Romeo Dallaire, “Cri De Coeur” Essay

Romeo Dallaire, “Cri de coeur” Essay
Romeo Dallaire, "Cri de coeur", AArgument of Truths
Dallaire did exceptional when it comes to the naming of his essay, by not only simplifying the
subject but maintaining the true meaning. "Cri de coeur," also known as "A cry from the heart", is
not only heartbreaking but truthfully eye opening. Every event recounted is straight from Dallaire's
point of view, which could have made his rhetorical appeals intertwine. It is clear from reading that
one appeal stood above the rest while reading, which is pathos. Dallaire decided to share something
with the world that a majority have never experienced nor hopefully will ever have to. By doing so,
he deliberately unleashed a handful of emotions. Using pathos allowed him to appeal to our ... Show
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Being able to see both sides of him definitely improves the overall meaning to the memoir.
Therefore we, as the readers, are not only being held to see just one perspective and feel simply just
one feeling. Dallaire does amazing when it comes to opening himself up, and by doing so, letting
others into a world and story that once was hidden.
Having been so open about his feelings and the events that occurred within Rwanda, therefore
bound to surface just how disappointed he was, with not only the government, but mostly with
himself. He recalls and describes events that not only shock, but disturb the majority of the readers.
The biggest parts of the whole essay that truly emotionally connected to people in more ways than
one would have to be the description of the young orphaned boy and the way the government talks
about the situation. "We will recommend to our government not to intervene as the risks are high
and all that is here are humans." (Dallaire, 502, 18) Being able to look at the devastating chaos and
be able to say "all that is here are humans." As if humans– young or old, black or white, male or
female, aren't worth our time and oh so valuable finances. If Dallaire did not have readers attentions
before his point, it is guaranteed he did afterwards.
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Alexander Pope: Annotated Bibliography
Alexander Pope: Annotated Bibliography
Prior, Sir James. Life of Edmond Malone, Editor of Shakespeare: With Selections from His
Manuscript Anecdotes. New York: Smith, Elder & Company, 1860. Electronic. This text begins by
offering an insightful quote into Alexander Pope's life: "Who is this Pope that I hear so much
about?" said George II; "I cannot discover what his merit is. Why will not my subjects write in
prose? I hear a great deal, too, of Shakespeare, but I cannot read him, he is such a bombast fellow".
The author then proceeds to present an account of his early life.
The only child of Alexander and Edith Pope, Alexander Pope was born on the 21st day of 1688
during the Glorious Revolution in London. The Senior Pope, a linen merchant ... Show more content
on Helpwriting.net ...
Aubrey Beardsley: A Slave to Beauty. Erotic Drawing, 1998. Electronic.
Born in 1872 in Brighton, England to an average class family, Aubrey Beardsley was an English
draughtsman as well as writer. Growing up in Brighton was not easy due to the genteel poverty he
and his mother faced. Beardsley's ensured that her children acquired intensive education through
books and music. This author writes that for this reason, he was remarkably literate and a musical
phenomenon. However, at this age, he was already battling tuberculosis that ultimately killed him in
1898.
Further, this source notes that in 1894, he was appointed to the position of art editor at the Yellow
Book but his stay would be cut short by an act of indecency. He was relieved from this post in 1895
by John Lane, the Publisher despite having published Salome–one of his earliest works. Due to the
seriousness of the criminal charge, Beardsley fled temporary to France.
Sutton, Emma. Aubrey Beardsley and British Wagnerism in the 1890s. New York: Oxford
University Press, 2002.

Beardsley's Artistic Influences Of The Three Savoy
Beardsley was the main artistic asset of The Savoy, hence the importance of acknowledging his
artistic influences in order to establish the artistic influences of the periodical. Beardsley's art is truly
unique and stands out from the other artists of the fin–de–siècle; it stands to reason that he is one of
the most well–known artist from that period. In his short career, the artist inspired by a plethora of
influences which he twisted, transformed, to eventually come up with his singular style. Beardsley
was especially influenced by Burne–Jones and Pre–Raphaelites:
The first thing to notice is that Beardsley's immensely rapid assimilation of all influences, [...]. He
nearly absorbs the influence of Burne–Jones and the Pre–Raphaelites, those ... Show more content
Kooistra mentions the chapters of Beardsley's unfinished novel Under the Hill or the Story of Venus
and Tannhäuser published in the January and April issues to illustrate her point. However, his poem
"The Three Musicians" and its illustrations also "blend pictorial and verbal qualities into a single
whole" in the same manner as Under the Hill. The first illustration preceding the poem represents
two characters: a woman, the opera singer the poem mentions, and a young man. The absence of the
third musician in the illustration catches the attention of the reader/viewer, but the reason of his
absence is explained in the poem: the Polish pianist is simply slow to catch up with the other two.
However, the illustration also hints at the suspensive ending of the poem, in which the young man
seizes his chance to flirt with the opera singer, watched by a French tourist who "[...] gives a furious
glance, / Red as his guide–book grows, moves on, / and offers up a prayer for France."8 Thus, the
layout of the first illustration echoes the gaze of the tourist: both the woman and the young man look
at and head into the same direction, on the right outside the frame. The reader/viewer is put into the
position of the tourist as well, and is left to interpret the poem which suggests a particular
interpretation with the illustrations it is accompanied by. Beardsley actually did another illustration
for this poem which was omitted from The Savoy. The illustration seems to be the following scene
of the first illustration, illustrating this scene in the

TED. Com: A Non-Profit Organization
TED.com is a non–profit organization that hosts lectures from prominent figures throughout the
world in an effort to spread ideas to engage critical thought and to change attitudes. TED
(Technology, Entertainment and Design) was a conference that began in 1984 that had widespread
success and due to the proliferation, it expanded into becoming one of the most widely recognized
informational communities on internet. TED is a non–profit that is owned by the Sapling
Foundation, a non–profit itself that focuses on spreading ideas so that the audience can gain a
greater understanding of what is going on in the world around them. TED is funded through
conference fees, sponsorships, licensing fees, commercials, and donations. TED is a web based
source

Femme Fatale
Femme Fatale Since the beginning of recorded history we have been held to witness the influence of
women and their sexuality on mankind. As sexual creatures, humans desire each other; generally
men are more inclined to be seen as the ones who "need" the physical sexual act. This "need" that
men have gives women an important power and opportunity over men. By controlling sex women
can basically rule the world. This idea tends to scare men because men like to be the ones in control,
but at the same time this thought of powerful dominating women is a sexual turn on. These natural
curiosities we all have with our bodies, and fantasies we create, led to the eventual naming of this
phenomenon as the Femme Fatale, coined by the French. Prior ... Show more content on
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The artists and their works, which I stated before, are Kirchner with his piece Street, Berlin,
Beardsley, with his drawing Salome with the Head of John the Baptist, and Munch with his work
Vampire. Before we can address how they compare with each other we must first recognize the
formal elements in general for each.
Ernst Ludwig Kirchner's painting Street, Berlin is exactly what the title suggests a street in the city
of Berlin. The composition is busy. The general arrangement of the work is crowded figures in the
middle ground with very little background and foreground. There are several figures which seem
unimportant. The ones of importance seem to be the two women walking, although more focused on
one of the women than the other, and the man crouching down in front of the window. The objects
that seem to be most important are the ones that are painted more colorful, the woman of focus is the
only person wearing color, and the rest are in all black and white attire. Kirchner attempts to create
an illusion of three dimensional space by using a one point perspective which draws us into the
work like we are looking down the sidewalk with all these people walking toward us, interestingly
he does not really attempt to make the figures three dimensional they are pretty much

Introduction of Art Nouveau
Introduction to Art Nouveau
The "Art Nouveau" ("new art") movement was one of the first departures from classical art and
design, towards a new modernism. The 'Modernism' and Art Nouveau movements occurred during
what was known in France as the "Belle Époque," or "beautiful era" period of the late 19th and early
20th centuries. The movement was primarily influenced by the radical work of Czech (Moravian)
artist Alfons Mucha, Swiss decorative artist Eugène Grasset, and English illustrator Aubrey
Beardsley ("The Peacock Skirt") and the ground–breaking architecture and design work of Hector
Guimard of Paris and Antoni Gaudí of Barcelona.
The Art Nouveau movement focussed heavily on the themes of nature, fantasy, and the female form,
with ... Show more content on Helpwriting.net ...
In particular because of the art gallery "La Maison de l'Art Nouveau", which was opened as a
showroom for the new art by a Japanese art collector, Siegfried Bing.
All the Art Nouveau artists were largely reacting against the Classic aesthetic, a style described as
often "fussy and inhibited." They found a freeing vocabulary in natural and organic forms. The
movement's signature motif was the S–curve, which might be found in a flower's stem on a brooch
or the trail of smoke from a cigarette depicted in a theater poster.
The Art Nouveau artists were not shy about the naked body, contrary to their predecessors, and the
Art Nouveau style is often described as a feminine one. But some Art Nouveau was also geometric
as the forms designed by Wiener Werkstatte and Josef Hoffmann.
[pic] [pic] [pic]
Elegant Victorian cut
Diamond ring GRACEFUL OLD CUTS
OPAL PEARLS CHAIN
| | |
|The Art Nouveau Jewelry Motifs were quite different: | |

| |[pic] |
|1.Natural

Art Nouveau By Edward Burne Jones From The Pre-...
Art nouveau is a elegant decorative art style characterized by ornate patterns of curvilinear lines.
This period of art somewhat rooted from the a mixture of the Arts and Crafts movement, William
Morris, Edward Burne–Jones from the Pre– Raphaelites and the Japanese style. It became popular
across Europe and the in United States. Art Nouveau as a style is a beautiful mixture of elaborate
Celtic looking patterns, classical elements, flat color and delicate women in nature. This style breaks
the traditional forms from the previous time periods but at the same time, carries it through. These
designers in this time, presented this work as organic forms with rich imagery. Such as Alphonse
Mucha; which he today, is considered the father of this time period, and master of this style. This era
correlates with the brotherhood of the Pre– Raphaelites, and with inspirations from the early
Renaissance painters. A melting pot of these famous time periods produced the Art nouveau
movement.
The Art nouveau movement started in Europe around 1890's and lasted until 1910. It took on many
different characteristics and tried to express the modern world through it's illustrations. There were
many influences and themes across the works and style of Art nouveau. The many designers of this
time looked at past famous works as a foundation and created more of a graphical format within
these Art Nouveau works. Art nouveau designers such as Alphonse Mucha found his greatest
inspiration in nature. It

Vices Of Decadent Art
Virtues and Vices of Decadent Art: Which is more prominent?
Introduction
The "Decadent Art" era is marked with the art and literature works which according to the decadent
artists are considered beyond any moral or ethical obligations to the society and explore the realism
of the society. According to the decadent artists such as Oscar Wilde, Joris–Karl Huysman's, and
others, the decadent art was necessary to dazzle the masses and awaken them and show them the
reality of their life and their inner soul's desires, vices, and virtues instead of leaving them to live in
a shroud of fake morality. "Sensitivity" and "subtlety" was never seen as a part of the decadent art
and instead brutal realism and literary adornments such as nudity, hothouses, and many others were
used to describe the emotions and romance of story and the feelings of the characters.
Although, the decadent art was focused on reveling the absolute truth of the society without having
the patience to be subtle and appreciating the soft feelings of the masses, or respecting morality or
ethics; the works of the ... Show more content on Helpwriting.net ...
Crime, the taste for which the human animal draws from the womb of his mother, is natural in its
origins. Virtue, on the contrary, is artificial and supernatural, since gods and prophets were
necessary in every epoch and every nation to teach virtue....the good is always the product of some
art."
This claim in itself is false and thus, the virtue of the decadent art that it shows only the magnified
true picture of every perspective of life becomes false. This virtue becomes non–existent as it only
shows partial or imagined truth and not the complete and holistic picture. Thus, any literary work
which claims to show a holistic picture but instead shows only the fetid and darker side of the artists
themselves and not the general society lacks any virtue. This becomes the greatest vice of the
decadent literary

The Wind in the Willows: Kenneth Grahame and Neopaganism...
The Wind in the Willows: Kenneth Grahame and Neopaganism
The beauty of the English countryside––cultivated or wild, pastoral or primeval, it was an endless
source of inspiration for eighteenth–century Romantic poets. Such notables as Wordsworth, Keats,
and Shelley envisioned ancient and exotic Hellenic gods in familiar, typically British settings.
Douglas Bush says of Keats, "For him the common sights of Hampstead Heath could suggest how
poets had first conceived of fauns and dryads, of Psyche and Pan and Narcissus and Endymion" (
Pagan Myth 46). Later writers, clearly influenced by the Romantic world view, would describe
idealized pastoral scenes in terms of "the rich meadow–grass . . . of a freshness and a ... Show more
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I can look back and trace the evolution in my own thought from Presbyterian to pagan; it was harder
to envision a course of events that would result in the frankly Romantic mythology of "The Piper"
growing from the Scottish Calvinist soil of a Victorian banker. The insights of Grahame biographer
Peter Green, although some of his interpretations were contradicted by other sources, helped in the
formation of a plausible explanation. I have come to believe that Kenneth Grahame's treatment of
Nature and pagan themes went beyond the general Victorian/Edwardian tendency to idealize the
countryside, and reflected alienation from society and his own life's circumstances.
An understanding of the literary traditions influencing a Mid–Victorian like Grahame is a logical
starting point. Douglas Bush, in Mythology and the Romantic Tradition in English Poetry , relates
that "Browning liked to think of Pan as the shaggy goat–god, benevolent or amorous; Keats . . .
reveled in details, half real, half fanciful, or primitive pastoral life, and . . . Shelley's Pan . . . is as
disembodied as Ariel" (137). Actually, "Pan" was a sort of allegorical shorthand, emblematic of
sentimentality, passionate emotion, and recoil from reason and the "mechanical conception of the
world" (43). Nature, once an assortment of phenomena

The New York City Need A Marble Clad Building
What happens to a city when it loses reliable points of association with extraordinary moments in
the past? Did New York City need a marble–clad building with Venetian motifs and a curved façade
fronting on one of its few major important intersections and Central Park, an edifice designed by a
Edward Durell Stone whose work is not much in evidence in the city? Even the most majestic cities
like New York City are pockmarked with horrors. The knowledge that every shade of architectural
experience, from sublime to excruciating, can exist in such compressed space that takes part of a
city's seductive pull. Yet there are a handful of buildings in New York that fail to contribute even on
these grounds. Usually it ends with a wrecking ball, but in this case with 2 Columbus Circle – it was
demolished, rebuilt, and then renovated again – taking away something crucial from the building's
history and it 's initial intent. Words that have been associated with this building are "queer," "hate,"
and "traumatic." When and how do these words surface when describing a man–made structure? By
masking the original design of 2 Columbus Circle and not declaring it a landmark, the city erased an
exceptional piece of history that was deeply embezzled in our culture during the 1950's up until the
1970's.
The dispute with 2 Columbus Circle began in 1956, with the headlines in the New York Times,
written by Sanka Knox: "A. & P. Heir to Build 10– Story Gallery for Modern Works at Cost of
$2,500,000."

Speech Persuasive Speech Comparison
Speech Comparison #2 Ted Talks is a treasure trove of information, capable of providing anyone
with a mountain of information on whatever might interest them. It is different to many other
sources in regards to how that information is given out, this being the way most all their videos are
of people giving speeches. Given the vast collection of speeches on the site, we can find many a
great performances where it is obvious that the speaker had a great effect on the audience and also
where the audience wasn't very much influenced. On the topic of aging and general health, there
were two speeches by Aubrey de Grey's and Dan Buettner, and we will be comparing these two
speeches together No great speech can be created without a good hook. Unfortunately, it seems like
neither of them really created a great hook. They failed to really capture the attention of the
audience and reel them in. Both introductions had weak hooks, but they made it so that you at least
knew what the speakers were going to talk about and what direction they're going to take with their
speeches. Despite both intros being weak, Aubrey de Grey's introduction was clearly weaker. Grey
did not have any hook whatsoever. Instead, he told the audience that he was strapped for time and
that he would need to dive in right ahead. Buettner on the other hand, at least tried to create a hook
by starting off with a fact that not many people would know. It was weak, but better than nothing.
The hook is out of the way and next is fluidity for the introduction. Bueller makes it easy for the
audience to follow along with what he's saying. His use of transitive words guides the audience and
it makes it easy to follow along. This along with his pleasant tone and flow makes it easy to pay
attention. A stark contrast to Grey's speech. Grey at times became quite hard to follow due to his
near monotonal voice and the speed at which he spoke. It was hard to follow what he was saying
and often times I ended up lost, missing quite a bit of the information that he was giving out. At one
point, I even checked that I had not accidentally changed the video's speed because of how fast it
was going. This combined with the lack of any real hook, made it very hard to pay

Comparing Vertigo And The Fall Of The House Of Usher
"Vertigo (1958)" and "The Fall of the House of Usher" Comparison Edgar Allan Poe was a famous
poet in the late 1800's who had created many famous works in his lifetime, that have gone on to
inspire many horror artists throughout the ages. Artists such as Edouard Manet, Arthur Rackham,
Aubrey Beardsley and more famous horror artists such as Stephen King and Alfred Hitchcock.
Stephen King has created many movies in the horror genre, "Maximum Overdrive" "The Shining"
and "Cujo", and Alfred Hitchcock has had his fair share of movies as well, "The Birds," "Psycho"
and "The Man Who Knew Too Much." Of course there are many more movies created by these
artists, but the one that stands out in particular is Hitchcock's "Vertigo (1958)." In comparison to
Poe's "The Fall of the House of Usher," "Vertigo (1958)" is the same tale, but modernized for the
public. ... Show more content on Helpwriting.net ...
Later in the story we hear that the man's sister had also fallen under a strange illness and would
wander around aimlessly and have a blank expression on her face. This illness eventually led to her
demise, but when Usher (the narrator's friend) buries his sister, afterwards he keeps hearing strange
noises throughout the dark and dreary house. In the final moments we learn that the lady Madeline
had not perished! She was buried alive, and when she escaped from her tomb, she perished anyway.
Some people believe that Usher knew that Madeline was not dead, but that he tried to rush her death
so that she would be put out of her misery. With a few minor adjustments, we can manifestly see
that "Vertigo (1958)" is a dead replica of this

The Art Nouveau And The Art Movement
An art movement inspired by nature, it's vital force and never changing life cycle of birth, life, decay
and death. The Art Nouveau became fashionable from about 1890 to the first world war. This
aesthetic new art movement was concerned as new, hence it was named as "new art" – the Art
Nouveau. It was also highly influenced by the Japonism, given a major boost in France, Paris and
eventually spread across world. [1] In the late 19th century every artist had a desire to be considered
as a serious diplomatic artist, also to be recognised, respected and well–known. However, an
individual needed to commit to the studies of idealised figures and landscapes. Beyond question, for
some artist academic art was considered as a rubbish and they ... Show more content on
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Mucha in 1906 (middle); S. Bernhardt (right)
Anna Dvorak (American film actress) says: "He succeeded in creating a poster so different from
others on the billboards, both in design and colouring, that from the beginning he was considered
not a follower but equal to the best artists of the period. For the life–size figures of his Bernhardt
posters Mucha chose an extremely elongated shape, and in contrast to other poster designers he used
very pale colours–whites, beiges, mauves, dull purples, reds and greens, with decorative touches of
gold and silver. His unusual posters were uniquely appropriate to the famous actress of whom
Charles Hiatt wrote that she had the ability to touch even a classical French drama with the oriental,
the strange and the exotic. "[6] His attention to detail, colour patterns and fearlessly trying new
techniques, new styles has made him successful and noticed.
The amazing success of this poster led to long term contact with Bernhardt. He produced posters,
costume designs, jewellery and set designs–and his fame brought in an enormous number of
commissions. The graphic lines seen in the Art Nouveau were an expression of a new graphic style.
Modern promotional advertising just had a beginning of poster design. Hand lettering styles were
appreciated and created unique styles, forms, but it used to take plenty of time to produce one poster
for adverting, hence it was agreed that some improvements in printing needs to be done. Letterpress
was

Odysseus Character Analysis
Throughout literature, Odysseus has always been praised as a brilliant hero. While that may be true,
he is an atrocious leader. While he always shows bravery and passion, it is always towards his goals,
not his shipmates goals. Additionally, throughout the story he betrays his men, in multiple ways.
Odysseus is an egregious leader due to the fact that he manipulates his men, cares only about
himself, and chooses women over his own men. Throughout his remarkable journey, Odysseus
constantly manipulates his men in order to get what he wants. A prime example of this is shown
when Odysseus says, "Friends have we never been in danger before this? More fearsome, is it now,
than when the Cyclops penned us in his cave? What power he had! Did I not keep my nerve, and use
my wits to find a way out for us?"(12. 144–148). This clearly shows how manipulative Odysseus is,
as he changes the perception of his men by convincing them that they can fight Sylla off. But he
knows that isn't true, but instead of trying to find another way he manipulates his men so he doesn't
have to deal with finding a different route. His manipulativeness is shown even more during this
conversation with his men, "My men came pressing around me, pleading: 'Why not take these
cheeses, get them stowed, come back, throw open all the pens, and make a run for it? We'll drive the
kids and the lambs aboard. We say put out again on good salt water.' Ah, how sound that was. Yet I
refused. I wished to see the caveman"

Sexuality in Aubrey Beardsley's Story of Venus and...
Sexuality in Aubrey Beardsley's Story of Venus and Tannhäuser
Aubrey Beardsley wrote The Story of Venus and Tannhäuser during the fin de siècle, the end of the
Victorian Era. This decadent work, following Baudelaire's credo "art for art's sake first of all,"
portrays sex and sexualities in a playful manner. In addition to mocking conventional Victorian
moral codes, and parodying pornographic conventions, The Story of Venus and Tannhäuser also
supports Foucault's idea that the Victorian Era witnessed a diffusion of sexualities.
The Story of Venus and Tannhäuser was originally toned down and modified for publication in 1897
in The Savoy, a magazine that Beardsley served as art editor, under the title of Under The Hill.
According to ... Show more content on Helpwriting.net ...
Beardsley's readers were not to be of the common society; rather they had to be well–educated
sophisticates to understand his work.
Another pornographic convention that Beardsley broke was that the characters had "personalities
and functions in addition to sexual roles" says Zatlin (119). Also, they did not have unlimited sexual
energy, rather Tannhäuser "was rather relieved when, an hour later, Priapusa and Doricourt and some
others burst drunkenly into the room and claimed Venus for themselves" (Beardsley 34).
With the diverse accounts of sexualities and the breaking of almost all of the prerequisites for erotic
writing and pornography of the Victorian Era, Beardsley wrote a truly decadent manuscript that
defied the conventions of mainstream literature. Whether Beardsley would have completed the tale
had he lived longer, or had meant to leave it as is, an unending piece of work, is unknown. What is
known is that Venus and Tannhäuser functions only as a piece of "art for art's sake" defying the
social conventions that were applied to other works of that time. Works Cited
Beardsley, Aubrey. "The Story of Venus and Tannhäuser." Aesthetes and Decadents of the 1890's:
An Anthology of British Poetry and Prose. Ed. Karl Beckson. Chicago: Academy, 1981. 9–46.
Foucault, Michel. The History of Sexuality: An Introduction. Vol 1. New York: Vintage, 1978.
Gillette, Paul

Immortality In King Gilgamesh
Gilgamesh, like Qin Shi Huang and Pope Innocent VIII and many others across time, demonstrates
his commitment to his quest for physical immortality through his willingness to risk his life for a
chance to live forever. A determined and defiant Gilgamesh ventures across the Waters of Death to
reach his intended goal and survives the waters; however, all human beings to date lost their lives in
their pursuit proving ultimately that human beings appear helplessly defenseless against death.
Gilgamesh also believes Utnapishtim possesses amazing supernatural power denoting an
extraordinary being able to illuminate his mind and body to achieve immortality, but he soon
realizes that Utnapishtim is merely a man given immortality at the hand and ... Show more content
Within the next thirty years, Mr. Itskov declares that he will upload all of the information from his
brain onto a computer to preserve his memories and personality for all eternity. His 2045 Initiative
determines to produce technologies which facilitate the removal and transference of a person's
personality to what he describes as the "more advanced non–biological carriers, extending life to the
point of immortality (2045 Strategic Social Initiative: The Russian Millionaire in Search of
Immortality)." Dr. Aubrey De Grey, an unconventional academic of Cambridge University, and his
wife Adelaide, a genetic researcher also there at Cambridge, suggests they have unlocked the keys to
immortality. Dr. De Grey asserts that he has identified "the biological processes responsible for
aging," thus unlocking how to live up to 1,000 years (Schorn).
The immortality sought by Dmitry Itskov represents an immortality more so of the mind or the
essence of one's being rather than a physical one; however, that depicted by Dr. De Grey asserts a
physical immortality. Both could learn the valuable lesson disclosed by the tavern keeper Siduri. She
attempted to teach Gilgamesh that immortality in the flesh cannot be attained, but she stressed
normality and a regular human life with normal human activities. Her words provide a precursor to
the conclusion of the matter:
The eternal life you are

A Real Smile: A Short Story
A Real Smile
The warmth of the fire consumed me as I sipped my hot chocolate. I glanced at my best friend Avery
laughing at someone that I couldn't quite make out. Suddenly, I heard glass shatter. I quickly sat up
in my bed sighing as I looked at myself in the mirror. I felt the cold tear running down my cheek. I
rolled out of bed and looked out at the grey clouds, hiding what could have been a sunny day. I
looked down at my smokey black boots as I walked down the steep, marble staircase. I
unobtrusively pulled back my hair hoping my father wouldn't notice I was awake. I crept over to the
door, slowly turned the knob and walked out the door. Chills ran down my spine every time I turned
back hoping that I wouldn't see the shaggy figure standing behind me. My walk turned into a sprint
when the yellow bus pulled up. My frown faded into a grand smile when I saw everyone's attention
turn towards me. I walked over, I felt myself change. I went from being uneasy, scared and tense to
being the bubbly, intelligent girl that everyone thought I was. After what seemed like forever I saw
the fire red brick building, freedom. The smile on my face looked the same, but it had a different
meaning. I wasn't smiling for the people around me, I was smiling because I knew I would be safe
for the next eight hours. I strolled into the building, head held high, the sun peaking out of those
dark grey clouds. I heard the words "Ugh, my life is so bad, I can't believe we have so much work,"
rang in

Essay about Summary of History of Graphic Design by Meggs
Chapter 1: The Invention of Writing
– From the early Paleolithic to the Neolithic period (35,000 BC to 4,000 BC), early Africans and
Europeans left paintings in caves, including the
Lascaux caves in Southern France.
– Early pictures were made for survival and for utilitarian and ritualistic purposes. – Petroglyphs are
carved or scratched signs on rock.
– These images became symbols for what would be the first spokenlanguage.
– Cuneiform – Wedged shaped writing, created in 3000BC. Started as pictographs. – With the
discovery of cuneiform, there was a knowledge explosion, where libraries were organized filling
with tablets about religion, mathematics, and history. Writing enabled society to stabilize itself, and
laws were ... Show more content on Helpwriting.net ...
– Chinese is thought to have been invented by Tsang Chieh, who was inspired to invent writing after
studying the claw marks of birds.
– Chinese characters are logograms meaning that each character represents an entire word (like $ =
dollar).
– Paper, a Chinese invention, is attributed with the high government official
Ts'ai Lun.
– Ts'ai Lun's method of making paper was unchanged until nineteenth century England.
– After the invention of paper, the Chinese also began to use it for wrapping presents, wallpaper,
napkins and toilet paper.
– Printing was invented by the Chinese.
– The first method of printing was block printing, using stamps.
– Rubbings were also made by carving words into stone, then inking the stone and making a print on
a piece of paper. This is also known as relief printing. – The oldest surviving printed manuscript is
the Diamond Sutra.
– Around 1000AD, paper money was printed.
– An early form of Chinese graphic design was playing cards.
– In 1045 AD, Chinese alchemist Pi Sheng developed movable type, using clay and glue.
– Because types are not moveable, characters were organized by rhyme.
– Moveable type never replaced the handcut woodblock of the orient.
– The invention of paper and printing arrived in Europe just as the
Renaissance began.
Chapter 4: Illuminated Manuscripts
– Hand–written books are referred to as Illuminated Manuscripts.
– Two notable traditions of illuminated

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