The Era of Wonderful Nonsense - 700 Words

The 1920’s is sometimes referred to as the â€Å"Roaring Twenties,† or â€Å"The Era of Wonderful Nonsense.† The nonsense this phrase is referring to is the style and boldness of the new kind of rebel: the flapper. In the 1920’s the flappers shocked everyone and set the path for other people who yearned to stand out and be different. The flappers certainly contrasted the generation before them, but that did not happen overnight. There are many reasons credited as to why flappers started rebelling, but one of the major ones was WWI. The women decided that most of the eligible bachelors were dead or at war, meaning that there were not enough men to go around. When those men had gone off to war, they left their jobs, meaning that someone had to work†¦show more content†¦Some of these things were so improper that women were arrested for smoking in public even though smoking was not illegal. Flappers took every chance they could to make things scandalo us. The style of flappers was one of the most controversial things about them. Before the Roaring Twenties, dresses that went above the middle of the calf muscle were unheard of, let alone just-below or just-above the knee. These new dress lengths horrified older generations. Along with the dress, she would wear a â€Å"step-in, a single piece of lingerie that took the place of the stiff-boned corset† (Gourley 62). Because of this, the flappers could maneuver more freely. The dresses were not the only reason for this. Another new concept the flappers shocked the world with was short, bobbed hair. Long hair represented elegance and respect, but â€Å"flappers had no time for elaborate hairdos† (Fashion . . . through the Ages 1). Many of them would wear their hair in small waves called â€Å"marcels,† named after the man who invented them, Marcel Greateau. Sometimes they would pin the hair back with another new invention called a bobby pin, which is still in use today. The shorter hair added to the â€Å"boyish look† that the flappers wanted. They would also wear newsboy caps and bras that made their chests look smaller, because big chests were considered ladylike. The flappers liked to believe that they were the complete opposite of ladylike. The center of attention was the desired goal. EveryoneShow MoreRelatedEssay Carl Jung and The Great Gatsby1268 Words   |  6 Pagesoften important to SPs, yet not so much what is thought of them by society. When I say that the 20s were an SP era, I mean just that: the people were of loose ethics and wanted to be free of responsibility. Of course this does not encompass everyone, but it is the stereotype of the times, just as not all people were hippies in the 1960s, the 60s are stereotypically the hippie era. Dont be afraid#8230;Taste everything#8230;Sometimes I think we only half live over here. 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Shark Fins Free Essays

Should we eat sharks’ fins? Shark’s fin soup is a delicacy which is enjoyed by many people around the world, especially the Chinese as they believe that it symbolizes wealth, honour and respect. However, the practice of cutting off sharks’ fins alive and then throwing them back into the sea had caused increasing awareness and ire of animal rights and environment advocates. Statistics have estimated that one hundred million sharks are killed every year, not considering the fact that these numbers are still increasing. We will write a custom essay sample on Shark Fins or any similar topic only for you Order Now In my personal viewpoint, I feel that sharks’ fins should not be consumed due to ethical, environmental and health issues. It is immorally incorrect to cut off sharks’ fins alive and then throwing them back into the sea. By doing so, we are inflicting excruciating pain and suffering to the sharks. Science research has shown that there is actually in fact no great biological divide between humans and animals. Darwin demonstrated how animals and humans are clearly linked through evolutionary continuity and recent research has even shown that similar nervous systems as humans and respond to pain like we do. It is highly inhumane and cruel to slaughter sharks in such a way that they have to experience so much agony just for the sake of our desires and craves. There is no reason for the very fact of humanity’s superiority over other animals means we have the reason to exploit other species. It is only reasonable for us to leave sharks alone when they have not caused much harm to us in any way. Since it is incorrect for us to kill sharks, we should deter ourselves from craving for sharks’ fins. Additionally, by killing such a great number of sharks would lead to environmental issues. One of the impacts would be the imminent extinction of the shark species. According to the International Union for the Conservation of Nature, 143 shark species which is over 55 percent of the shark species are facing a high risk of extinction either now or in the near future. It has also been discovered that excessive fishing has caused a 90 percent decline in shark populations across the world’s oceans and up to 99 percent along the United States east coast. Another impact would be an imbalance in the ecological system. In the natural world, all elements of an ecosystem are interconnected and depend on each other in one way or another. Sharks, being the top predator, act as caretakers of the environment, picking off the smaller and weaker species, but helping to ensure healthy populations and a balanced ecosystem. Hence, if the shark population is wiped out from the eco system, it will have a devastating impact on other species within the marine environment. Some of these species are valuable sources of food, and economic gains. Therefore, environmental concern is one of the most crucial reasons why we should not consume sharks’ fins. Besides being morally wrong and creating harm to the environment, eating shark fin has been proven to be harmful to our bodies. Some people have claimed health benefits of sharks’ fin soup. However, these claims are unfounded. Instead, in fact, sharks contain a high level of mercury which would cause damage to the human central nervous system and birth defects in infants. The United States Environmental Protection Agency caution consumers that sharks, with their long life spans of fifty plus years, absorb and store significant amounts of mercury in their fins often at high level. Additionally, it is discovered that sharks’ fins are often treated with hydrogen peroxide so as to make their colours more appealing to consumers. Moreover, there have been several cases in which business companies sell fake shark’s fins for the benefit of economic gains. The China Daily in Beijing and Japanese language Hong Kong Post have reported on phony fins sold as pure sharks’ fins sold through Asia and North America. Generally, most of these cases involve bogus fins made from a variety of ingredients before being bleached white with highly corrosive chemicals. The consumption of these bogus fins is definitely harmful to health. Given the adverse effects on human health, sharks’ fins should hence not be eaten. In conclusion, sharks’ fins should not be consumed due to the several negative impacts it will bring to the environment and our health, even to the extent of sacrificing our moral values. How to cite Shark Fins, Papers

Braque Essay Research Paper Although George Braque free essay sample

Braque Essay, Research Paper Although George Braque ( May 13, 1882 Aug. 31, 1963 ) was one of the most influential painters of the twentieth century his name is all but forgotten. He has received small recognition for his attempts towards the creative activity of analytic cubism. Many art historiographers believe that his esteemed function as male parent of analytic cubism was cut short because of Picasso? s celebrity. Many statements have arisen inquiring the inquiry: ? Who is the male parent of cubism? ? There is no uncertainty that Picasso started the flicker which enkindled modern art motions with the creative activity of? Les Demoiselles d? Avignon.. ? But, shortly after Picasso created this work Braque created? Houses at L? Estaque. ? This picture started the analytic stage of cubism. With this in head, it can be stated that Picasso is the male parent of modern 20th century art and Braque is the male parent of analytic cubism. George Braque is one of the most influential painters of the 20th century. We will write a custom essay sample on Braque Essay Research Paper Although George Braque or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page He co-worked with Picasso to create cubism and helped trip all the future art motions of the twentieth century. Equally good as this, he was the influence that made Picasso the celebrity that he was to go. Braque has neer received the acknowledgment he should hold because of Picasso? s celebrity, but his personal place in the art community was high and his engagement with World War One was a major perpetrators that aided in his ruin in artistic popularity. ? Who the male parent of cubism? ? , has ever been a inquiry that has pondered the heads of art historiographers and bookmans. It is clear though that both Braque and Picasso played their outstanding function in the creative activity of cubism. Picasso provided, with his proto-Cubist Damsels, the initial liberating daze. But it was Braque, mostly because of his esteem for Cezanne, who provided much of the early inclination toward geometrical signifiers. Braque? s early inclination towards geometric signifier and regular hexahedron was the flicker which ignited the heads of all future cubist creative persons ; including Picasso. If there is one picture that is perchance one of the most influential images sing cubism in the 20 first century it is George Braque? s? Houses at L? Estaque. ? During the summer of 1908 in southern France, Braque painted a series of radically advanced canvases, of which the most famed is? Houses at L? Estaque? ; in this picture we can see the slab volumes, sober colouring, and warped perspective typical of the first portion of what has been called the analytical stage of Cubism. This picture was shown in a show at Kahnweiler # 8217 ; s gallery. It provoked from the Paris critic Louis Vauxcelles a comment about regular hexahedrons that shortly blossomed into a stylistic label. This picture was the picture that gave cubism its name. Vauxcelles? s remarked about the canvas being full of little regular hexahedrons, and this remark was the flicker that constituted the name of the motion. Braque undertook Vauxcelles unfavorable judgments, much like other motions of the yesteryear, and used it for the name of the motion. ( Flam, 144 ) In? Houses at L # 8217 ; Estaque? all the sensuous elements of Braque # 8217 ; s old old ages were banished. Color has been reduced to a terrible combination of browns, dull leafy vegetables and greies. The curving beat hold given manner to a system of perpendicular and horizontal, broken merely by the 45 grade diagonals of roof-tops and trees. All inside informations have been eliminated and the leaf of the trees reduced to a lower limit to uncover the geometric badness of the houses. These are continued upwards about to the top of the canvas so that the oculus is allowed no flight beyond them. The image plane is farther emphasized by the complete deficiency of aerial position ( the far houses are, if anything, darker and stronger in value than the foreground house ) , and by the fact that on occasion contours are broken and signifiers opened up into each other. There is no cardinal disappearing point ; so in many of the houses all the canons of traditional position are wholly broken. ( Flam 145 ) Although Braque was the first to make a cubist work, it is good known that cubism was a combined squad attempt that was created through the mastermind partnership of both Braque and Picasso. It is impossible to state which of the two was the chief stylistic discoverer of the radical new manner, for at the tallness of their coaction they exchanged thoughts about day-to-day and produced images so likewise as to be practically identical. Examples of these similarities are the assorted bare images of adult females that both Picasso and Braque created during the first old ages of analytic cubism. If we compare George Braque? s? Large Nude? , to Picasso? s Three adult females ; it is easy to see that they must hold collaborated many thoughts and exchanged critical analysis of each others work invariably. The images in these two pictures look like they were created in about precisely the same format by the same individual. It can be stated that George Braque and Pablo Picasso were fundamentally the same individual for those first old ages of analytic cubism. ( Arnason, 189 ) By 1912 Braque, with the aid and inspirations of Picasso, created a unequivocal definition of analytic cubism. This freshly created definition was created through months of test and mistake and monumental treatments with Picasso. This Cubist manner emphasized the level, planar surface of the image plane, rejecting the traditional techniques of position, foreshortening, mold, and chiaroscuro and rebuting time-honoured theories of art as the imitation of nature. Cubist painters were non bound to copying signifier, texture, colour, and infinite ; alternatively, they presented a new world in pictures that depicted radically fragmented objects, whose several sides were seen at the same time. ( Brenson, C1 ) If there is one facet of Braque? s life that is confounding, it is why he has non received the acknowledgment for his works the manner that Picasso has. Braque was merely every bit much, if non more, the Godhead of analytic cubism. He worked alongside Picasso in developing all facets of cubism from twenty-four hours one until the beginning of World War One. The lone ground why Braque? s name is non remembered every bit good as Picasso? s is because of his hitch to contend in World War One. This event was the turning point of his calling. The events which conspired during WWI and the old ages that followed boosted Picasso? s Popularity while diminished Braque? s. ( Frank,18 ) At this point in history, 1914, Braque left the art scene to contend in the war. He entered the ground forces as an foot sergeant and served with differentiation, being decorated twice in 1914 for courage. In 1915 he suffered a serious caput lesion, which was followed by a trepanation, several months in the infirmary, and a long period of recuperation at place at Sorgues. During this period he added to the apothegm he had been in the wont of scrabbling on the borders of drawings, and in 1917 a aggregation of these expressions, put together by his friend the poet Pierre Reverdy, was published in the reappraisal Nord-Sud as Ideas and Contemplations on Painting. Even a brief sampling can propose the quality, at one time poetic and rational, of Braque # 8217 ; s head and the kind of believing that ballad behind Cubism: New agencies, new topics. . . . The purpose is non to restructure an anecdotal fact, but to represent a pictural fact. . . . To work from nature is to improvize. . . . The senses deform, the head signifiers. . . . I love the regulation that corrects emotion. ( Braque ) Released from farther military service, the creative person rejoined the Cubist motion, which by so was in what is sometimes called its man-made stage # 8211 ; a non really equal manner of mentioning to a inclination to utilize more colour and to stand for objects non by the old spider web of analytical marks but by comparatively big symbolic planes. ( Frank, 18 ) Quickly, nevertheless, he moved off from severe geometry toward signifiers softened by looser drawing and freer brushwork ; an illustration of the alteration is the 1919 Still Life with Playing Card games. From this point onward his manner ceased to germinate in the methodical manner it had during the consecutive stages of Cubism ; it became a series of personal fluctuations on the stylistic heritage of the eventful old ages before World War I. This alteration in Braque? s manner, and his with drawl from cubism during the war ( 1914-1918 ) were the major subscribers to his loss of celebrity. Before the war the two creative person, Braque and Picasso, were considered peers in every facet of picture. But, Braque left the art scene for four old ages and Picasso used this clip to speed up his calling in front of Braque. Braque? s name was all but forgotten due to this absence. George Braque, through his creative activity of? Houses L? Estaque? set the criterions for analytic cubism. He is the male parent of analytic cubism, but this is a rubric that the general populace has no remembrance of. Picasso took the rubric off from Braque when he was taking the motion during World War One. George Braque was out of the art scene for to hanker to of all time retrieve his function as the outstanding figure of cubism. ( John, 31 ) Braque, along side Picasso, can be credited with triping the creative activities of assorted artistic manners with their creative activity of the new ocular linguistic communication of cubism. His ocular linguistic communication of cubism was adopted and further developed by legion painters which followed his lead. Such painters are Fernand L? ? ger, Robert and Sonia Delaunay, Juan Gris, Roger de la Fresnaye, Marcel Duchamp, Albert Gleizes, and Jean Metzinger. Though chiefly a manner associated with picture, Cubism besides exerted a profound influence on 20th-century sculpture and architecture. Chief among the sculpturers who worked in this manner are Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz. The acceptance of the Cubist aesthetic by the designer Le Corbusier is reflected in the forms of the houses he designed during the 1920s. The cubist manner that was created by Braque and Picasso was a cardinal foundation for the future coevalss of modernist painters. This manner was an indispensable edifice block in modern art. George Braque, along with Picasso are the two most influential creative persons of the 20 first century. ( Flam, 144 ) ? Who is the male parent of cubism? ? Well I would hold to hold that Both Picasso and Braque put their attempts together when making cubism, but Braque was the first to make an analytic work: ? House at L? Estaque. ? They are both leaders of cubism, but Braque was the first to make a cubist work, so he should have the rubric of male parent of cubism. These two leaders of cubism are the two most influential painters of the 20th century. Braque and Picasso both were the foundation creative persons who started an facet of all the future art motions of the twentieth century. ( Golding 144 ) Braque has neer received the acknowledgment he should hold because of Picasso? s celebrity, but by analyzing his life narrative and apprehension the fortunes involved during his life we can see that he has been disregarded as the outstanding figure that he is. Braque? s? House at L? Estaque? is the picture that sparked the start of analytic cubism and that picture is one of the turning points in art. Although Picasso became the male parent of modern art with his? Les Demoiselles d? Avignon? , Braque is the male parent of cubism because he created the first analytic work. Braque has neer received the acknowledgment he deserves, and it coincides good with a quotation mark that Braque stated himself: ? In art there is merely one thing that counts: the thing you can # 8217 ; t explain. ? George Braque 1 ) Brenson, M. ? Picasso and Braque, Brothers in Cubism. ? New York Times. 91/22/89, P C1 2 ) Clark, Michael. ? Braque- George ( back to rudimentss ) . ? Times Educational Supplement. 1/31/97. Issue 4205, p.10 3 ) Flam, J. ? Cubiquitous. ? Art News. Dec 89, p 144 4 ) George Braque, Illustrated Notebook, 1971-1975. Ed S. Applebaun, Dover, NY 5 ) Golding, J. ? Two who made a Revolution. ? New York Review of Books. 5/31/90, Vol 37 issue 9 P 8. 6 ) Gopinik, A. ? A Leap in the Dark. ? New Yorker. 10/23/89, P 132. 7 ) History of Modern Art, H.H. Arnason A ; Marla F. Prather, 4th Edition 8 ) John Golding, Cubism: A History and an Analysis, 1907-1914 9 ) Richard, John. ? Braque, The great disregarded modernist. ? New York Review of Books. 2/27/97. Vol 44 Issue 5, P 31. 10 ) Whitfork, Frank. ? Royal Academy of Arts. ? TLS. 2/14/97. Issue 4898 p.18 11 ) ? Will George Braque every acquire his due? ? Hudson Review. Autumn 97, Vol 50 Issue 3, P 444.