudite rabbis. Katherine eyed the book. “You’re saying the early mystics knew their universe had ten dimensions?” “Absolutely.” He motioned to the page’s illustration of ten intertwined circles called Sephiroth. “Obviously, the nomenclature is esoteric, but the physics is very advanced.” Katherine didn’t know how to respond. “But . . . then why don’t more people study this?” Her brother smiled. “They will.” “I don’t understand.” “Katherine, we have been born into wonderful times. A change is coming. Human beings are poised on the threshold of a new age when they will begin turning their eyes back to nature and to the old ways . . . back to the ideas in books like the Zohar and other ancient texts from around the world. Powerful truth has its own gravity and eventually pulls people back to it. There will come a day when modern science begins in earnest to study the wisdom of the ancients . . . that will be the day that mankind begins to find answers to the big questions that still elude him.

Measuring replication rates across different experiments requires that research be reviewed in some fashion. Research reviews can be classified into four types. A type 1 review simply identifies and discusses recent developments in a field, usually focusing on a few exemplar experiments. Such reviews are often found in popular-science magazines such as Scientific American. They are also commonly used in skeptical reviews of psi research because one or two carefully selected exemplars can provide easy targets to pick apart. The type 2 review uses a few research results to highlight or illustrate a new theory or to propose a new theoretical framework for understanding a phenomenon. Again, the review is not designed to be comprehensive but only to illustrate a general theme. Type 3 reviews organize and synthesize knowledge from various areas of research. Such narrative reviews are not comprehensive, because the entire pool of combined studies from many disciplines is typically too large to consider individually. So again, a few exemplars of the “best” studies are used to illustrate the point of the synthesis. Type 4 is the integrative review, or meta-analysis, which is a structured technique for exhaustively analyzing a complete body of experiments. It draws generalizations from a set of observations about each experiment.1 Integration Meta-analysis has been described as “a method of statistical analysis wherein the units of analysis are the results of independent studies, rather than the responses of individual subjects.”2 In a single experiment, the raw data points are typically the participants’ individual responses. In meta-analysis, the raw data points are the results of separate experiments.

decline of the movement, when the puerilities of the second generation of Surrealists were little more than illustrations of fabricated, unconvincing dreams, of essentially literary anecdotes as old-fashioned as Art Nouveau. Not surprisingly in a man who so valued his privacy, Picasso loathed Freud and all his works, maintaining that Freudian psychology was unscientific; nor, although no man was less of a prude, did he care for Freud’s great emphasis on the sexual drive, which also filled the Surrealist pictures with so many symbols.

Some of Becker’s most compelling research concerned altruism. He argued, for instance, that the same person who might be purely selfish in business could be exceedingly altruistic among people he knew—although, importantly (Becker is an economist, after all), he predicted that altruism even within a family would have a strategic element. Years later, the economists Doug Bernheim, Andrei Shleifer , and Larry Summers empirically demonstrated Becker’s point. Using data from a U.S. government longitudinal study, they showed that an elderly parent in a retirement home is more likely to be visited by his grown children if they are expecting a sizable inheritance. But wait, you say: maybe the offspring of wealthy families are simply more caring toward their elderly parents? A reasonable conjecture—in which case you’d expect an only child of wealthy parents to be especially dutiful. But the data show no increase in retirement-home visits if a wealthy family has only one grown child; there need to be at least two. This suggests that the visits increase because of competition between siblings for the parent’s estate. What might look like good old-fashioned intrafamilial altruism may be a sort of prepaid inheritance tax. Some governments, wise to the ways of the world, have gone so far as to legally require grown children to visit or support their aging moms and dads. In Singapore, the law is known as the Maintenance of Parents Act. Still, people appear to be extraordinarily altruistic, and not just within their own families.

(Five stars) A CHARMING, MODERN DAY FAIRY TALE By Tim Janson...with this book you really get an old-fashioned fairy tale told with today's tribulations. It's a light, fun read, filled with humor, wit and charm. While any kids in the 7 - 14 age range would enjoy the story, I think it especially speaks to young girls who can relate more keenly to the problems endured by the main characters. The book is beautifully illustrated by Andy Park and features a number of full-page illustrations that perfectly complement the story written By Debbie Bishop. The pair have created a story with lively characters that come to life before your eyes. Highly recommended! FIVE STARS! The Fairies of Bladderwhack Pond is a great story for kids and teens alike! This wonderful fairytale has modern references to kids as they live today. It’s like Harry Potter for kid’s today! Debbie has created a really fun book that will be cherished! --amazon reader

In a low-cut, tight-fitting black crepe dress, worn under a white lace coat, with flashing necklace, earrings and bracelets, Miss Patrick, who is of Italian German descent, looked a lot more like a fashion illustration herself than a creator of bizarre monsters. Unmarried, she admits to no current romance. “Why should I bother with the Hollywood wolves?” she murmured. “I’m happy with my monsters.” —Milicent Patrick in an interview with journalist Jane Corby for the Brooklyn Daily Eagle, Valentine’s Day, 1954

Media scans can be organized according to an individually selected series of research topics, but the most common structure of such research is illustrated by the acronym P.E.S.T.E.L., which stands for Political, Economic, Social, Technological, Environmental, and Legal.

y hands, choosing a book to take to bed or to the reading-desk, for the train or for a gift, consider the form as much as the content. Depending on the occasion, depending on the place where I’ve chosen to read, I prefer something small and cosy or ample and substantial. Books declare themselves through their titles, their authors, their places in a catalogue or on a bookshelf, the illustrations on their jackets; books also declare themselves through their size. At different times and in different places I have come to expect certain books to look a certain way, and, as in all fashions, these changing features fix a precise quality onto a book’s definition. I judge a book by its cover; I judge a book by its shape.

A point that is illustrated to some degree here is that, regardless of what Platonists want to believe about ideals, realms of forms, and the underlying nature of reality, a very strong case can be made that human beings are the ones fashioning logic and logical axiomatic systems as mental tools through which we aim to better understand our world. On some level, Platonists believe just the opposite—that abstractions determine a fundamental reality and that we are merely discovering those “real” abstractions as we go along.

An example of how a viral transmission is different than normal information transmission can be illustrated thusly: if information were spread in a memetic fashion, it would infect a subject, and, were the information's traits conducive to the information's survival, then the subject would accept the idea. This is strongly contrasted with information theory, in which the information is accepted based on how useful it is to an individual, e.g. the idea is accepted because it helps the subject survive if they accept it. Viruses, being obligate parasites, do not always help their host (in this case, the subject) survive.

scenes from the Legends of King Arthur and his Knights of the Round Table many lovely pictures have been painted, showing much diversity of figures and surroundings, some being definitely sixth-century British or Saxon, as in Blair Leighton’s fine painting of the dead Elaine; others—for example, Watts’ Sir Galahad—show knight and charger in fifteenth-century armour; while the warriors of Burne Jones wear strangely impracticable armour of some mystic period. Each of these painters was free to follow his own conception, putting the figures into whatever period most appealed to his imagination; for he was not illustrating the actual tales written by Sir Thomas Malory, otherwise he would have found himself face to face with a difficulty. King Arthur and his knights fought, endured, and toiled in the sixth century, when the Saxons were overrunning Britain; but their achievements were not chronicled by Sir Thomas Malory until late in the fifteenth century. Sir Thomas, as Froissart has done before him, described the habits of life, the dresses, weapons, and armour that his own eyes looked upon in the every-day scenes about him, regardless of the fact that almost every detail mentioned was something like a thousand years too late. Had Malory undertaken an account of the landing of Julius Caesar he would, as a matter of course, have protected the Roman legions with bascinet or salade, breastplate, pauldron and palette, coudiére, taces and the rest, and have armed them with lance and shield, jewel-hilted sword and slim misericorde; while the Emperor himself might have been given the very suit of armour stripped from the Duke of Clarence before his fateful encounter with the butt of malmsey. Did not even Shakespeare calmly give cannon to the Romans and suppose every continental city to lie majestically beside the sea? By the old writers, accuracy in these matters was disregarded, and anachronisms were not so much tolerated as unperceived. In illustrating this edition of “The Legends of King Arthur and his Knights,” it has seemed best, and indeed unavoidable if the text and the pictures are to tally, to draw what Malory describes, to place the fashion

As mandatory reporting laws and community awareness drove an increase its child protection investigations throughout the 1980s, some children began to disclose premeditated, sadistic and organised abuse by their parents, relatives and other caregivers such as priests and teachers (Hechler 1988). Adults in psychotherapy described similar experiences. The dichotomies that had previously associated organised abuse with the dangerous, external ‘Other’ had been breached, and the incendiary debate that followed is an illustration of the depth of the collective desire to see them restored. Campbell (1988) noted the paradox that, whilst journalists and politicians often demand that the authorities respond more decisively in response to a ‘crisis’ of sexual abuse, the action that is taken is then subsequently construed as a ‘crisis’. There has been a particularly pronounced tendency of the public reception to allegations of organised abuse. The removal of children from their parents due to disclosures of organised abuse, the provision of mental health care to survivors of organised abuse, police investigations of allegations of organised abuse and the prosecution of alleged perpetrators of organised abuse have all generated their own controversies. These were disagreements that were cloaked in the vocabulary of science and objectivity but nonetheless were played out in sensationalised fashion on primetime television, glossy news magazines and populist books, drawing textual analysis. The role of therapy and social work in the construction of testimony of abuse and trauma. in particular, has come under sustained postmodern attack. Frosh (2002) has suggested that therapeutic spaces provide children and adults with the rare opportunity to articulate experiences that are otherwise excluded from the dominant symbolic order. However, since the 1990s, post-modern and post-structural theory has often been deployed in ways that attempt to ‘manage’ from; afar the perturbing disclosures of abuse and trauma that arise in therapeutic spaces (Frosh 2002). Nowhere is this clearer than in relation to organised abuse, where the testimony of girls and women has been deconstructed as symptoms of cultural hysteria (Showalter 1997) and the colonisation of women’s minds by therapeutic discourse (Hacking 1995). However, behind words and discourse, ‘a real world and real lives do exist, howsoever we interpret, construct and recycle accounts of these by a variety of symbolic means’ (Stanley 1993: 214). Summit (1994: 5) once described organised abuse as a ‘subject of smoke and mirrors’, observing the ways in which it has persistently defied conceptualisation or explanation.

There are large and stately studios, panelled and high, in strong stone houses filled with gleaming brass and polished oak. There are workaday studios – summer perching-places rather than settled homes – where a good north light and a litter of brushes and canvas form the whole of the artistic stock-in-trade. There are little homely studios, gay with blue and red and yellow curtains and odd scraps of pottery, tucked away down narrow closes and adorned with gardens, where old-fashioned flowers riot in the rich and friendly soil. There are studios that are simply and solely barns, made beautiful by ample proportions and high-pitched rafters, and habitable by the addition of a tortoise stove and a gas-ring. There are artists who have large families and keep domestics in cap and apron; artists who engage rooms, and are taken care of by landladies; artists who live in couples or alone, with a woman who comes in to clean; artists who live hermit-like and do their own charing. There are painters in oils, painters in water-colours, painters in pastel, etchers and illustrators, workers in metal; artists of every variety, having this one thing in common – that they take their work seriously and have no time for amateurs.

I cannot agree with the gentleman in the magenta coat that Potter’s Pond is only a wretched little hamlet. But it is certainly a very remote and secluded village; so that it seems quite outlandish, like a village of a hundred years ago. The spinsters are really spinsters — damn it, you could almost imagine you saw them spin. The ladies are not just ladies. They are gentlewomen; and their chemist is not a chemist, but an apothecary; pronounced potecary. They do just admit the existence of an ordinary doctor like myself to assist the apothecary. But I am considered rather a juvenile innovation, because I am only fifty-seven years old and have only been in the county for twenty-eight years. The solicitor looks as if he had known it for twenty-eight thousand years. Then there is the old Admiral, who is just like a Dickens illustration; with a house full of cutlasses and cuttle-fish and equipped with a telescope.’ ‘I suppose,’ said Father Brown, ‘there are always a certain number of Admirals washed up on the shore. But I never understood why they get stranded so far inland.’ ‘Certainly no dead-alive place in the depths of the country is complete without one of these little creatures,’ said the doctor. ‘And then, of course, there is the proper sort of clergyman; Tory and High Church in a dusty fashion dating from Archbishop Laud; more of an old woman than any of the old women. He’s a white-haired studious old bird, more easily shocked than the spinsters. Indeed, the gentlewomen, though Puritan in their principles, are sometimes pretty plain in their speech; as the real Puritans were. Once or twice I have known old Miss Carstairs-Carew use expressions as lively as anything in the Bible. The dear old clergyman is assiduous in reading the Bible; but I almost fancy he shuts his eyes when he comes to those words.

Hard is the task to shape that beauty’s praise, Whose judgment scorns the homage flattery pays! But praising Amoret we cannot err, No tongue o’ervalues Heaven, or flatters her! Yet she, by Fate’s perverseness — she alone Would doubt our truth, nor deem such praise her own! Adorning Fashion, unadorn’d by dress, Simple from taste, and not from carelessness; Discreet in gesture, in deportment mild, Not stiff with prudence, nor uncouthly wild: No state has AMORET! no studied mien; She frowns no GODDESS, and she moves no QUEEN. The softer charm that in her manner lies Is framed to captivate, yet not surprise; It justly suits th’ expression of her face, — ’Tis less than dignity, and more than grace! On her pure cheek the native hue is such, That, form’d by Heav’n to be admired so much, The hand divine, with a less partial care, Might well have fix’d a fainter crimson there, And bade the gentle inmate of her breast, — Inshrined Modesty! — supply the rest.

Nineteenth-century French poet Théophile Gautier illustrates this in his storied travels through Andalusia, recounted in Wanderings in Spain: Traveling becomes a reality, an action in which you take a part. In a diligence {coach} a man is no longer a man, he is but an inert object, a bale of goods, does not much differ from a portmanteau. He is thrown from one place to the other, and might as well stop at home. The pleasure of traveling consists in the obstacles, the fatigue, and even the danger. What charm can any one find in an excursion, when he is always sure of reaching his destination, of having horses ready waiting for him, a soft bed, an excellent supper, and all the ease and comfort which he can enjoy in his own home! One of the great misfortunes of modern life is the want of any sudden surprise, and the absence of all adventures. Everything is so well arranged, so admirably combined, so plainly labeled, that chance is an utter impossibility; if we go on progressing, in this fashion, towards perfection for another century, every man will be able to foresee everything that will happen to him from the day of his birth to the day of his death. Humanity will be completely annihilated. There will be no more crimes, no more virtues, no more characters, no more originality. It will be impossible to distinguish a Russian from a Spaniard, an Englishman from a Chinese, or a Frenchman from an American. People will not even be able to recognize one another, for every one will be alike. An intense feeling of ennui will then take possession of the universe…. What is remarkable about this passage is Gautier's foresight into the plight of too many modern travelers: the washing out of cultural differences among nationalities, the overarching ennui of trendy cynicism, the lack of pleasure in a journey with no surprises. His remarks are a model for those trying to find a way to allow for synchronicity in their travels.

The 1833 Factory Act illustrates how bad things had become. It was considered highly controversial to ban children under the age of nine from working in textile factories and to restrict children aged between nine and 13 to working 12 hours a day. Those aged 13–18 could legally work a 69-hour week. As well as running sweatshops, industry owners also portioned out work to unregulated, starving homeworkers in order to undercut factory wages.

Many social and political changes have swept the world clean of the apprehension of sacred things: the rejection of custom and ceremony; the conversion of marriage into a defeasible contract; the relaxing of the laws governing, sexual conduct and obscenity; the decline of faith and saintliness. As those changes take their effect, the experience of erotic love becomes darigerous and uncertain in its outcome. Our responsibility retreats further from the confused terrain of sexual experience, and threatens even to void it of desire. Hence, it might be said, my ability to reflect, in so neutral and philosophical a fashion, on the nature of this phenomenon is perhaps already an index of its decline: of the fact that desire does not, now, have the importance for us that formerly caused men to conceal it in poetry or overcome it through prayer. What we understand of our condition may also pass from us in the act of understanding. For we were never meant to have knowledge of this thing; we were meant only to be subject to its command. No phenomenon, perhaps, illustrates more profoundly the great poetical utterance of Hegel; that When philosophy paints its grey in grey, then has a shape of life grown old. By philosophy's grey in grey it cannot be rejuvenated but only understood. The owl of Minerva spreads its wings only with the gathering of the dusk. On the other hand, it is a century and a half since Hegel wrote those words, and life goes on.

The allure of black fashion is undeniable - it’s versatile, elegant, and effortlessly stylish. Whether you’re looking for a sophisticated outfit for a formal event or a casual look for a day out, black fashion staples are the perfect choice.

She had bought herself a fashionable hat for the occasion, but had done nothing to accommodate it; so that the hat perched on her bird's-nest of ginger hair as if it had dropped there from an upper window as she walked along the street.