Fashion Statement Quotes

A fit, healthy body—that is the best fashion statement

[Piper] rushed to get dressed. By the time she got up on deck, the others had already gathered—all hastily dressed except for Coach Hedge, who had pulled the night watch. Frank’s Vancouver Winter Olympics shirt was inside out. Percy wore pajama pants and a bronze breastplate, which was an interesting fashion statement. Hazel’s hair was all blown to one side as though she’d walked through a cyclone; and Leo had accidentally set himself on fire. His T-shirt was in charred tatters. His arms were smoking.

I suppose he's making a real fashion statement, but this is high school. You're not supposed to be real. You're supposed to be enough like everyone else to get through and out into the waiting world.

Killing animals to make a fashion statement = a sickening + cold-blooded vanity.

You make all the fashion statements just by dressing up your mind.

Aurora?” “Logan?” He poked his head in and gawked. “He handcuffed you?” “Nah, it’s my latest fashion statement.

Take care of your costume and your confidence will take care of itself.

Kincaid, evidently exhausted himself, drew a gun, took the safety off, placed it on his chest, and went to sleep too. "It's cute," I whispered to Murphy. "He has a teddy Glock.

The Ladybug wears no disguises. She is just what she advertises. A speckled spectacle of spring, A fashion statement on the wing.... A miniature orange kite. A tiny dot-to-dot delight.

Kids don't care about rock and roll as much as they used to, as the other generations have. It's already turned into nothing but a fashion statement and an identity for kids to use as a tool for them to fuck and have a social life.

Believe it or not, some of us have piercings and tattoos and dye our hair because we think it looks pretty, not for any deep sociological reason. This isn't an act of protest against cultural or social repression. It's not a grand, deliberately defiant gesture against capitalists or feminists or any other social group. It's not even the fashion equivalent to sticking two fingers up at the world. The boring truth of it, Gabriel, is that I don't dress like this to hurt my parents or draw attention to myself or make a statement. I just do it because I think it looks nice. Disappointed?

I didn't want to be part of some trend. I wasn't doing this for a fashion statement

Well you are fresh Your face is fabulous Don’t forget you’re one of a kind When nobody’s checking the deeds you’ve done And nobody’s hearing your cries You make all the fashion statements Just by dressing up your mind ((Beauty in Ugly))

He winks at me. Then, before Calliope can cheer my statement, or tell him to go, he says, "Lily has no sense of fashion." "Hey," I cry. "You're supposed to say something nice.

My motto for fashion: If you can’t afford to make an elegant statement, make a ridiculous one.

In the shower today I tried to think about the best advice I'd ever been given by another writer. There was something that someone said at my first Milford, about using style as a covering, but sooner or later you would have to walk naked down the street, that was useful... And then I remembered. It was Harlan Ellison about a decade ago. He said, "Hey. Gaiman. What's with the stubble? Every time I see you, you're stubbly. What is it? Some kind of English fashion statement?" "Not really." "Well? Don't they have razors in England for Chrissakes?" "If you must know, I don't like shaving because I have a really tough beard and sensitive skin. So by the time I've finished shaving I've usually scraped my face a bit. So I do it as little as possible." "Oh." He paused. "I've got that too. What you do is, you rub your stubble with hair conditioner. Leave it a couple of minutes, then wash it off. Then shave normally. Makes it really easy to shave. No scraping." I tried it. It works like a charm. Best advice from a writer I've ever received.

With right fashion, every female would be a flame.

I'm really interested in the idea of anomynity and familiarity. And sunglasses, you know, are so indicatitve of that. I mean, they're worn by some people to hide themselves. But they're also a fashion statement, meant to be noticed. So there's a dichotomy there.

It's time to shop high heels if your fiance kisses you on the forehead.

You want me to sneak up on an angel and rip out its pinfeathers, so you can make a fashion statement?

Attending a snooty party meant wearing shoes designed by sadistic trolls and dressing to compete with women born to make fashion statements.’ (Abbie)

Why is your hair green?” “It’s a fashion statement.” “It’s hideous. And even if it weren’t . . . tinted . . . or whatever you did to it, it still wouldn’t do. We haven’t had a blond Pythia before; it’s simply not what people expect to see. And, frankly, it doesn’t suit you.” “It’s my natural color!” “Then it’s naturally hideous. And this”—he tugged at my curls—“will have to go.” “If you touch me one more time—” I said softly. “I’ll make you an appointment with a hairdresser who understands that we need suave. We need sophisticated. We need—well, someone else, obviously, but—

Fashion doesn't make you perfect, but it makes you pretty.

Kincaid rounded the far corner. He was dressed in his customary black clothing again, fatigue pants, and a hunting jacket over body armor, and he had enough guns strapped to his body to outfit a terrorist cell, or a Texan nuclear family.

Any girl with a grin never looks grim.

A good body is the best fashion statement.

Oh my goodness, are those kilts? I’ve never seen them outside the history books. They are an appealing fashion statement, aren’t they?” Rue could not help but agree–after all, how often did one get to admire a gentleman’s knees in polite society?

It’s a problem, you grow up reading about punk and grunge and earnest dude rock in all the magazines andinternalizing the idea that artifice is totally bullshit, man, and we wear these clothes because they’re comfortable, not for any kind of fashion statement, and we’re just trying to communicate, not be cool, and then you transition and realize, oh shit, there is going to have to be some intentionality in the way I present my body and my actions. I am going to have to break the patterns of clothing and voice and hair I’ve had in place all my life if I’m ever going to be read the way I want to be read. Like, it would be nice to believe that you could just exist, just be some true, honest, essential self. But you only really get to have a true honest essential self if you’re white, male, het, and able-bodied. Otherwise your body has all these connotations and you don’t get the benefit of the doubt.

You cannot choose your face but you can choose your dress.

The revolt hadn’t been put down, it had just dwindled away into a fashion statement.

Dresses won't worn out in the wardrobe, but that is not what dresses are designed for.

Dresses don't look beautiful on hangers.

I promise to keep her secure. Then I took two large wads a candle wax, kneaded them into earplugs, and stuff them into my ears. Annabeth nodded sarcastically, letting me know the air plugs are a real fashion statement. I made a face at her...

It seemed he was the perfect lover, at least for the moment. He did not live where you lived. He did not see you often enough, or for long enough, for you to grow bored, or to feel afraid that you were not feeling love---or worse, that you were. The perfection had a cost, which is that he was not in any true sense a real person. He was a coat you bought off the rack, an unsuperlative fashion statement.

The Spirit at work in us is replacing our desire to dress in a way that impresses or seduces with a desire to dress as Paul instructed women in his letter to Timothy, “in respectable apparel, with modesty and self-control” (1 Tim. 2:9). Rather than making a fashion statement with our clothes that will cause heads to turn in our direction, we want to make a fashion statement with our character that will cause heads to turn in Christ’s direction.

She predicted the fall of Troy. She foresaw the rise of Alexander the Great. She advised Aeneas on where he should establish the colony that would one day become Rome. But did the Romans listen to all her advice, like Watch out for emperors, Don't go crazy with the gladiator stuff or Togas are not a good fashion statement? No. No, they didn't.

The clothes or accessories you do or don't wear are a statement, a reflection of yourself; that is why you should always try to wear 'who you are' not anyone else.

Simpler the outfit, wiser the outlook.

Mustaches are not only fashion statements, but they’re useful for tickling vaginas.

The world would experience 180 degrees improvement if people stopped using ignorance as their fashion statement to be different. But the earth is flat!

I was fucking turned on by the worse fashion statement on Earth.

His red-haired companion wore a similar outfit but without the tattoo and piercings, lacking the courage—or the idiocy—to turn a fashion statement into permanent disfigurement. They

They say instant communication is not communication at all but merely a frantic, trivial, nerve-wracking bombardment of clichés, threats, fads, fashions, gibberish and advertising. However, who has not hung on a scripture, a quote, a statement, only to stumble upon the key phrase that brought all things to a turning point? The greatest sermons and speeches were pieced together by illuminating thoughts that powered men to surpass their own commonness. It is the sparkling magic of letters forming words, and those words colliding with passion, that makes statements into wisdom.

I knew too, but I didn’t like to think about that. Maybe it was stupid and solipsistic, but I liked to think about me. I didn’t want to be part of some trend. I wasn’t doing this for a fashion statement.

All Mad" 'He is mad as a hare, poor fellow, And should be in chains,' you say, I haven't a doubt of your statement, But who isn't mad, I pray? Why, the world is a great asylum, And the people are all insane, Gone daft with pleasure or folly, Or crazed with passion and pain. The infant who shrieks at a shadow, The child with his Santa Claus faith, The woman who worships Dame Fashion, Each man with his notions of death, The miser who hoards up his earnings, The spendthrift who wastes them too soon, The scholar grown blind in his delving, The lover who stares at the moon. The poet who thinks life a paean, The cynic who thinks it a fraud, The youth who goes seeking for pleasure, The preacher who dares talk of God, All priests with their creeds and their croaking, All doubters who dare to deny, The gay who find aught to wake laughter, The sad who find aught worth a sigh, Whoever is downcast or solemn, Whoever is gleeful and gay, Are only the dupes of delusions— We are all of us—all of us mad.

and if a rainy morning deprived them of other enjoyments, they were still resolute in meeting in defiance of wet and dirt, and shut themselves up, to read novels together. Yes, novels; for I will not adopt that ungenerous and impolitic custom so common with novel–writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding — joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another; we are an injured body. Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine–hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens — there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel–reader — I seldom look into novels — Do not imagine that I often read novels — It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss — ?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best–chosen language. Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favourable idea of the age that could endure it.

My smile lights up a million stars always. I create beauty with my hands and I radiate beauty from within. I make a fashion statement wherever I go and I always see beauty wherever I go. Life is an experience that brings out the best in me. I triumph when my days are blue because I know my next experience will be much brighter than my worst. I am unique, beautiful, positive , strong-willed lady and above all, I welcome a challenge because that's what makes me who I am and I am an over-comer

So, you’re dead asleep, and you get a call. Something terrible’s happened, and I’m dead. What do you do?” It took him a moment to quell the terror, to ignore the small, dark place inside him that feared getting that call every day. “Before or after I fall prostrate with grief?” “Before, during, and after. Do you peruse your wardrobe and select a coordinating outfit—down to the footwear? Do you deal with your hair so it’s perfectly groomed?” “With my considerable skills and innate instincts that would take no time at all.” “Keep it up and I’ll dump red sauce all over your fashionable smarty-pants.” “That statement is one of the countless reasons why, under the circumstances you described, I’d be lucky to remember to dress at all.

People invariably ask Carefree Scamps, “Where did you get that jumper?” or, “Where did you get that dress?” The answer is quite possibly Camden Market, but they won’t be able to remember. They’ll simply answer something like, “I dunno, I’ve had it for ages.

Chronic pain is not a missing limb or open wound; it is the essence of invisible suffering... I wish I sparkled. I wish my pain made me beautiful, made me more noble, or was a fashion statement. Instead it is just pain, wordless and desperate for expression.

Often they wore their hair in pin curls and a turban, getting their hair ready for—what? This still is an American custom. You see women everywhere in pink hair rollers. It’s some sort of philosophical or fashion statement. Maybe there will be something better, later.

If it’s love, those tears are a sign of distress, not an act of defiance.        If it’s love, her bold fashion statement is something to be celebrated, not criticized.        If it’s love, his mistakes are evidence of trying and learning, not simply messes to clean up.        If it’s love, her slow pace is a reflection of her “stop and smell the roses” approach to life, not a time waster.        If it’s love, his early morning wake-ups are something he’ll outgrow, not a plot to exhaust us.        If it’s love, her poor choice is a chance to respond thoughtfully, not give a knee-jerk reaction.        If it’s love, our voice has a little more calm; our eyes have a little more perspective; our hands have a little more gentleness.        We won’t always choose love. We are human, after all.        But when we choose love over anger, hurry, condemnation, shame, and sarcasm, there is space for goodness to enter the conversation.        When love speaks, we are all better heard.        When love looks, we are all better seen.        Let us look and speak love today. As much as we possibly can, let us allow goodness in. TODAY’S REMINDER In the busyness of life, it’s easy to fall into the habit of saying my loved one’s name as if it’s just a word or a way to get his or her attention. Before I address my loved one today, I will take a moment to remember the time, thought, and care that went into choosing the name of this precious person, and then I’ll say it with genuine love. This one simple action holds the power to bring love into the conversation.

After dinner, I went upstairs and found Ren standing on the veranda again, looking at the sunset. I approached him shyly and stood behind him. “Hello, Ren.” He turned and openly studied my appearance. His gaze drifted ever so slowly down my body. The longer he looked, the wider his smile got. Eventually, his eyes worked their way back up to my bright red face. He sighed and bowed deeply. “Sundari. I was standing here thinking nothing could be more beautiful than this sunset tonight, but I was mistaken. You standing here in the setting sun with your hair and skin aglow is almost more than a man can…fully appreciate.” I tried to change the subject. “What does sundari mean?” “It means ‘most beautiful.’” I blushed again, which made him laugh. He took my hand, tucked it under his arm, and led me to the patio chairs. Just then, the sun dipped below the trees leaving its tangerine glow in the sky for just a few more moments. We sat again, but this time he sat next to me on the swinging patio seat and kept my hand in his. I ventured shyly, “I hope you don’t mind, but I explored your house today, including your room.” “I don’t mind. I’m sure you found my room the least interesting.” “Actually, I was curious about the note I found. Did you write it?” “A note? Ah, yes. I just scribbled a few notes to help me remember what Phet had said. It just says seek Durga’s prophecy, the Cave of Kanheri, Kelsey is Durga’s favored one, that sort of thing.” “Oh. I…also noticed a ribbon. Is it mine?” “Yes. If you’d like it back, you can take it.” “Why would you want it?” He shrugged, looking embarrassed. “I wanted a memento, a token from the girl who saved my life.” “A token? Like a fair maiden giving her handkerchief to a knight in shining armor?” He grinned. “Exactly.” I jested wryly, “Too bad you didn’t wait for Cathleen to get a little older. She’s going to be very pretty.” He frowned. “Cathleen from the circus?” He shook his head. “You were the chosen one, Kelsey. And if I had the option of choosing the girl to save me, I still would have picked you.” “Why?” “A number of reasons. I liked you. You are interesting. I enjoyed listening to your voice. I felt like you saw through the tiger skin to the person underneath. When you spoke, it felt like you were saying exactly the things I needed to hear. You’re smart. You like poetry, and you’re very pretty.” I laughed at his statement. Me, pretty? He can’t be serious. I was average in so many ways. I didn’t really concern myself with current makeup, hairstyles, or fashionable, but uncomfortable, clothes like other teenagers. My complexion was pale, and my eyes were so brown that they were almost black. By far, my best feature was my smile, which my parents paid dearly for and so did I-with three years of metal braces. Still, I was flattered. “Okay, Prince Charming, you can keep your memento.” I hesitated, and then said softly, “I wear those ribbons in memory of my mom. She used to brush out my hair and braid ribbons through it while we talked.” Ren smiled understandingly. “Then it means even more to me.

So those are the basics. I know some of you are going to be complaining, like, Ah, you forgot to talk about Cheez Whiz, the god of mice! You forgot to mention Bumbritches, the god of bad fashion statements! Or whatever. Please. There are about a hundred thousand Greek gods out there. I'm a little too ADHD to include every single one of them in a single book. Sure, I could tell you how Gaea raised an army of giants to attack Olympus. I could tell you how Cupid got his girlfriend, or how Hecate got her farting weasel. But that would take a whole other book. (And please don't give the publisher any ideas. This writing gig is HARD!) We've covered most of the major players. You probably know enough now to avoid getting zapped into a pile of ash if you ever come across any of the twelve Olympians. Probably. “Me, I’m late to meet my girlfriend. Annabeth is going to kill me. Hope you enjoyed the stories. Stay safe out there, demigods. Peace from Manhattan, Percy Jackson

The fashion look of teens and twentysomethings -once so cutting edge- is now, like most of the music played on the radio, a matter of routine. Safe, tired, everywhere.

Fashion is the thing! The thing you can put on confidently. And at least you can breathe with comfort.

Make a statement wherever you go with bold prints and fearless fashion.

An old fashioned outfit is not a costume, it's a comedy.

Wrong Planet people tend to dress slightly differently from Rag, Tag & Bobtail. My son, Kai, always used to say that I have my own swag, meaning that my style of clothing is different from a lot of people. Not radically so, I’m not completely outrageous – although I’ve probably had my moments – but my clothes are often quite different from everybody else’s, who for the most part socialise in the same kind of shirts they wear to work. I was wearing shirts or jackets 20 years ago that are only just starting to come into fashion nowadays. I can’t explain this, I’m hardly a trend-setter, just that I’ve always liked that style.

Anger is an energy. It really bloody is. It’s possibly the most powerful one-liner I’ve ever come up with. When I was writing the Public Image Ltd song ‘Rise’, I didn’t quite realize the emotional impact that it would have on me, or anyone who’s ever heard it since. I wrote it in an almost throwaway fashion, off the top of my head, pretty much when I was about to sing the whole song for the first time, at my then new home in Los Angeles. It’s a tough, spontaneous idea. ‘Rise’ was looking at the context of South Africa under apartheid. I’d be watching these horrendous news reports on CNN, and so lines like ‘They put a hotwire to my head, because of the things I did and said’, are a reference to the torture techniques that the apartheid government was using out there. Insufferable. You’d see these reports on TV and in the papers, and feel that this was a reality that simply couldn’t be changed. So, in the context of ‘Rise’, ‘Anger is an energy’ was an open statement, saying, ‘Don’t view anger negatively, don’t deny it – use it to be creative.’ I combined that with another refrain, ‘May the road rise with you’. When I was growing up, that was a phrase my mum and dad – and half the surrounding neighbourhood, who happened to be Irish also – used to say. ‘May the road rise, and your enemies always be behind you!’ So it’s saying, ‘There’s always hope’, and that you don’t always have to resort to violence to resolve an issue. Anger doesn’t necessarily equate directly to violence. Violence very rarely resolves anything. In South Africa, they eventually found a relatively peaceful way out. Using that supposedly negative energy called anger, it can take just one positive move to change things for the better. When I came to record the song properly, the producer and I were arguing all the time, as we always tend to do, but sometimes the arguing actually helps; it feeds in. When it was released in early 1986, ‘Rise’ then became a total anthem, in a period when the press were saying that I was finished, and there was nowhere left for me to go. Well, there was, and I went there. Anger is an energy. Unstoppable.

[1] The first premise is that you should know that in the world as a whole and in its parts, both upper and earthly, there is nothing which forms an exception to the facts that God is the cause of its being and origination and that God has knowledge of it, controls it, and wills its existence; it is all subject to His control, determination, knowledge, and will. This is a general and superficial account, although in these assertions we intend to describe it truly, not as the theologians understand it; and it is possible to produce proofs and demonstrations of that. Thus, if it were not that this world is composed of elements which give rise to good and evil things in it and produce both righteousness and wickedness in its inhabitants , there would have been no completion of an order for the world. For if the world had contained nothing but pure righteousness, it would not have been this world, but another one, and it would necessarily have had a composition different from the present composition; and likewise if it had contained nothing but sheer wickedness, it would not have been this world but another one. But whatever is composed in the present fashion and order contains both righteousness and wickedness. [2] The second premise is that according to the ancients Rewards is the occurrence of pleasure in the soul corresponding to the extent of its perfection, while Punishment is the occurrence of pain in the soul corresponding to the extent of its deficiency. So the soul's abiding in deficiency is it's 'alienation from God the exalted', and this is the 'curse' 'the penalty', [God's] 'wrath' and 'anger', and pain comes to it from that deficiency; while its perfection is what is meant by [God's] 'satisfaction', with it, its 'closeness' and 'nearness' and 'attachment'. This, then, and nothing else is the meaning of 'Reward' and 'Punishment' according to them. [3] The third premise is that the resurrection is just the return of human souls to their own world: this is why God the Exalted has said, 'O tranquil soul, return to your Lord, satisfied and satisfactory.' These are summary statements that need to be supported by their proper demonstrations.

Relations among women on the Upper East Side are charged as they are perhaps nowhere else in the country or the world, and handbags, like cars, just might serve a lot of different functions all at once. A communication about where one stands in the inevitable hierarchy of Manhattan, a barometer of your wealth and connectedness and clout in a city where money and connections and clout are everything. A fashion statement. A security blanket, a way of self-soothing in a uniquely stressful town.

So the future of the computer is to eventually enter stage IV, where it disappears and gets resurrected as a fashion statement. We will decorate our world with computers The very word computer will gradually disappear from the English language. In the future, the largest component of urban waste will not be paper but chips. The future of the computer is to disappear and become a utility, sold like electricity and water. Computer chips will gradually disappear as computation is done "in the clouds".

This world rejected Christ, refused to see in Him its own life and fulfillment. And since it has no other life but Christ, by rejecting and killing Christ the world condemned itself to death. Its only ultimate reality is death, and none of the secular eschatologies in which men still put their hope can have any force against the simple statement of Tolstoy: 'And after a stupid life there shall come a stupid death.' In its self-sufficiency the world and all that exists in it has no meaning. And as long as we live after the fashion of this world, as long, in other words, as we make our life an end in itself, no meaning and no goal can stand, for they are dissolved in death. It is only when we give up freely, totally, unconditionally, the self-sufficiency of our life, when we put all its meaning in Christ, that the ‘newness of life’ – which means a new possession of the world – is given to us. The world then truly becomes the sacrament of Christ’s presence, the growth of the Kingdom and of life eternal.

I know Sophie thinks wearing capes is super weird. (I guess humans don’t really wear them?) But capes are more than gorgeous accessories that help keep you warm in the Lost Cities—they’re a sign of status! (Though they also help keep you warm—unless someone shares their cape with you…) Some people wear gloves to keep their hands nice and toasty. Some wear them to make a fashion statement. And some wear them to hide a secret enhancing ability. Either way, once you put the gloves on, you can’t even feel they’re there—and they can be so pretty! I *love* heels! But they may not be for everyone—especially people who have a hard time walking without tripping!

Then one day when I was in my mid-teens I woke up and realized that the new era was never going to begin. The revolt hadn't been put down, it had just dwindled away into a fashion statement. Can I have been the only person in the world who was disillusioned by this? Bewildered by this? It seemed so. Everyone else seemed to be able to pass it off with a cynical grin that said, "Well, what did you really expect? There's never been any more than this and never will be any more than this. Nobody's out to save the world, because nobody gives a damn about the world, that was just a bunch of goofy kids talking. Get a job, make some money, work till you're sixty, then move to Florida and die.

She concluded with a statement of her philosophy: “Running through all the stories, like a golden thread, is the same thought of the values of life. They were courage, self reliance, independence, integrity and helpfulness. Cheerfulness and humor were handmaids to courage.” Describing her parents’ travails, she wrote: When possible, they turned the bad into good. If not possible, they endured it. Neither they nor their neighbors begged for help. No other person, nor the government, owed them a living. They owed that to themselves and in some way they paid the debt. And they found their own way. Their old fashioned character values are worth as much today as they ever were to help us over the rough places. We need today courage, self reliance and integrity.107

The sharpie uniform is perhaps the most unlikely fashion statement you will ever see, a Frankenstein’s monster of baby-doll plucked eyebrows, skinhead-meets-mullet hair, 1970s fat ties and just a hint of bovver boy. Clothes worn too tight and too small. Kerry had prepared a shopping list: • bluebird earrings • three-inch Mary Jane corkie platform shoes • treads (shoes made using recycled tyres for the sole with suede thonging for the upper) • Lee canvas jeans • beachcombers • short white bobby socks • ribbed tights • a short, flared, preferably panelled skirt • satin baggies • a striped Golden Breed t-shirt or a KrestKnit polo shirt • a tight coral necklace from the surf shop • a Conti brand striped cardigan • blue metallic eye shadow from a small pot or a crayon

It is necessary to know how to slip the all-important matter, rather hinted at than said right out, in between the description of two fashionable entertainments, without appearing to intend it. It is necessary to imply a thing by judicious reservations; let what is desired be guessed at; contradict in such a fashion as to confirm, or affirm in such a way that no one shall believe the statement

The first requisite of all education and discipline should be man-timber. Tough timber must come from well grown, sturdy trees. Such wood can be turned into a mast, can be fashioned into a piano or an exquisite carving. But it must become timber first. Time and patience develop the sapling into the tree. So through discipline, education, experience, the sapling child is developed into hardy mental, moral, physical man-timber. If the youth should start out with the fixed determination that every statement he makes shall be the exact truth; that every promise he makes shall be redeemed to the letter; that every appointment shall be kept with the strictest faithfulness and with full regard for other men’s time; if he should hold his reputation as a priceless treasure, feel that the eyes of the world are upon him, that he must not deviate a hair’s breadth from the truth and right; if he should take such a stand at the outset, he would … come to have almost unlimited credit and the confidence of everybody who knows him.

What about her? Does she have a name? Not that I care really, but it would be rude to call her ‘new girl’ once Mike and I are dating.” “I have an idea,” Jay suggested, leaning toward Chelsea from across the table. “Why don’t you put together a list of questions, in order of importance, and I’ll have him fill out the answers? Kind of like new-kid homework.” He smiled innocently. “You don’t have to do it now, of course; just try to get it to me before the end of the day.” “Ha-ha.” Chelsea made a face. “You’re freakin’ hilarious, Jay.” And then she turned to Violet. “That must be why you like him so much. ‘Cause other than that, I just don’t get it.” Claire’s brow creased, as though Chelsea’s statement didn’t make sense. She decided to help Violet out. “No, he’s cute too.” And when Jules started laughing, she added, “Well, he is!” Chelsea was unmoved by Claire’s explanation and, as usual, had to have the last word. “No offense, Violet, but no one’s that cute. That’s all I have to say about it.” And then, in usual Chelsea fashion, she changed the subject before Jay had the chance to remind them all that he was sitting right there.

The essence of Hilbert's program was to find a decision process that would operate on symbols in a purely mechanical fashion, without requiring any understanding of their meaning. Since mathematics was reduced to a collection of marks on paper, the decision process should concern itself only with the marks and not with the fallible human intuitions out of which the marks were reduced. In spite of the prolonged efforts of Hilbert and his disciples, the Entscheidungsproblem was never solved. Success was achieved only in highly restricted domains of mathematics, excluding all the deeper and more interesting concepts. Hilbert never gave up hope, but as the years went by his program became an exercise in formal logic having little connection with real mathematics. Finally, when Hilbert was seventy years old, Kurt Godel proved by a brilliant analysis that the Entscheindungsproblem as Hilbert formulated it cannot be solved. Godel proved that in any formulation of mathematics, including the rules of ordinary arithmetic, a formal process for separating statements into true and false cannot exist. He proved the stronger result which is now known as Godel's theorem, that in any formalization of mathematics including the rules of ordinary arithmetic there are meaningful arithmetical statements that cannot be proved true or false. Godel's theorem shows conclusively that in pure mathematics reductionism does not work. To decide whether a mathematical statement is true, it is not sufficient to reduce the statement to marks on paper and to study the behavior of the marks. Except in trivial cases, you can decide the truth of a statement only by studying its meaning and its context in the larger world of mathematical ideas.

Thus, it’s important to keep in mind that you should never go vagabonding out of a vague sense of fashion or obligation. Vagabonding is not a social gesture, nor is it a moral high ground. It’s not a seamless twelve-step program of travel correctness or a political statement that demands the reinvention of society. Rather, it’s a personal act that demands only the realignment of self. If this personal realignment is not something you’re willing to confront (or, of course, if world travel isn’t your idea of a good time), you have the perfect right to leave vagabonding to those who feel the calling.

classic work like The Tale of Genji, as one recent translator has it, “The more intense the emotion, the more regular the meter.” As in the old-fashioned England in which I grew up—though more unforgivingly so—the individual’s job in public Japan is to keep his private concerns and feelings to himself and to present a surface that gives little away. That the relation of surface to depth is uncertain is part of the point; it offers a degree of protection and makes for absolute consistency. The fewer words spoken, the easier it is to believe you’re standing on common ground. One effect of this careful evenness—a maintenance of the larger harmony, whatever is happening within—is that to live in Japan, to walk through its complex nets of unstatedness, is to receive a rigorous training in attention. You learn to read the small print of life—to notice how the flowers placed in front of the tokonoma scroll have just been changed, in response to a shift in the season, or to register how your visitor is talking about everything except the husband who’s just run out on her. It’s what’s not expressed that sits at the heart of a haiku; a classic sumi-e brush-and-ink drawing leaves as much open space as possible at its center so that it becomes not a statement but a suggestion, an invitation to a collaboration. The reader or viewer is asked to complete a composition, and so the no-color surfaces make

The sense of superiority and the snobbery that underlay all the theory were far more important than any of the formal statements of mercantile or political thought. For this sense permeated, or seemed to, all ranks of Englishmen conscious of American existence. And it may be that the colonials in America, in the peculiar way of colonials, accepted both the truth of the explicit propositions and the unconscious assumption that they somehow were unequal to the English across the sea. Certain it is that the most sophisticated among them yearned to be cosmopolites, followed London’s fashions, and aped the English style. If this imitation did nothing else, it confirmed the prevailing feeling in Britain that the lines of colonial subordination were right and should remain unchanged.

The idea of progress is contemporary with the age of enlightenment and with the bourgeois revolution. Of course, certain sources of its inspiration can be found in the seventeenth century; the quarrel between the Ancients and the Moderns already introduced into European ideology the perfectly absurd conception of an artistic form of progress. In a more serious fashion, the idea of a science that steadily increases its conquests can also be derived from Cartesian philosophy. But Turgot, in 1750, is the first person to give a clear definition of the new faith. His treatise on the progress of the human mind basically recapitulates Bossuet's universal history. The idea of progress alone is substituted for the divine will. "The total mass of the human race, by alternating stages of calm and agitation, of good and evil, always marches, though with dragging footsteps, toward greater and greater perfection." This optimistic statement will furnish the basic ingredient of the rhetorical observations of Condorcet, the official theorist of progress, which he linked with the progress of the State and of which he was also the official victim in that the enlightened State forced him to poison himself. Sorel was perfectly correct in saying that the philosophy of progress was exactly the philosophy to suit a society eager to enjoy the material prosperity derived from technical progress. When we are assured that tomorrow, in the natural order of events, will be better than today, we can enjoy ourselves in peace. Progress, paradoxically, can be used to justify conservatism. A draft drawn on confidence in the future, it allows the master to have a clear conscience. The slave and those whose present life is miserable and who can find no consolation in the heavens are assured that at least the future belongs to them. The future is the only kind of property that the masters willingly concede to the slaves.

To quote Jimmy Page, “Technique doesn’t come into it- I deal in emotions.” I copped that line a long, long time ago, and it is a coy way to deflect the question, but as I’ve gotten older and more experienced, I’ve discovered that it is a very prescient and true statement. I try to create a mood within myself, and then I convey that mood onto the page- or screen, as technology would have us have it these days- using the best word choice that I can possibly muster. What are the trappings I employ? Oh, candles, music, a bowl of Mother’s Finest- it’s like seducing a woman, if you can believe it, but it’s all in your mind, and then you need to get it out, in as unadulterated a fashion as possible. It’s no good if people see the puppet strings as you’re pulling them, and if it seems like a seduction- the lights too low, the music too slow- then she knows what you’re up to, and it’s all gonna seem false. The best seduction happens without anyone knowing that it’s happening at all.

At first my father's job was clearing ruins. He had filed a sharp protest, however, justifying his disability over ten pages of closely spaced handwriting, buttressed by statements from witnesses and discharge papers from clinics for nervous diseases. His arguments were irrefutable, particularly if we take into consideration--aside from the actual facts--his polemical tone and his brilliant style. 'I hereby state for the attention of the esteemed Commissarist,' he wrote in his appeal, 'in connection with Item A-2, in which I took the liberty of citing the causes of my total incapacity and proving--if in a very sensible fashion--my abnormality as well as my complete mental and physical worthlessness, the worthlessness of a neurotic and alcoholic incapable of taking care of his family or himself, I hereby state, therefore, with a view to the most specific information possible on this matter, although each and every one of the aforementioned matters is in itself a physical amputation, I am stating that I am also flat-footed, a certificate to which effect I am appending from the draft board at Zalaegerszeg, by which I am exempt from military service by virtue of 100 percent flat-footedness. . .

VIN RESISTED THE URGE TO PICK at her noblewoman’s dress. Even after a half week of being forced to wear one—Sazed’s suggestion—she found the bulky garment uncomfortable. It pulled tightly at her waist and chest, then fell to the floor with several layers of ruffled fabric, making it difficult to walk. She kept feeling as if she were going to trip—and, despite the gown’s bulk, she felt as if she were somehow exposed by how tight it was through the chest, not to mention the neckline’s low curve. Though she had exposed nearly as much skin when wearing normal, buttoning shirts, this seemed different somehow. Still, she had to admit that the gown made quite a difference. The girl who stood in the mirror before her was a strange, foreign creature. The light blue dress, with its white ruffles and lace, matched the sapphire barrettes in her hair. Sazed claimed he wouldn’t be happy until her hair was at least shoulder-length, but he had still suggested that she purchase the broochlike barrettes and put them just above each ear. “Often, aristocrats don’t hide their deficiencies,” he had explained. “Instead, they highlight them. Draw attention to your short hair, and instead of thinking you’re unfashionable, they might be impressed by the statement you are making.” She also wore a sapphire necklace—modest by noble standards, but still worth more than two hundred boxings. It was complemented by a single ruby bracelet for accentuation. Apparently, the current fashion dictated a single splash of a different color to provide contrast. And it was all hers,

The blonde was staring at herself in the mirror, taking on a thoughtful, reflective tone. “Well, it isn’t easy. And his mood changes in an instant. But he collects different girls for different flavors – so one girl doesn’t have to be everybody and everything.” “Oh.” I splashed water on my face and stared for a moment at the mask in the mirror. “You’re just his type, totally. With all the tattoos, you are utterly monstrous, if you don’t mind my saying so. Punk-Goth gone mad.” She swung around to take a close, direct look. “I never saw the point of tattoos, mind you, just fad and fashion. But,” she focused on me, stared, grinned, and rolled her eyes. “My God, darling, you really are perfect! How could you do that to yourself?” She licked her lips. “I think you will be a success. As I said, Sergei loves tattoos. He’s totally into the weird and the monstrous. He adores freaks – and kid, you are about as freakish as they come.” “You think so.” I turned my mask towards her and gave her an extra big smile – I was even more grotesque, Martine told me, when I smiled. “Oh, Gwen, how totally utterly horrible!” she declared and then kissed me to console me for having become a monster. As I grinned at Sergei’s girl, the metal rings in my ears clanked against each other. I could feel the large ring nose, warm, smooth steel, against my curled upper lip. “Yes, you look like a masterpiece of self-loathing.” “It’s called body art,” I said, “It’s a statement.” “A statement?” “Absolutely,” I hiccupped. Everything was fuzzy; I forced myself to focus. “Whatever it is, you’ll be a big success. Sergei collects waifs who suffer from extreme self-hatred. Self-destructive and self-hating girls are one of his hobbies. You can do so much with them.

From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine-hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens—there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel-reader—I seldom look into novels—Do not imagine that I often read novels—It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss—?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best-chosen language. Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favourable idea of the age that could endure it.

In a rather simple way. It merely required the use of that much-neglected commodity—common sense. You see, there is a branch of human knowledge known as symbolic logic, which can be used to prune away all sorts of clogging deadwood that clutters up human language.” “What about it?” said Fulham. “I applied it. Among other things, I applied it to this document here. I didn’t really need to for myself because I knew what it was all about, but I think I can explain it more easily to five physical scientists by symbols rather than by words.” Hardin removed a few sheets of paper from the pad under his arm and spread them out. “I didn’t do this myself, by the way,” he said. “Muller Holk of the Division of Logic has his name signed to the analyses, as you can see.” Pirenne leaned over the table to get a better view and Hardin continued: “The message from Anacreon was a simple problem, naturally, for the men who wrote it were men of action rather than men of words. It boils down easily and straightforwardly to the unqualified statement, which in symbols is what you see, and which in words, roughly translated, is, ‘You give us what we want in a week, or we take it by force.’ ” There was silence as the five members of the Board ran down the line of symbols, and then Pirenne sat down and coughed uneasily. Hardin said, “No loophole, is there, Dr. Pirenne?” “Doesn’t seem to be.” “All right.” Hardin replaced the sheets. “Before you now you see a copy of the treaty between the Empire and Anacreon—a treaty, incidentally, which is signed on the Emperor’s behalf by the same Lord Dorwin who was here last week—and with it a symbolic analysis.” The treaty ran through five pages of fine print and the analysis was scrawled out in just under half a page. “As you see, gentlemen, something like ninety percent of the treaty boiled right out of the analysis as being meaningless, and what we end up with can be described in the following interesting manner: “Obligations of Anacreon to the Empire: None!” “Powers of the Empire over Anacreon: None!” Again the five followed the reasoning anxiously, checking carefully back to the treaty, and when they were finished, Pirenne said in a worried fashion, “That seems to be correct.

When we reach a certain age we have opportunity to decide how we present ourselves to the world, and that age is getting ever younger. Even our young teenage generation is aware of fashion and we grow acutely more and more aware of how obsessed our society is with imagery and appearance. Or rather we become more aware that to get on in life we need to be brash and bright and sparkling all the time. That bright colours and big noises is what gets your through life, that any substance behind that is almost irrelevant to success. We only need look at who we proclaim as celebrities, who society rewards with wealth, that substance is not a prerequisite to success. Be bright, make a statement, choose a bold look, dye your hair, pierce your body, paint it with permanent ink, wear outlandish clothes and don't be afraid to say something crude or mean or controversial because that's the person you are. Or is it? Is it that when you've done with the all the additions to your body, the person you look at in the mirror is no longer the real you. It is a character, the one you think society wants you to be, that society has convinced you that you want to be, substance optional. One of the most beautiful moments of conversation on and offline I've had with some people is when they surprise me, a comment or opinion with substance and thought, something away fro their character, revealing the real individual in-between. So why hide that part of you. When did our society evolve into a place when people have to sell themselves as a larger than life character? When did being a little quiet, thoughtful, more subtly dressed stop being classy and become perceived as dull. When did people, intelligent people, start to realise that world didn't want them to be themselves and it was better to throw in some over the top extravagances, make claim to some extreme habits and tastes. These same people permanently seeking definition of the character they've become rather than friendship from real people who know it is purely superficial but go along with it anyway. You're not your unnaturally coloured hair or your mark applied to you by a skilled artist. You are not the label of clothes you wear nor the quirky colours you choose to represent yourself. Just be honest with yourself, attention seeking is an illness. Don't follow the trends like everyone else. Make your own. That's my objective, to unashamedly be myself, And that is probably why I always wear a lot of black. No tricks, no fancy colours, no parlour tricks to detract from who I am. I want people to see my subtance, not be clouded with smoke and mirrors and see a character that doesn't really exist.

When we reach a certain age we have opportunity to decide how we present ourselves to the world, and that age is getting ever younger. Even our young teenage generation is aware of fashion and we grow acutely more and more aware of how obsessed our society is with imagery and appearance. Or rather we become more aware that to get on in life we need to be brash and bright and sparkling all the time. That bright colours and big noises is what gets your through life, that any substance behind that is almost irrelevant to success. We only need look at who we proclaim as celebrities, who society rewards with wealth, that substance is not a prerequisite to success. Be bright, make a statement, choose a bold look, dye your hair, pierce your body, paint it with permanent ink, wear outlandish clothes and don't be afraid to say something crude or mean or controversial because that's the person you are. Or is it? Is it that when you've done with the all the additions to your body, the person you look at in the mirror is no longer the real you. It is a character, the one you think society wants you to be, that society has convinced you that you want to be, substance optional. One of the most beautiful moments of conversation on and offline I've had with some people is when they surprise me, a comment or opinion with substance and thought, something away fro their character, revealing the real individual in-between. So why hide that part of you. When did our society evolve into a place when people have to sell themselves as a larger than life character? When did being a little quiet, thoughtful, more subtly dressed stop being classy and become perceived as dull. When did people, intelligent people, start to realise that world didn't want them to be themselves and it was better to throw in some over the top extravagances, make claim to some extreme habits and tastes. These same people permanently seeking definition of the character they've become rather than friendship from real people who know it is purely superficial but go along with it anyway. You're not your unnaturally coloured hair or your mark applied to you by a skilled artist. You are not the label of clothes you wear nor the quirky colours you choose to represent yourself. Just be honest with yourself, attention seeking is an illness. Don't follow the trends like everyone else. Make your own. That's my objective, to unashamedly be myself, And that is probably why I always wear a lot of black. No tricks, no fancy colours, no parlour tricks to detract from who I am. I want people to see my subtance, not be clouded with smoke and mirrors and see a character that doesn't really exist.

Monte Carlo was the place to gamble, gossip and sunbathe, exchange an old lover for a newer one, and acquire next season’s fashion statement a full three months before the rest of Paris.

As a self-confessed Pre-Raphaelite - a term that by the 1880s was interchangeable with ‘Aesthete’ - Constance was carrying a torch whose flame had ben lit in the 1850s by a group of women associated with the founding Pre-Raphaelite Brotherhood painters. Women such as Elizabeth Siddal and Jane Morris, the wives respectively of the painter Dante Gabriel Rossetti and the poet, designer and socialist William Morris, had modelled for the Pre-Raphaelite artists, wearing loose, flowing gowns. But it was not just their depiction on canvas that sparked a new fashion among an intellectual elite. Off canvas these women also establised new liberties for women that some twenty years later were still only just being taken up by a wider female population. They pioneered new kinds of dresses, with sleeves either sewn on at the shoulder, rather than below it, or puffed and loose. While the rest of the female Victorian populace had to go about with their arms pinned to their bodies in tight, unmoving sheaths, the Pre-Raphaelite women could move their arms freely, to paint or pose or simply be comfortable. The Pre-Raphaelite girls also did away with the huge, bell-shaped crinoline skirts, held out by hoops and cages strapped on to the female undercarriage. They dispensed with tight corsets that pinched waists into hourglasses, as well as the bonnets and intricate hairstyles that added layer upon layer to a lady’s daily toilette. Their ‘Aesthetic’ dress, as it became known, was more than just a fashion; it was a statement. In seeking comfort for women it also spoke of a desire for liberation that went beyond physical ease. It was also a statement about female creative expression, which in itself was aligned to broader feminist issues. The original Pre-Raphaelite sisterhood lived unconventionally with artists, worked at their own artistic projects and became famous in the process. Those women who were Aesthetic dress in their wake tended to believe that women should have the right to a career and ultimately be enfranchised with the vote. […] And so Constance, with ‘her ugly dresses’, her schooling and her college friends, was already in some small degree a young woman going her own way. Moving away from the middle-class conventions of the past, where women were schooled by governesses at home, would dress in a particular manner and be chaperoned, Constance was already modern.

Proverbs 3:16 states, “Length of days is in [wisdom’s] right hand; and in her left hand riches and honour” (KJV). Yet Marley does not interpret the riches of wisdom as earthly riches. When asked, “Are you a rich man? Do you have a lot of possessions?” he responded, in typical Marley fashion, with a question followed by a statement: “Possessions make you rich? I don’t have that type of richness. My richness is life.”485 Marley’s concern is the right hand of wisdom—life (Prov 3:16a)—not the left.

The student with whom Hal shared a bedroom, Englishman John Abel Smith, bore educational credentials that Hal could only dimly conceive. John was the namesake of a renowned merchant banker and British Member of Parliament. He had attended Eton, one of the world’s most famous preparatory schools, before entering Cambridge, where he had “read” under the personal tutelage of English scholars. Hal began to understand the difference between his public-school education and the background of his roommates when he surveyed them relative to a reading list he came across. It was titled, “One Hundred Books Every Educated Person Ought to Have Read.” George Montgomery and Powell Cabot had read approximately seventy and eighty, respectively. John Abel Smith had read all but four. Hal had read (though not necessarily finished) six. Hal also felt his social inferiority. He had long known that his parents weren’t fashionable. His mother never had her hair done in a beauty parlor. His father owned only one pair of dress shoes at a time and frequently took long trips abroad with nothing but his briefcase and a single change of underwear, washing his clothes—including a “wash-and-wear” suit—in hotel sinks at night. That was part of the reason why Hal took an expensive tailored suit—a broad-shouldered pinstripe—and a new fedora hat to Boston. He knew that he needed to rise to a new level, fashion-wise. But he realized that his fashion statement had failed when Powell Cabot asked, late in October, to borrow his suit and hat. Hal’s swell of pride turned to chagrin when Powell explained his purpose—he had been invited to a Halloween costume party, and he wanted to go as a gangster.

Freedom of expression is more than a fashion statement.

For me, every week is a fashion week.

Dr. Richard Horton, the editor in chief of the much-revered Lancet at this writing, has broken rank and come forward about what he really thinks about published research—that it’s unreliable at best, if not completely false. In a 2015 published statement, he wrote: “The case against science is straightforward: much of the scientific literature, perhaps half, may simply be untrue. Afflicted by studies with small sample sizes, tiny effects, invalid exploratory analyses, and flagrant conflicts of interest, together with an obsession for pursuing fashionable trends of dubious importance, science has taken a turn towards darkness.”8

Oh. My. God. I’m a walking disaster,” I say to Emily. She’s sitting on a stool, wearing a gorgeous yellow robe, and spins around to look at me. A robe. Now why couldn’t I have had one of those? “What is the matter?” She’s wearing little rag-curlers, like me, but on her they look cute and perky. The white cloth contrasts with her dark locks, like some kind of fashion statement. Somehow I doubt I look quite as charming. I walk over to her bed and throw myself on it with a heavy sigh. “I just walked around wrapped up like this and ran into Alex. God, I’m lucky I didn’t see anyone else. I bet Victoria would have just loved seeing me like this.” Emily giggles. “You do look quite silly.” “Thanks,” I say, rolling over on the bed. “I can’t believe he saw me.” Emily sips at a small glass on her vanity and then turns and stares right into my eyes. “I had believed you had no interest in my cousin.” I snarl my lip at her in disgust. “Oh, I am so not interested in him. He is only interested in himself. I mean, really. Could he show some interest and compassion for the people around him? He’s totally self-centered. And on top of that, he thinks I should censor everything I say and be a docile little girl or something. I mean, really.” Her grin widens. “There is no need to sway me. I believe you.” “Oh.” So then why is she grinning at me like that? And more importantly, why doesn’t she hate him like I do? I mean, she might not know about the secret kid, but she knows he’s all for her marrying that Denworth guy because he’s done nothing to help her get out of it. Shouldn’t she resent him, even if he is her cousin? “Now, let us talk of more important topics: our attire for tonight’s dance.” And now I grin back at her and all thoughts of Alex disappear. This is going to be so fun.

MODEL 2: Multiple Stakeholder Sustainability, Fons Trompenaars and Peter Woolliams (2010) PROBLEM STATEMENT How can I assess the most significant organizational dilemmas resulting from conflicting stakeholder demands and also assess organizational priorities to create sustainable performance? ESSENCE Organizational sustainability is not limited to the fashionable environmental factors such as emissions, green energy, saving scarce resources, corporate social responsibility, and so on. The future strength of an organization depends on the way leadership and management deal with the tensions between the five major entities facing any organization: efficiency of business processes, people, clients, shareholders and society. The manner in which these tensions are addressed and resolved determines the future strength and opportunities of an organization. This model proposes that sustainability can be defined as the degree to which an organization is capable of creating long-term wealth by reconciling its most important (‘golden’) dilemmas, created between these five components. From this, professors and consultants Fons Trompenaars and Peter Woolliams have identified ten dimensions consisting of dilemmas formed from these five components, because each one competes with the other four. HOW TO USE THE MODEL: The authors have developed a sustainability scan to use when making a diagnosis. This scan reveals: The major dilemmas and how people perceive the organization’s position in relation to these dilemmas; The corporate culture of an organization and their openness to the reconciliation of the major dilemmas; The competence of its leadership to reconcile these dilemmas. After the diagnosis, the organization can move on to reconciling the major dilemmas that lead to sustainable performance. To this end, the authors developed a dilemma reconciliation process. RESULTS To achieve sustainable success, organizations need to integrate the competing demands of their key stakeholders: operational processes, employees, clients, shareholders and society. By diagnosing and connecting different viewpoints and values, their research and consulting practice results in a better understanding of: The key challenges the organization faces with its various stakeholders and how to prioritize them; The extent to which leadership and management are capable of addressing the organizational dilemmas; The personal values of employees and their alignment with organizational values. These results help an organization define a corporate strategy in which crucial dilemmas are reconciled, and ensure that the company’s leadership is capable of executing the strategy sustainably. It does so while specifically addressing the company’s wealth-creating processes before the results show up in financial reports. It attempts to anticipate what the corporate financial performance will be some six months to three years in the future, as the financial effects of dilemma reconciliation are budgeted.

They cannot frame their discontent in this fashion, but, judging from their own statements, they prefer to live in a theocracy where science, personal relations, and politics are all subject to strict religious edicts. (They forget that, historically, the greatness and scientific and technological prowess of the Islamic civilization were matched only by its tolerance of new ideas.

with respect to ourselves, we must surface, as well as find ways to overcome or eliminate those blemishes, flaws, or contradictions that generate mistrust and discord, so that these negative qualities either alienate us from one another or set us against one another, thereby destroy our internal harmony, paralyze us, and make it difficult to cope with an uncertain, ever changing world at large. In opposite fashion we must emphasize those cultural traditions, previous experiences and unfolding events that build up harmony and trust, thereby create those implicit bonds that permit us as individuals and as a society, or as an organic whole, to shape as well as adapt to the course of events in the world.74 With respect to adversaries we should reveal those harsh statements that adversaries make about us – particularly those that denigrate our culture, our achievements, our fitness to exist, etc. – as a basis to show that our survival and place in the scheme of things is not necessarily a birthright, but is always at risk.

The Sheikh is Chic [10w] Palestinian keffiyeh draped around one's neck is a fashion statement.

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

Bergson says that mystical experience need not wonder whether the source it puts us in contact with is God himself or his earthly delegation. It experiences the granted invasion of a being which 'can do immensely more than it can.' We must not even say an all-powerful being: Bergson says that the idea of the all is as empty as that of nothingness, and the possible for him remains the shadow of the real. Bergson's God is immense rather than infinite, or He is a qualitative infinite. He is the element of joy or love in the sense that water and fire are elements. Like sentient and human beings, He is a radiance, not an essence. Metaphysical attributes which seek to determine Him are, Bergson says, like all determinations, negations. Even if through some impossibility they became visible, no religious man would recognize the God he prays to in them. Bergson's God is, like the universe, a singular being, an immense this; and even in theology Bergson kept his promise of a philosophy fashioned for actual being and applying to it alone. If we indulge in imaginary computations we must admit, he says, that 'the whole could have been much better than it is.' No one can make someone's death a component of the best possible world. But not only are the solutions of classical theodicy false, the problems have no meaning in the order Bergson puts himself in--the order of radical contingency. Here it is not a question of the conceived world or a conceived God, but of the existing world and an existing God; and that within us which is acquainted with this order is beneath our opinions and our statements. No one will ever stop men from loving their life, no matter how miserable it may be. This vital judgment puts life and God on this side of arraignment as well as of justification. And if we insisted upon understanding how natura naturans had been able to produce a natura naturata in which it is not really realized, why creative effort has been at least provisionally arrested, what obstacle it has encountered and how an obstacle could be insurmountable for it, Bergson would agree that his philosophy does not answer this type of question. But he would also say that the reason why it does not is that it does not have to ask such questions. For in the last analysis his philosophy is not a genesis of the world--not even, as it narrowly missed being, 'integration and differentiation' of being--but the deliberately partial, discontinuous, almost empirical location of several foci of being.

Such is the character of divine revelation that the reality it affirms is, in a peculiar fashion, identical with the act of revelation and also with its witness. This is a situation almost without parallel anywhere else in the world. The ‘almost’ is intended to leave room for the possibly sole exception, for the situation in which a person turns to another and says: ‘I love you.’ That statement, too, is not primarily supposed to inform another person of an objective fact separable from the speaker. Rather, it is a kind of self-witnessing. And in keeping with this condition, the only way the partner can become aware of the love that is offered is by taking what is said into himself. He can truly ‘know’ it only by hearing the verbal avowal and ‘believing’ it; only then will the other’s love become truly present to him; only then will he truly partake of it.

Oh hell, Vader, beer is old fashioned, salt is old fashioned. Why do you think magic spells in stories always rhyme? And kids’ jump-rope rituals? And political slogans? The subconscious, the pre-rational part of your brain, thinks a statement must be important if it rhymes. And meter, that drum-beat—imagine how uninspiring the St. Crispin’s Day speech in Henry V would have been if it wasn’t in iambic pentameter!