Macroeconomics Assignment Essay

Current economic conditions in the U. S an all around the world are rising to alarming situations, with the dilemma being common that whether its inflation or recession, which is hampering the economy badly. The liquidity issues are affecting the U. S economy badly, the money supply is shrinking although the Federal Reserve is pursuing an accommodative monetary policy, but due to its lesser control and the dynamism of the U. S economy, this policy seems to have a very low effect on the liquidity situation in the overall economy. After a rise in the money supply for few months the money supply has been contracting since then, the M2 component of the money supply, which consists of cash, consumer deposits and checking has been shrinking. While M3 which consists of the above, plus the large time deposits and other items is also changing its direction towards a lower end. The figure depicts the trends of the money supply and how it has dipped gradually. Figure 1: Annual U. S. Money Supply Growth Source: Shadow Government Statistics, 2009 This condition can result into the weakening of economic activity and pulling out money from stocks. Recently the downfall in the consumer spending and the lowering of the stock prices is the sign of scorched liquidity in the economy (Kellner, 2003). In this current situation of economic dilemma, the current economic conditions demands active measures from the new president and the U. S congress to overcome the hazards created by the weakening economy. Government should try to push more liquidity into the market; the FED should try to increase the money supply through lowering the interest rate, pushing more money into the economy by funding the companies and the corporations that can create more stability in the economy. The government should try to create more jobs into the economy by pushing their spending this will surely create more consumers spending and thus providing a ground to combat recession in the economy. These economic measures are the need of the time and they will certainly have their effects on the economy. Thus, by acting proactively on these strategies the government can easily face all the difficult circumstances. References Kellner, I. (2003, November). Where has all the money gone? Retrieved Feburary 10, 2009, from Market Watch : http://www. marketwatch. com/News/Story/Story. aspx? guid=%7BF1B1B20B-EBDE-435F-8349-A19E26DBB945%7D&siteid=mktw&dist=nwhpm Figures Figure 1: Annual U. S. Money Supply Growth Shadow Government Statistics. (2009). Annual U. S. Money Supply Growth. Retrieved Feburary 10, 2009 from http://www. shadowstats. com/charts_republish#m3

Animation essays

Animation essays We can understand animation from the Greek word animare which means to give life to something without. Animation is a series of still pictures that are shown in rapid succession creates the illusion of movement because of persistence of vision, this means the image stays on the retina a fraction of a second longer. If we see many images (24 a sec) they will all link up. There are different types of animation computer games use animation for games such as tomb raider and frogger, the characters and settings are all animated. Cell animation is the process of taking a sequence of images and stringing them together to create movement. It is an old process that is still used today to create animation for cinema, television, and computers. An example of cell animation is in programmes such as superman. Cut out animation is a technique that is quicker than cel. Parts of the body of an animal or person are cut out and coloured, then assembled and reassembled into different positions instead of being drawn over and over again. Examples of cut out animation are shown below. Animation has developed a lot since the 1900s, the first animated feature film was made by Cohl and George Melies that was made in 1918. Some of the earliest animation, which started to appear before 1910 consisted of simple drawing that, was, photographed one at a time. The time that celluloid was introduced was around 1913, which quickly made animation much easier to manage as a complex background could be used instead of making numerous drawings. Walt Disney was the first person to add sound into his movie cartoons with the premiere of steamboat Willie in 1928. Then in 1937 he produced the first feature length film snow white and the seven dwarfs. The introduction of computers meant that animation could develop further, films such as stars wars would rely on computers and would include animation for many of its special effects. Toy story ...

Classical Abbreviations for Authors and Their Works

Classical Abbreviations for Authors and Their Works There are certain standard abbreviations used in connection with the authors and their works in Classics. While I generally spell out the names and works of ancient authors, it is not always possible. Besides, youll find the abbreviations elsewhere. The following is a list of the ancient, non-Biblical writers and their works that you are likely to encounter during your study of Classics. Ill elaborate the first sets of abbreviations and a few throughout the list that might be puzzling. Aesch. Ag.: Aeschylus, AgamemnonThe author comes first; his work comes next, so this abbreviation means Aeschylus, a tragic playwright, wrote a tragedy called Agamemnon.Aesch. Eum.: Aeschylus, EumenidesAesch. Lib.: Aeschylus, Libation BearersAesch. PB: Aeschylus, Prometheus BoundAesch. Pers.: Aeschylus, PersiansAesch. Seven: Aeschylus, Seven Against ThebesAesch. Supp.: Aeschylus, Suppliant MaidensAeschin. 1: Aeschines, Against TimarchusAeschin. 2: Aeschines, On the EmbassyAeschin. 3: Aeschines, Against CtesiphonAmm.: Ammianus Marcellinus, Rerum GestarumAndoc. 1: Andocides, On the MysteriesAndoc. 2: Andocides, On his ReturnAndoc. 3: Andocides, On the PeaceAndoc. 4: Andocides, Against AlcibiadesAntiph. 1: Antiphon, Against the Stepmother for PoisoningAntiph. 2: Antiphon, First TetralogyAntiph. 3: Antiphon, Second TetralogyAntiph. 4: Antiphon, Third TetralogyAntiph. 5: Antiphon, On the murder of HerodesAntiph. 6: Antiphon, On the ChoreutesApollod.: Pseudo-Apollodorus, LibraryApollod. Ep it.: Pseudo-Apollodorus, Epitome Apollon.: Apollonius Rhodius, ArgonauticaNothing besides the Argonautica is attributed to Apollonius.App. BC: Appian, Civil WarsBC stands for bellum civile which means civil war.App. Gall.: Appian, Gallic HistoryApp. Hann.: Appian, Hannibalic WarApp. Hisp.: Appian, Wars in SpainApp. Ill.: Appian, Illyrian WarsApp. Ital.: Appian, ItalyApp. Mac.: Appian, Macedonian AffairsApp. Mith.: Appian, Mithridatic WarsApp. Praef.: Appian, PrefacePraef. is short for Praefatio which means preface.App. Pun.: Appian, Punic WarsApp. Reg.: Appian, KingsApp. Sam.: Appian, Samnite HistoryApp. Sic.: Appian, Sicily and the Other IslandsApp. Syr.: Appian, Syrian WarsAret. CA: Aretaeus, De curatione acutorum morborum libri duoAret. CD: Aretaeus, De curatione diuturnorum morborum libri duoAret. SA: Aretaeus, De causis et signis acutorum morborum (lib. 1)Aret. SD: Aretaeus, De causis et signis acutorum morborum (lib. 2)Aristoph. Ach.: Aristophanes, AcharniansAristoph. Birds: Aristophanes, BirdsAristoph. Cl.: A ristophanes, Clouds Aristoph. Eccl.: Aristophanes, EcclesiazusaeAristoph. Frogs: Aristophanes, FrogsAristoph. Kn.: Aristophanes, KnightsAristoph. Lys.: Aristophanes, LysistrataAristoph. Peace: Aristophanes, PeaceAristoph. Pl.: Aristophanes, PlutusAristoph. Thes.: Aristophanes, ThesmophoriazusaeAristoph. Wasps: Aristophanes, WaspsAristot. Ath. Pol.: Aristotle, Constitution of the AtheniansAristot. Const. Ath.: Aristotle, Constitution of the AtheniansAristot. Econ.: Aristotle, EconomicsAristot. Eud. Eth.: Aristotle, Eudemian EthicsAristot. Met.: Aristotle, MetaphysicsAristot. Nic. Eth.: Aristotle, Nicomachean EthicsAristot. Poet.: Aristotle, PoeticsAristot. Pol.: Aristotle, PoliticsAristot. Rh.: Aristotle, RhetoricAristot. Vir.: Aristotle, Virtues and VicesAug. Anc.: Augustus, Res GestaeThe name of the work by Augustus is given as both Monumentum Ancyranum and Res Gestae Divi Augusti.Aug. RG: Augustus, Res GestaeBacchyl. Dith.: Bacchylides, DithyrambsBacchyl. Ep.: Bacchylides, EpiniciansBoe. Cons.: Boethi us, Consolation of Philosophy Caes. Civ.: Caesar, Civil WarCaes. Gal.: Caesar, Gallic WarCall. Ap.: Callimachus, Hymn to ApolloCall. Cer.: Callimachus, Hymn to DemeterCall. Del.: Callimachus, Hymn to DelosCall. Dem.: Callimachus, Hymn to DemeterCall. Dian.: Callimachus, Hymn to ArtemisCall. Epigr.: Callimachus, EpigramsCall. H. 1: Callimachus, Hymn to ZeusCall. H. 2: Callimachus, Hymn to ApolloCall. H. 3: Callimachus, Hymn to ArtemisCall. H. 4: Callimachus, Hymn to DelosCall. H. 5: Callimachus, Hymn to AthenaCall. H. 6: Callimachus, Hymn to DemeterCall. Jov.: Callimachus, Hymn to ZeusCall. Lav.: Callimachus, Hymn to AthenaCatul.: Catullus, PoemsCels.: A. Cornelius Celsus, De MedicinaCic. Ac.: Cicero, AcademicaCic. Agr.: Cicero, On the Agrarian LawCic. Amic.: Cicero, De AmicitiaCic. Arch.: Cicero, For ArchiasCic. Att.: Cicero, Letters to AtticusCic. Balb.: Cicero, For Cornelius BalbusCic. Caec.: Cicero, For Aulus CaecinaCic. Cael.: Cicero, For Marcus CaeliusCic. Catil.: Cicero, Against CatilineCic. Clu.: Cicero, F or Aulus Cluentius Cic. Deiot.: Cicero, For King DeiotariusCic. Div.: Cicero, De DivinationeCic. Div. Caec.: Cicero, Divinatio against Q. CaeciliusCic. Dom.: Cicero, On his HouseCic. Fam.: Cicero, Letters to his FriendsCic. Fat.: Cicero, De FatoCic. Fin.: Cicero, de Finibus Bonorum et MalorumCic. Flac.: Cicero, For FlaccusCic. Font.: Cicero, For Marcus FonteiusCic. Har.: Cicero, On the Responses of the HaruspicesCic. Leg.: Cicero, De LegibusCic. Lig.: Cicero, For LigariusCic. Luc.: Cicero, LucullusCic. Man.: Cicero, On Pompeys CommandCic. Marc.: Cicero, For MarcellusCic. Mil.: Cicero, For MiloCic. Mur.: Cicero, For Lucius MurenaCic. N.D.: Cicero, de Natura DeorumCic. Off.: Cicero, De OfficiisCic. Parad.: Cicero, Paradoxa StoicorumCic. Phil.: Cicero, PhilippicsCic. Pis.: Cicero, Against PisoCic. Planc.: Cicero, For PlanciusCic. Prov.: Cicero, On the Consular ProvincesCic. Q. Rosc.: Cicero, For Quintus Roscius the ActorCic. Q. fr.: Cicero, Letters to his brother QuintusCic. Quinct.: Cicero, For Publius Q uinctius Cic. Rab. Perd.: Cicero, For Rabirius on a Charge of TreasonCic. Rab. Post.: Cicero, For Rabirius PostumusCic. Red. Pop.: Cicero, To the Citizens after his ReturnCic. Red. Sen.: Cicero, In the Senate after his ReturnCic. Rep.: Cicero, De RepublicaCic. S. Rosc.: Cicero, For Sextus Roscius of AmeriaCic. Scaur.: Cicero, For Aemilius ScaurusCic. Sen.: Cicero, De SenectuteCic. Sest.: Cicero, For SestiusCic. Sul.: Cicero, For SullaCic. Tul.: Cicero, For Marcus TulliusCic. Tusc.: Cicero, Tusculanae DisputationesCic. Vat.: Cicero, Against VatiniusCic. Ver.: Cicero, Against VerresCic. ad Brut.: Cicero, Letters to BrutusCic. de Orat.: Cicero, On OratoryD. L.: Diogenes Laertius, Vitae philosophorumDem. 1: Demosthenes, Olynthiac 1Dem. 10: Demosthenes, Philippic 4Dem. 11: Demosthenes, Reply to PhilipDem. 12: Demosthenes, PhilipDem. 13: Demosthenes, On OrganizationDem. 14: Demosthenes, On the NavyDem. 15: Demosthenes, On the Liberty of the RhodiansDem. 16: Demosthenes, For the MegalopolitansDem. 1 7: Demosthenes, On the Accession of Alexander Dem. 18: Demosthenes, On the CrownDem. 19: Demosthenes, On the False EmbassyDem. 2: Demosthenes, Olynthiac 2Dem. 20: Demosthenes, Against LeptinesDem. 21: Demosthenes, Against MidiasDem. 22: Demosthenes, Against AndrotionDem. 23: Demosthenes, Against AristocratesDem. 24: Demosthenes, Against TimocratesDem. 25: Demosthenes, Against Aristogiton 1Dem. 26: Demosthenes, Against Aristogiton 2Dem. 27: Demosthenes, Against Aphobus 1Dem. 28: Demosthenes, Against Aphobus 2Dem. 29: Demosthenes, Against AphobusDem. 3: Demosthenes, Olynthiac 3Dem. 30: Demosthenes, Against OntenorDem. 31: Demosthenes, Against OntenorDem. 32: Demosthenes, Against ZenothemisDem. 33: Demosthenes, Against ApatouriusDem. 34: Demosthenes, Against PhormioDem. 35: Demosthenes, Against LacritusDem. 36: Demosthenes, For PhormioDem. 37: Demosthenes, Against PantaenetusDem. 38: Demosthenes, Against Nausimachus and XenopeithesDem. 39: Demosthenes, Against Boeotus 1Dem. 4: Demosthenes, Philippic 1Dem. 40: Demosthenes, Against B oeotus 2 Dem. 41: Demosthenes, Against SpudiasDem. 42: Demosthenes, Against PhaenippusDem. 43: Demosthenes, Against MacartatusDem. 44: Demosthenes, Against LeocharesDem. 45: Demosthenes, Against Stephanus 1Dem. 46: Demosthenes, Against Stephanus 2Dem. 47: Demosthenes, Against Evergus and MnesibulusDem. 48: Demosthenes, Against OlympiodorusDem. 49: Demosthenes, Against TimotheusDem. 5: Demosthenes, On the PeaceDem. 50: Demosthenes, Against PolyclesDem. 51: Demosthenes, On the Trierarchic CrownDem. 52: Demosthenes, Against CallippusDem. 53: Demosthenes, Against NicostratusDem. 54: Demosthenes, Against CononDem. 55: Demosthenes, Against CalliclesDem. 56: Demosthenes, Against DionysodorusDem. 57: Demosthenes, Against EubulidesDem. 58: Demosthenes, Against TheocrinesDem. 59: Demosthenes, Against NeaeraDem. 6: Demosthenes, Philippic 2Dem. 60: Demosthenes, Funeral SpeechDem. 61: Demosthenes, Erotic EssayDem. 7: Demosthenes, On the HalonnesusDem. 8: Demosthenes, On the ChersoneseDem. 9: Demosthenes, Philippic 3 Dem. Ex.: Demosthenes, ExordiaDem. L.: Demosthenes, LettersDemad. 1: Demades, On the Twelve YearsDin. 1: Dinarchus, Against DemosthenesDin. 2: Dinarchus, Against AristogitonDin. 3: Dinarchus, Against PhiloclesDiod.: Diodorus, Historical LibraryEuc.: Euclid, ElementsEur. Alc.: Euripides, AlcestisEur. Andr.: Euripides, AndromacheEur. Ba.: Euripides, BacchaeEur. Cycl.: Euripides, CyclopsEur. El.: Euripides, ElectraEur. Hec.: Euripides, HecubaEur. Hel.: Euripides, HelenEur. Her.: Euripides, HeraclesEur. Heraclid.: Euripides, HeraclidaeEur. Hipp.: Euripides, HippolytusEur. IA: Euripides, Iphigeneia in AulisEur. IT: Euripides, Iphigeneia in TaurusEur. Ion: Euripides, IonEur. Med.: Euripides, MedeaEur. Orest.: Euripides, OrestesEur. Phoen.: Euripides, Phoenician WomenEur. Rh.: Euripides, RhesusEur. Supp.: Euripides, SuppliantsEur. Tro.: Euripides, Trojan WomenGal. Nat. Fac.: Galen, De naturalibus facultatibusGel.: Gellius, Noctes AtticaeHH 1: Homeric Hymns, Hymn 1 to DionysusHH 10: Homeric Hymns, Hymn 10 to Aphrodite HH 11: Homeric Hymns, Hymn 11 to AthenaHH 12: Homeric Hymns, Hymn 12 to HeraHH 13: Homeric Hymns, Hymn 13 to DemeterHH 14: Homeric Hymns, Hymn 14 to the Mother of the GodsHH 15: Homeric Hymns, Hymn 15 to HeraclesHH 16: Homeric Hymns, Hymn 16 to AsclepiusHH 17: Homeric Hymns, Hymn 17 to the DioscuriHH 18: Homeric Hymns, Hymn 18 to HermesHH 19: Homeric Hymns, Hymn 19 to PanHH 2: Homeric Hymns, Hymn 2 to DemeterHH 20: Homeric Hymns, Hymn 20 to HephaestusHH 21: Homeric Hymns, Hymn 21 to ApolloHH 22: Homeric Hymns, Hymn 22 to PoseidonHH 23: Homeric Hymns, Hymn 23 to ZeusHH 24: Homeric Hymns, Hymn 24 to HestiaHH 25: Homeric Hymns, Hymn 25 to the Muses and ApolloHH 26: Homeric Hymns, Hymn 26 to DionysusHH 27: Homeric Hymns, Hymn 27 to ArtemisHH 28: Homeric Hymns, Hymn 28 to AthenaHH 29: Homeric Hymns, Hymn 29 to HestiaHH 3: Homeric Hymns, Hymn 3 to ApolloHH 30: Homeric Hymns, Hymn 30 to EarthHH 31: Homeric Hymns, Hymn 31 to HeliosHH 32: Homeric Hymns, Hymn 32 to SeleneHH 33: Homeric Hymns, Hymn 33 to the Dioscuri HH 4: Homeric Hymns, Hymn 4 to HermesHH 5: Homeric Hymns, Hymn 5 to AphroditeHH 6: Homeric Hymns, Hymn 6 to AphroditeHH 7: Homeric Hymns, Hymn 7 to DionysusHH 8: Homeric Hymns, Hymn 8 to AresHH 9: Homeric Hymns, Hymn 9 to ArtemisHdt.: Herodotus, HistoriesHes. Sh.: Hesiod, Shield of HeraclesHes. Th.: Hesiod, TheogonyHes. WD: Hesiod, Works and DaysHirt. Gal.: Caesar, Gallic WarHom. Il.: Homer, IliadHom. Od.: Homer, OdysseyHor. Ars: Horace, Ars PoeticaHor. Carm.: Horace, OdesHor. S.: Horace, SatiresHp. Acut.: Hippocrates, De diaeta in morbis acutisHp. Acut. Sp.: Hippocrates, De diaeta acutorumHp. Aer.: Hippocrates, De aere aquis et locisHp. Alim.: Hippocrates, De alimentoHp. Aph.: Hippocrates, AphorismiHp. Art.: Hippocrates, De articulisHp. Epid.: Hippocrates, De morbis popularibusHp. Fist.: Hippocrates, De fistulisHp. Fract.: Hippocrates, De fracturisHp. Haem.: Hippocrates, De haemorrhoidibusHp. Jusj.: Hippocrates, JusjurandumHp. Lex: Hippocrates, LexHp. Mochl.: Hippocrates, Vectiarius Hp. Morb. Sacr.: Hippocrates, De morbo sacro Hp. Off.: Hippocrates, De officina mediciHp. Praec.: Hippocrates, PraeceptionesHp. Prog.: Hippocrates, PrognosticonHp. Ulc.: Hippocrates, De ulceribusHp. VC: Hippocrates, De capitis vulneribusHp. VM: Hippocrates, De prisca medicinaHyp. 1: Hyperides, In Defence of LycophronHyp. 2: Hyperides, Against PhilippidesHyp. 3: Hyperides, Against AthenogenesHyp. 4: Hyperides, In Defence of EuxenippusHyp. 5: Hyperides, Against DemosthenesHyp. 6: Hyperides, Funeral OrationIsaeus 1: Isaeus, CleonymusIsaeus 10: Isaeus, AristarchusIsaeus 11: Isaeus, HagniasIsaeus 12: Isaeus, EuphiletusIsaeus 2: Isaeus, MeneclesIsaeus 3: Isaeus, PyrrhusIsaeus 4: Isaeus, NicostratusIsaeus 5: Isaeus, DicaeogenesIsaeus 6: Isaeus, PhiloctemonIsaeus 7: Isaeus, ApollodorusIsaeus 8: Isaeus, CironIsaeus 9: Isaeus, AstyphilusIsoc. 1: Isocrates, To DemonicusIsoc. 10: Isocrates, HelenIsoc. 11: Isocrates, BusirisIsoc. 12: Isocrates, PanathenaicusIsoc. 13: Isocrates, Against the SophistsIsoc. 14: Isocrates, PlataicusIsoc. 15: Iso crates, Antidosis Isoc. 16: Isocrates, On the team of horsesIsoc. 17: Isocrates, TrapeziticusIsoc. 18: Isocrates, Against CallimachusIsoc. 19: Isocrates, AegineticusIsoc. 2: Isocrates, To NicoclesIsoc. 20: Isocrates, Against LochitesIsoc. 21: Isocrates, Against EuthynusIsoc. 3: Isocrates, Nicocles or the CypriansIsoc. 4: Isocrates, PanegyricusIsoc. 5: Isocrates, To PhilipIsoc. 6: Isocrates, ArchidamusIsoc. 7: Isocrates, AreopagiticusIsoc. 8: Isocrates, On the PeaceIsoc. 9: Isocrates, EvagorasIsoc. L. 1: Isocrates, Ad DionysiumIsoc. L. 2: Isocrates, Ad PhilippumIsoc. L. 3: Isocrates, Ad PhilippumIsoc. L. 4: Isocrates, Ad AntipatrumIsoc. L. 5: Isocrates, Ad AlexandrumIsoc. L. 6: Isocrates, Ad filios JasonisIsoc. L. 7: Isocrates, Ad TimotheumIsoc. L. 8: Isocrates, Ad reges MytilenaeosIsoc. L. 9: Isocrates, Ad ArchidamumJ. AJ: Flavius Josephus, Jewish AntiquitiesJ. Ap.: Flavius Josephus, Against ApionJ. BJ: Flavius Josephus, The Jewish WarJ. Vit.: Flavius Josephus, Life of JosephusLSJ: Henry George Liddel l, Robert Scott, A Greek-English Lexicon Liv. 1: Livy, The History of Rome, Book 1Liv. 10: Livy, The History of Rome, Book 10Liv. 11: Livy, The History of Rome, Book 11, SummaryLiv. 12: Livy, The History of Rome, Book 12, SummaryLiv. 13: Livy, The History of Rome, Book 13, SummaryLiv. 14: Livy, The History of Rome, Book 14, SummaryLiv. 15: Livy, The History of Rome, Book 15, SummaryLiv. 16: Livy, The History of Rome, Book 16, SummaryLiv. 17: Livy, The History of Rome, Book 17, SummaryLiv. 18: Livy, The History of Rome, Book 18, SummaryLiv. 19: Livy, The History of Rome, Book 19, SummaryLiv. 2: Livy, The History of Rome, Book 2Liv. 20: Livy, The History of Rome, Book 20, SummaryLiv. 21: Livy, The History of Rome, Book 21Liv. 22: Livy, The History of Rome, Book 22Liv. 23: Livy, The History of Rome, Book 23Liv. 24: Livy, The History of Rome, Book 24Liv. 25: Livy, The History of Rome, Book 25Liv. 26: Livy, The History of Rome, Book 26Liv. 27: Livy, The History of Rome, Book 27Liv. 28: Livy, The History of Rome, Book 28Liv. 29: Livy, The History of Rome, Book 29 Liv. 3: Livy, The History of Rome, Book 3Liv. 30: Livy, The History of Rome, Book 30Liv. 31: Livy, The History of Rome, Book 31Liv. 32: Livy, The History of Rome, Book 32Liv. 33: Livy, The History of Rome, Book 33Liv. 34: Livy, The History of Rome, Book 34Liv. 35: Livy, The History of Rome, Book 35Liv. 36: Livy, The History of Rome, Book 36Liv. 37: Livy, The History of Rome, Book 37Liv. 38: Livy, The History of Rome, Book 38Liv. 39: Livy, The History of Rome, Book 39Liv. 4: Livy, The History of Rome, Book 4Liv. 40: Livy, The History of Rome, Book 40Liv. 41: Livy, The History of Rome, Book 41Liv. 42: Livy, The History of Rome, Book 42Liv. 43: Livy, The History of Rome, Book 43Liv. 44: Livy, The History of Rome, Book 44Liv. 45: Livy, The History of Rome, Book 45Liv. 5: Livy, The History of Rome, Book 5Liv. 6: Livy, The History of Rome, Book 6Liv. 7: Livy, The History of Rome, Book 7Liv. 8: Livy, The History of Rome, Book 8Liv. 9: Livy, The History of Rome, Book 9Liv. Frag.: Livy, The H istory of Rome, Fragments Luc.: Lucan, Civil WarLucr.: Lucretius, De Rerum NaturaLyc. 1: Lycurgus, Against LeocratesLys. 1: Lysias, On the Murder of EratosthenesLys. 10: Lysias, Against Theomnestus 1Lys. 11: Lysias, Against Theomnestus 2Lys. 12: Lysias, Against EratosthenesLys. 13: Lysias, Against AgoratusLys. 14: Lysias, Against Alcibiades 1Lys. 15: Lysias, Against Alcibiades 2Lys. 16: Lysias, For MantitheusLys. 17: Lysias, On the Property of EratonLys. 18: Lysias, On the Confiscation of the Property of the Brother of NiciasLys. 19: Lysias, On the Property of AristophanesLys. 2: Lysias, Funeral OrationLys. 20: Lysias, For PolystratusLys. 21: Lysias, Defence against a Charge of Taking BribesLys. 22: Lysias, Against the Corn DealersLys. 23: Lysias, Against PancleonLys. 24: Lysias, On the Refusal of a PensionLys. 25: Lysias, Defence against a Charge of subverting the DemocracyLys. 26: Lysias, On the Scrutiny of EvandrosLys. 27: Lysias, Against Epicrates and his Fellow EnvoysLys. 28: Lysias, Against ErgoclesLys. 29: Lysias, Against Philocrates Lys. 3: Lysias, Against SimonLys. 30: Lysias, Against NicomachusLys. 31: Lysias, Against PhilonLys. 32: Lysias, Against DiogeitonLys. 33: Lysias, Olympic OrationLys. 34: Lysias, Against the Subversion of the Ancestral Constitution of AthensLys. 4: Lysias, On a Wound by PremeditationLys. 5: Lysias, For CalliasLys. 6: Lysias, Against AndocidesLys. 7: Lysias, On the Olive StumpLys. 8: Lysias, Accusation of CalumnyLys. 9: Lysias, For the SoldierNep. Ag.: Cornelius Nepos, AgesilausNep. Alc.: Cornelius Nepos, AlcibiadesNep. Ar.: Cornelius Nepos, AristidesNep. Att.: Cornelius Nepos, AtticusNep. Ca.: Cornelius Nepos, CatoNep. Cha.: Cornelius Nepos, ChabriasNep. Cim.: Cornelius Nepos, CimonNep. Con.: Cornelius Nepos, CononNep. Dat.: Cornelius Nepos, DatamesNep. Di.: Cornelius Nepos, DionNep. Ep.: Cornelius Nepos, EpaminondasNep. Eum.: Cornelius Nepos, EumenesNep. Ham.: Cornelius Nepos, HamilcarNep. Han.: Cornelius Nepos, HannibalNep. Iph.: Cornelius Nepos, IphicratesNep. Lys.: Cornelius Nepos , Lysander Nep. Milt.: Cornelius Nepos, MiltiadesNep. Paus.: Cornelius Nepos, PausaniasNep. Pel.: Cornelius Nepos, PelopidasNep. Phoc.: Cornelius Nepos, PhocionNep. Reg.: Cornelius Nepos, KingsNep. Them.: Cornelius Nepos, ThemistoclesNep. Thr.: Cornelius Nepos, ThrasybulusNep. Timol.: Cornelius Nepos, TimoleonNep. Timoth.: Cornelius Nepos, TimotheusOv. Am.: Ovid, AmoresOv. Ars: Ovid, Ars AmatoriaOv. Ep.: Ovid, EpistulaeOv. Ep. Sapph.: Ovid, EpistulaeOv. Med.: Ovid, Medicamina Faciei FemineaeOv. Met.: Ovid, MetamorphosesOv. Rem.: Ovid, Remedia AmorisPaus.: Pausanias, Description of GreecePetr.: Petronius, SatyriconPetr. Fr.: Petronius, FragmentsPetr. Poems: Petronius, PoemsPhaed.: Phaedrus, FablesPind. I.: Pindar, IsthmeanPind. N.: Pindar, NemeanPind. O.: Pindar, OlympianPind. P.: Pindar, PythianPl. Am.: Plautus, AmphitruoPl. As.: Plautus, AsinariaPl. Aul.: Plautus, AululariaPl. Bac.: Plautus, BacchidesPl. Capt.: Plautus, CaptiviPl. Cas.: Plautus, CasinaPl. Cist.: Plautus, CistellariaPl. Cur.: P lautus, Curculio Pl. Epid.: Plautus, EpidicusPl. Men.: Plautus, MenaechmiPl. Mer.: Plautus, MercatorPl. Mil.: Plautus, Miles GloriosusPl. Mos.: Plautus, MostellariaPl. Per.: Plautus, PersaPl. Poen.: Plautus, PoenulusPl. Ps.: Plautus, PseudolusPl. Rud.: Plautus, RudensPl. St.: Plautus, StichusPl. Trin.: Plautus, TrinummusPl. Truc.: Plautus, TruculentusPl. Vid.: Plautus, VidulariaPlat. Alc. 1: Plato, Alcibiades 1Plat. Alc. 2: Plato, Alcibiades 2Plat. Apol.: Plato, ApologyPlat. Charm.: Plato, CharmidesPlat. Cleit.: Plato, CleitophonPlat. Crat.: Plato, CratylusPlat. Criti.: Plato, CritiasPlat. Crito: Plato, CritoPlat. Epin.: Plato, EpinomisPlat. Euthyd.: Plato, EuthydemusPlat. Euthyph.: Plato, EuthyphroPlat. Gorg.: Plato, GorgiasPlat. Hipp. Maj.: Plato, Greater HippiasPlat. Hipp. Min.: Plato, Lesser HippiasPlat. Hipparch.: Plato, HipparchusPlat. Ion: Plato, IonPlat. L.: Plato, LettersPlat. Lach.: Plato, LachesPlat. Laws: Plato, LawsPlat. Lovers: Plato, LoversPlat. Lysis: Plato, LysisPlat. Menex.: Plato, Menexenus Plat. Meno: Plato, MenoPlat. Minos: Plato, MinosPlat. Parm.: Plato, ParmenidesPlat. Phaedo: Plato, PhaedoPlat. Phaedrus: Plato, PhaedrusPlat. Phileb.: Plato, PhilebusPlat. Prot.: Plato, ProtagorasPlat. Rep.: Plato, RepublicPlat. Soph.: Plato, SophistPlat. Stat.: Plato, StatesmanPlat. Sym.: Plato, SymposiumPlat. Theaet.: Plato, TheaetetusPlat. Theag.: Plato, TheagesPlat. Tim.: Plato, TimaeusPlb.: Polybius, HistoriesPlin. Ep.: Pliny the Younger, EpistulaePlin. Nat.: Pliny the Elder, Naturalis HistoriaPlut. Aem.: Plutarch, Aemilius PaullusPlut. Ages.: Plutarch, AgesilausPlut. Agis: Plutarch, AgisPlut. Alc.: Plutarch, AlcibiadesPlut. Alex.: Plutarch, AlexanderPlut. Ant.: Plutarch, AntoniusPlut. Arat.: Plutarch, AratusPlut. Arist.: Plutarch, AristeidesPlut. Art.: Plutarch, ArtaxerxesPlut. Brut.: Plutarch, BrutusPlut. CG: Plutarch, Gaius GracchusPlut. Caes.: Plutarch, CaesarPlut. Cam.: Plutarch, CamillusPlut. Cat. Ma.: Plutarch, Marcus CatoPlut. Cat. Mi.: Plutarch, Cato MinorPlut. Cic.: Pl utarch, Cicero Plut. Cim.: Plutarch, CimonPlut. Cleom.: Plutarch, CleomenesPlut. Comp. Ag. Gracch.: Plutarch, Comparison of Agis and Cleomenes and the GracchiPlut. Comp. Ages. Pomp.: Plutarch, Comparison of Agesilaus and PompeyPlut. Comp. Alc. Cor.: Plutarch, Comparison of Alcibiades and CoriolanusPlut. Comp. Aristid. Cat.: Plutarch, Comparison of Aristides with Marcus CatoPlut. Comp. Cim. Luc.: Plutarch, Comparison of Lucullus and CimonPlut. Comp. Dem. Cic.: Plutarch, Comparison of Demosthenes with CiceroPlut. Comp. Demetr. Ant.: Plutarch, Comparison of Demetrius and AntonyPlut. Comp. Dion. Brut.: Plutarch, Comparison of Dion and BrutusPlut. Comp. Eum. Sert.: Plutarch, Comparison of Sertorius and EumenesPlut. Comp. Lyc. Num.: Plutarch, Comparison of Lycurgus and NumaPlut. Comp. Lys. Sull.: Plutarch, Comparison of Lysander and SullaPlut. Comp. Nic. Crass.: Plutarch, Comparison of Nicias and CrassusPlut. Comp. Pel. Marc.: Plutarch, Comparison of Pelopidas and MarcellusPlut. Comp. Per. Fab.: Plutarch , Comparison of Pericles and Fabius Maximus Plut. Comp. Phil. Flam.: Plutarch, Comparison of Philopoemen and TitusPlut. Comp. Sol. Publ.: Plutarch, Comparison of Solon and PublicolaPlut. Comp. Thes. Rom.: Plutarch, Comparison of Theseus and RomulusPlut. Comp. Tim. Aem. : Plutarch, Comparison of Timoleon and AemiliusPlut. Cor.: Plutarch, Caius Marcius CoriolanusPlut. Crass.: Plutarch, CrassusPlut. Dem.: Plutarch, DemosthenesPlut. Demetr.: Plutarch, DemetriusPlut. Dio: Plutarch, DionPlut. Eum.: Plutarch, EumenesPlut. Fab.: Plutarch, Fabius MaximusPlut. Flam.: Plutarch, Titus FlamininusPlut. Galb.: Plutarch, GalbaPlut. Luc.: Plutarch, LucullusPlut. Lyc.: Plutarch, LycurgusPlut. Lys.: Plutarch, LysanderPlut. Mar.: Plutarch, Caius MariusPlut. Marc.: Plutarch, MarcellusPlut. Nic.: Plutarch, NiciasPlut. Num.: Plutarch, NumaPlut. Oth.: Plutarch, OthoPlut. Pel.: Plutarch, PelopidasPlut. Per.: Plutarch, PericlesPlut. Phil.: Plutarch, PhilopoemenPlut. Phoc.: Plutarch, PhocionPlut. Pomp.: Plutarch, PompeyPlut. Publ.: Plutarch, PublicolaPl ut. Pyrrh.: Plutarch, Pyrrhus Plut. Rom.: Plutarch, RomulusPlut. Sert.: Plutarch, SertoriusPlut. Sol.: Plutarch, SolonPlut. Sull.: Plutarch, SullaPlut. TG: Plutarch, Tiberius GracchusPlut. Them.: Plutarch, ThemistoclesPlut. Thes.: Plutarch, TheseusPlut. Tim.: Plutarch, TimoleonProp.: Sextus Propertius, ElegiesPs. Xen. Const. Ath.: Old Oligarch, Constitution of the AtheniansQuint. Inst. 1: Quintilian, Institutio Oratoria, Book 1Quint. Inst. 10: Quintilian, Institutio Oratoria, Book 10Quint. Inst. 11: Quintilian, Institutio Oratoria, Book 11Quint. Inst. 12: Quintilian, Institutio Oratoria, Book 12Quint. Inst. 2: Quintilian, Institutio Oratoria, Book 2Quint. Inst. 3: Quintilian, Institutio Oratoria, Book 3Quint. Inst. 4: Quintilian, Institutio Oratoria, Book 4Quint. Inst. 5: Quintilian, Institutio Oratoria, Book 5Quint. Inst. 6: Quintilian, Institutio Oratoria, Book 6Quint. Inst. 7: Quintilian, Institutio Oratoria, Book 7Quint. Inst. 8: Quintilian, Institutio Oratoria, Book 8Quint. Inst. 9: Quintilian, Institutio Or atoria, Book 9 Quint. Inst. Pref.: Quintilian, Institutio Oratoria, PrefaceSal. Cat.: Sallust, Catilinae ConiuratioSal. Hist.: Sallust, HistoriaeSal. Jug.: Sallust, Bellum IugurthinumSen. Ag.: Seneca, AgamemnonSen. Apoc.: Seneca, ApocolocyntosisSen. Ben.: Seneca, de BeneficiisSen. Brev. Vit.: Seneca, de Brevitate VitaeSen. Cl.: Seneca, de ClementiaSen. Cons. Helv.: Seneca, de consolatione ad HelviamSen. Cons. Marc.: Seneca, de consolatione ad MarciamSen. Cons. Polyb.: Seneca, de consolatione ad PolybiumSen. Cons. Sap.: Seneca, de ConstantiaSen. Const.: Seneca, de ConstantiaSen. Ep.: Seneca, EpistulaeSen. Her. F.: Seneca, Hercules FurensSen. Her. O.: Seneca, Hercules OetaeusSen. Ira: Seneca, de IraSen. Med.: Seneca, MedeaSen. Oct.: Seneca, OctaviaSen. Oed.: Seneca, OedipusSen. Ot. Sap.: Seneca, de Otio SapientisSen. Phaed.: Seneca, PhaedraSen. Phoen.: Seneca, PhoenissaeSen. Prov.: Seneca, de ProvidentiaSen. Thy.: Seneca, ThyestesSen. Tranq.: Seneca, de Tranquilitate AnimiSen. Tro.: Seneca, TroadesSe n. Vit. Beat.: Seneca, de Vita Beata Serv. A.: Servius, Commentary on the Aeneid of VergilSoph. Aj.: Sophocles, AjaxSoph. Ant.: Sophocles, AntigoneSoph. El.: Sophocles, ElectraSoph. Ich.: Sophocles, IchneutaeSoph. OC: Sophocles, Oedipus at ColonusSoph. OT: Sophocles, Oedipus TyrannusSoph. Phil.: Sophocles, PhiloctetesSoph. Trach.: Sophocles, TrachiniaeStrab.: Strabo, GeographySuet. Aug.: Suetonius, Divus AugustusSuet. Cal.: Suetonius, CaligulaSuet. Cl.: Suetonius, Divus ClaudiusSuet. Dom.: Suetonius, DomitianusSuet. Gal.: Suetonius, GalbaSuet. Jul.: Suetonius, Divus JuliusSuet. Nero: Suetonius, NeroSuet. Otho: Suetonius, OthoSuet. Tib.: Suetonius, TiberiusSuet. Tit.: Suetonius, Divus TitusSuet. Ves.: Suetonius, Divus VespasianusSuet. Vit.: Suetonius, VitelliusSulpicia: Sulpicia, PoemsTac. Ag.: Tacitus, AgricolaTac. Ann.: Tacitus, AnnalesTac. Dial.: Tacitus, DialogusTac. Ger.: Tacitus, GermaniaTac. Hist.: Tacitus, HistoriaeTer. Ad.: Terence, The BrothersTer. An.: Terence, AndriaTer. Eu.: Terence, The EunuchTer. Hau.: Ter ence, The Self-Tormenter Ter. Hec.: Terence, The Mother-in-LawTer. Ph.: Terence, PhormioTheoc.: Theocritus, IdyllsTheoc. Ep.: Theocritus, EpigramsTheoc. Id.: Theocritus, IdyllsThphr. Char.: Theophrastus, CharactersThuc.: Thucydides, HistoriesV. Fl.: C. Valerius Flaccus, ArgonauticaVerg. A.: Vergil, AeneidVerg. Ecl.: Vergil, EcloguesVerg. G.: Vergil, GeorgicsVitr.: Vitruvius, On ArchitectureXen. Ages.: Xenophon, AgesilausXen. Anab.: Xenophon, AnabasisXen. Apol.: Xenophon, ApologyXen. Cav.: Xenophon, On the Cavalry CommanderXen. Const. Lac.: Xenophon, Constitution of the LacedaimoniansXen. Cyrop.: Xenophon, CyropaediaXen. Ec.: Xenophon, EconomicsXen. Hell.: Xenophon, HellenicaXen. Hiero: Xenophon, HieroXen. Horse.: Xenophon, On the Art of HorsemanshipXen. Hunt.: Xenophon, On HuntingXen. Mem.: Xenophon, MemorabiliaXen. Sym.: Xenophon, SymposiumXen. Ways: Xenophon, Ways and Means Source: Perseus.

Design a management plan for a patient Essay Example | Topics and Well Written Essays - 2250 words

Design a management plan for a patient - Essay Example He admits that especially since his divorce he hasn't been paying much attention to his health. The percentage of Australians who smoke nowadays is much less than in 1945 according to the Cancer Council (2007) statistics. But smoking is still a huge problem that causes many unhealthy side effects and can lead to death (Heart Foundation, 2002). It also presents a substantial financial burden for the health care system because of the resultant morbidity that is associated with smoking (Australian Bureau of Statistics, 2006; Heart Foundation, 2002; Ministerial Council on Drug Strategy, 2004). The scenario of a smoker who seeks medical care because of a heart condition is very plausible. Smoking and heart disease are often found together (Better Health Channel, 2002). The Australian Bureau of Statistics (2006) lists smoking as a key risk factor for ischaemic heart disease, and other fatal illnesses. Heart disease itself has a high prevalence. It is the most common cause of sudden death and also the single disease from which the most people in Australia-and most industrialised nations-die (Australian Institute of Health and Welfare 2006). There are many forms of heart disease, but coronary heart disease, or ischaemic heart disease is most common and often presents itself in form of angina (Australian Institute of Health and Welfare 2006), as in the case of our patient, John. This paper will deal with the actual ... This paper will deal with the actual and potential health issues in cases such as this one, examining the broader scope of matters to be considered in planning the management of such a case, as well as identifying specific actions that can be taken to improve the patient's situation. It will also reflect on possibilities for primary and secondary preventive measures and take into account as many factors that might be relevant for the overall well-being for this particular patient. Management Health Issues The two obvious core health issues of this patient are smoking and heart disease. However, both smoking and heart disease can be connected to other complaints (Heart Foundation 2002, JBI 2005). The first contact with patients is a good time to find out what is worrying them most. In John's case, the overall social situation will be of interest. His performance at work may be seriously impeded by his heart condition. If he is not accustomed to taking care of himself without a wife, his diet may be unhealthy and he may have emotional problems connected to the stress of divorce. Cigarette smoking has many detrimental effects (Heart Foundation, 2002). The main part of the problem is that many habitual smokers are addicted to nicotine (Ministerial Council on Drug Strategy, 2004). Addiction is a complex health problem, and Tan et al. (2000) report that almost 80% of smokers in Australia have already tried to quit but failed. In fact, the addiction itself makes it hard for smokers to want to quit. The drug nicotine affects the ability to make a rational decision. Because the brain and body suffer from withdrawal symptoms, quitting is

Scope and Kinds of Cyber Security Research Paper

Scope and Kinds of Cyber Security - Research Paper Example The researcher states that one can hardly imagine an activity that would not involve the computer and other digital equipment being used in digital devices. Their usage is furthermore visible in the organizational structures, both on managerial front, educational and governmental level. Having explained its dominance and presence all over in our surrounding, at the same time, it must be said that computing world which is an online world is a fragile one and is extremely vulnerable to the external threats and challenges. These threats come in form of security concerns. While it is an outer world where there is no restriction on anyone who may want to join the network of World Wide Web, it becomes imperative to create a security factor consideration which would enable safe operations. Since all kinds of activities are being performed over the computer and internet, ranging from private data exchange to financial records, governmental records, other documents of national security, centr al databases and various other elements, in such cases it becomes important to establish a mechanism that would ensure safer operations on the internet. Internet is being termed as one of the least equipped and least reliable source of communication when it comes to privacy and security. This has been proven in cases and forms of all kinds of breaches in different parts of the world from time to time. no bank, no individual, no organization , no website is safe from the attack of these insurgents who pose threat to the common flow of traffic across the board. Scope of cybersecurity: The scope of cybersecurity is a very large one and it finds its application in any place where there is computer and internet in function. It would find its usage in home applications, official applications, educational institutes, governmental, even in the aeroplanes where most of the transmission is done over computer and digital means, require safe coding methods. Anything that is on the board of onli ne interface is included in the scope of cybersecurity since it requires protection in one way or other. Even the domestic users of computer who may use it for ordinary online operations, require security and safety since any kind of malware or bug can penetrate into their computer and cause the desired damaged. The need for cybersecurity: Cyberworld is just like the society of human being. While over 3 billion people from across the world are on board on the digital interface, it does require patrolling and controlling of the entire traffic. Just like the society would need law and order, police control and patrol, in the same way a medium that has over 3 billion users would require a scheme which would ensure safe usage of internet and computers. With all kinds of operations subject to the usage of online resources, it is highly imperative to create a zone that is shielded with secure browsing of computers and the world of internet. Kinds of cybersecurity threats: Just like a phys ical society may face threats in different forms, the cyber world is no exception and it is faced with challenges and obstacles in various forms. These come in form of cybersecurity concerns.

Prioritizing the IT Project Portfolio Essay Example | Topics and Well Written Essays - 1000 words

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The Origin Of Art Deco Cultural Studies Essay

The Origin Of Art Deco Cultural Studies Essay Art Deco, one of the most influential art movements in the art history which was influenced by various cultures and art movements of past and present, lifestyle and society of the period between two life changing world wars, was diverse in design and glamorous and luxurious in style. Key influences include many styles of art and design including the high-style French crafts, different cultures of the far distant past and contemporary avant-grade art. It has reflected these inspirations intellectually and stylishly on its wonderful designs from finest French Art Deco furniture to mass produced modern household consumer goods. It was not just a style which reflected travel and adventure, leisure and entertainment, but a taste that was highly enjoyed by both high-society elite and common man with new spirit after the Second World War. It had handed down its concepts of design and visuals of both traditional and modern style to younger art movements as well as its vibrant, bold, and glam orous style becoming an influence to many contemporary designs. Art Decos characteristics cannot be defined easily as the term Art Deco includes a mixture of styles ranging from ancient arts and traditional French Decorative Arts to mass produced Avant-grade Modernism. Benton(2003) has found that Richard Guy Wilson said in Defining Art Deco, Art Deco Society of New York News that: If we can use the term Art Deco not to designate a specific style, but rather that it is inclusive and connotes the tremendous fertility of ideas, culture and design beginning in the early twentieth century and reaching a peak in the 1920s and 1930s we will better serve our own purpose. (Benton, 2003, p16) Thus according to C. Benton (2003), Art Deco can be described as the body of artefacts including works inspired by, but not copied from, historic and traditional high styles, works inspired by various cultures of past and those inspired by contemporary avant-grade art. All these influences and inspirations which helped to become what Art Deco is started at the first major appearance of Art Deco at the 1925 Paris Worlds Fair the Exposition Internationale des Arts DÃ ©coratifs et Industriels Modernes, where the term Art Deco derived from. ORIGIN OF ART DECO Paris was the cultural centre of the Western world, as well as home of many famous artists and designers. However, after the First World War when the United States hosted several art expositions and it seemed likely to have the leadership role in vital areas of art as it had less damage physically and economically, French was determined to retain her leadership in this area. Hence according to Chandler(2000), with the return of peace and prosperity, French once again hosted an international exposition to reassert her power as the ruler of taste and style. The Exposition Internationale des Arts DÃ ©coratifs et Industriels Modernes was set to show the world that French taste would lead the way again and to define the elements of the new style which would soon be known as Art Deco. The exposition exhibited works of artists and designers from various countries where the early French Art Decos influences came from. Chandler(2000) has found that the exposition was supposed to bring togeth er the nations of the world and to show some sense of a developing common aesthetic among the practitioners of decorative arts and architecture. In fact countless talents from many countries had shown what could be done without turning back to the tradition in art and culture. The exposition was a success and the Art Deco style was born out of it. Moreover, since the exhibition, Art Deco expanded from Paris to other countries all over the world and although Americans did not participate at the exposition, the influence of this style had sprung across the country for the next two decades. The style developed mainly in France where it showed its emotional stylish playfulness. At the same time the rays of Art Deco touched upon the modern western architecture, decoration, design, and fine arts around the world, and even non-French Art Deco somehow relates to the early Parisian Art Deco designs. French-inspired ornamentations were used on American buildings continuously until the 1940s. Duncan(1999) said that the early French Art Deco style had in its moment of glory provided America with the legacy of rich architectural ornamentation. It is found that many international artists and designers adopted or adapted the design elements of high-style French Art Deco on their later modernized Art Deco. the furniture of the German Bruno Paul or the jewellery of the American firm Black, Starr Frostmany other designers throughout Europe and the United States paid vestigial homage to the French style, among them the creators of the spectacular American and English motion picture palaces, the Russian-born Serge Chermayeff and the British Clarice Cliff with her jazzy, brightly hued pottery (P.Bayer, 2000, p 10). EXTENSION OF STYLE ART NOUVEAU However, one could say that the beginning of the style Art Deco showed an early presence since before the 1925 Exposition, as early as the last years of ninetieth century when Art Nouveau gained its appreciation. The 1900 Exposition Universelle which was held in Paris, was one of the most successful and ambitious exhibitions in the history of Paris. Works of twenty four participating nations and their numerous colonies including European, American, African and Asian countries were exhibited. Hence there were varieties of fine arts, jewellery designs, ceramics and pottery, furniture and all sorts of craftsmanship which had inspired the Art Nouveau designers and some young designers who would later introduce the style Art Deco to the world. Two years later Art Nouveau became the most fashionable and sought after design style of the early twentieth century, and many designers became to develop interesting, variations and historical themes into their work. However, the style began to dec line afterwards because of the First World War and the rise of industrialization. After World War I, because of the result of the dramatic changes in social, personal and economical matters, expensive highly stylised and hand crafted Art Nouveau lost its favour and was replaced by new design concepts of mass produced modernism. The decorative aspects of the style became unessential and many European designers followed mass production and functionalism of German Bauhaus movement. Art Nouveau style was applied to low quality uninteresting products for commercial gain. On the other hand younger avant-grade designers began to experiment the modern design concepts by combining them with their predecessors fine craftsmanship to produce a design style that has both intellect of modernism and visual of the traditional styles. The cluttered floral designs, pastel colours and the overly decorative patterns and curls of Art Nouveau were stripped down to angular geometric shapes, clear bright and bold colours, uncluttered clean shapes and refined detailing of the new style Ar t Deco. Art Deco designers still kept their predecessors stylised designs and superb craftsmanship and adapted them in many of high-style Art Deco. Hence Art Nouveau style didnt come to an abrupt end but continued as Art Deco for several more years until it was replaced by mass produced modernist Art Deco designs. Art Deco is not the opposite of Art Nouveau; it is in many aspects an extension of it, particularly in its preoccupation with lavish ornamentation, fine materials and superlative craftsmanship. (Duncan, 2000, p6) Art Nouveau style mainly influenced the French Art Deco designers such as Jacques-Emile Ruhlmann who was famous for his French style Art Deco furniture designs. Moreover the influence of Art Nouveau can be seen in many of French Art Deco pochoir illustrations which adapted the elements of floral, stylised Art Nouveau with the combination of bold colours, and glamour of Art Decos characteristics. INFLUENCES OF THE ANCIENT ART As Art Deco was already gradually forming since the 1900 exhibition, the inspiration of the style is very diverse and came from different art forms and cultures. Among these influences, ancient Egyptian art and Aztec and Mayan architecture of ancient Mexico art were best known and adopted by many Art Deco artists and designers. Because of the discovery of the Tutankhamun tomb in 1922, the Egyptian art was popular among the Art Deco designers, that the craze touched every aspect of design. Fashion accessories, furniture, products and interior designs at that time had combination of Egyptian-inspired geometrical shapes with the Art Decos own stylised and decorative patterns. Egyptian arts usage of colour and ornamentations were also adopted for architectural decorations. Examples of these can be seen in usage of bold flashes of gold colour on the black granite surface of Raymond Hoods American Radiator building, and Egyptian-inspired eagle-shaped gargoyle ornaments on the Art Decos ico nic, the Chrysler Building. The ancient Mexican architecture also directly influenced Art Deco skyscrapers and interior designs. The geometric forms and patterns of rigid stonework Mexican art can be traced in many of 1920s and 1930s architecture and design. According to Baddeley(2003), the block-like mass, ziggurat forms and patterns of Manhattans skyline evoked rather than replicated the militaristic decorations of Aztec temple design. Even the zoning law applied on the New Yorks skyscrapers was based on the Aztec architecture concepts. According to Duncan(1999), the zoning law is applied to the high buildings to ensure adequate light and air for the citys working populace, hence architects developed a series of setbacks, or terraces, which stepped backwards and upwards like Ziggurats of the Aztec architecture. However, the decorations on the building and inside of the building had influences from historical art styles of Japanese, Islamic, Celtic besides Egyptian and Mexican, and sometimes all the styles app ear together to give the impression of an unspecified historicism. TRADITIONAL AND MODERNITY, DECORATION AND FUNCTION Art Deco was purely decorative and was not the leading intellectuals of the period although it had approach to functionalism of modern designs. Since World War I and rapid industrialization, most modernist artists and designers were keen to produce mass-produced designs made in new, low-cost materials and rejected any decorative intentions. However, according to Robinson(1988) many of these designers soon realised that functionalism alone cannot fulfil the customers demands as certain amount of fantasy, luxury and embellishment were required in order to fulfil their aesthetic dreams. Many designers working in more mundane materials, for mass production and the popular market, came to see forms and motifs derived from fine art as capable of bringing aesthetic value to even modest domestic environments, as well as giving value to their own practice. (Benton, 2003, p105) Thus Art Deco is decorative even when it doesnt employ ornaments and surface decorations, to provide sense of emotional fulfilment and luxury to bold machine-made items. This concept of Art Deco was practiced in many areas of designs including industrial, interior and furniture designs as well as in architectural design. According to Duncan(1999), in traditional architecture, Modernist decoration was used as a transitional device to alert the eye to a change in the buildings contour. Vertical and horizontal decorations were used to emphasize a skyscrapers height and rhythm of the setbacks, moreover colour was also applied along the setbacks on the building to provide definition to the passerby far below. Duncan(1999) has found that Hildreth Meiere, American artist and architect said in July 1932 The Question of Decorative Architectural Forum that: Decoration is that which gives color or texture, scale or pattern or interest, which is used, whether functionally or not, because it gives pleasure or expression. An architect instinctively employs it because he is an artist who designs for aesthetic enjoyment as well as a builder who must build adequately for physical needs. (Duncan, 1999, p150) Thus Art Decos modernized traditional style or decorative modern style of decorations and ornamentations were applied on everyday household products, automobiles and buildings to give certain amount of interest and luxury, as a result Art Deco became widely appreciated by the high society and considered to be the functional form of elegant and luxurious modernism. AVANT-GRADE INFLUENCES Art Deco designers and Avant-grade designers shared the same interest in applying decoration since the latter themselves became to practice the decorative arts on their artworks. Benton(2003) believed that the association between avant-grade art and Art Deco was also encouraged by decorative artists ambitions. Likewise, Art Deco designers also adapted the avant-grade movements elements in many areas of its decorations. Many of Art Decos graphic posters and illustrations showed the influence of cubism and futurism by adding abstract, fragmented, overlapped geometrical shapes with crisp rigid lines to show the periods occupation with speed and power. The influence also can be seen in the areas of product design and furniture design, for instance Erik Magnussen used the abstracting and fragmentation techniques of Cubism on his coffee service called Cubic or The Lights and Shadows of Manhatten to produce interesting and eccentric look of an usual and functional coffee set. NEW WORLD, MODERNIZATION AND MASS SOCIETY Art Deco style was influenced by past and present art movements and styles, but on the other hand, the influence came from not only creative environment but also the lifestyle and the ever changing society of the period between two world wars when the movement reigned supreme. The First World War gave a sense of break from the past and provided modernity to the whole new world which accompanied urbanization, standardization, and mass society. The new lifestyle of the modern world and the new roles for the common men resulted in mass consumption and demanding society, hence mass production became vital in manufacturing and producing areas. Deco style graphic design and posters with the illustrations of expanding leisure activities such as dance halls, and entertaining sports such as tennis and golf, as well as the brochures for holidays and beaches became the popular media between the consumers and the manufacturers as a result of demanding entertainment and pleasure by the mass socie ty of not only elites but also common people. Furthermore, developing science and technology which is a crucial element in the modern society also played an important role in creating modernity in the new world. Production and utilization of electric power, discoveries of new materials such as plastics, and the advancing techniques in creative area provided the whole new concepts to Art Deco designers and hence many artists and designers began to experiment with new design forms and materials to provide new satisfaction and fulfilment to the changing taste of the society. Robinson(1988) wrote that soon after the 1925 Exposition, superficial copies of Art Deco style products began to appear in large department stores that this took away the essential aesthetic understanding and quality of craftsmanship that had elevated the original Art Deco designs to a truly modern art form. Hence the rapid expansion of mass society and the advanced technology had soon produced a new style of Art Deco called streamlining which would replace the traditional techniques and style of Art Deco. SPEED, STYLE AND STREAMLINING The mass production of transportation methods, which is the result of the rapid expansion of mass travel, was the vital reason that the Art Deco designers turn to a new style of design and streamlining technique. According to Atterbury(2003), streamlining reflected contemporary enthusiasms for science, technology, engineering and, above all, travel and transportation. Streamlining was applied to a new generation of automobiles, aircrafts and trains, to express speed and mechanical efficiency, as well as to domestic and commercial objects where speed and efficiency were irrelevant. Atterbury(2003) also mentioned that streamlining and speed became synonymous in the public mind, and so streamlined forms were widely applied to domestic motor vehicles despite having little or no impact on their actual performance. Despite the science and rationality, the image of speed was more important and streamlining was used as decorations to appeal the surface look and seduce potential customers as the sleek contoured horizontal lines and smooth surfaces not only provide modernity, but also suggest luxury, comfort and restfulness. Works of industrial designer Raymond Loewy strongly reflected the streamlining style of Art Deco since he was one of the logical leaders who emphasized on styling this to promote mass consumption and mass production among the commercial competition during the Great Depression in America. The industrial designers attempt to modernize consumer goods as a means of boosting sales led him(Raymond Loewy) in the 1930s to the pursuit of a new style, one which evolved from the preceding fashionable Art Deco style of the 1920s and could be applied to industrial products. (Duncan, 1999, p 270) Hence new principles and application of streamlining became a fashion statement and was applied on almost every item from book covers and pencil sharpeners to the buildings decoration and the automobiles and trains. Examples of streamlining on buildings, which is known as streamline modern architecture, include the Coca-Cola Bottling Company plant, the California Petroleum Service Station and many roadside diners in Los Angeles, as well as the buildings and pavilions of the 1939 New York Worlds Fair which is known for acting as an endpoint of the Art Deco style. Like traditional stylised Art Nouveau was replaced by the mass-produced streamlined modern Art Deco after the World War I, so was Art Deco by total machine aesthetic Modernism when the Second World War definitely killed off the flame of Art Deco and the style lost its glamour after the New York Worlds Fair in 1939. Even though streamlining was popular after the 1925 Art Deco Exposition in the design of buildings and transportation, the original Art Decos decorative motifs had become out of date and took over by the pure functionalism of Post-modernist designers. Though some notable expressions of decorative exuberance inspired by Art Deco practices survived, the styles characteristic decorative repertoire and cheerfully commercial traits were widely abandoned in favour of design languages redolent of the larger social good. (Benton, 2003, p429) INFLUENCES OF ART DECO However, Art Deco recovered with the growing interest in advertising, graphic design, fashion design and glamour and individualism in the 1950s and 1960s. The major exhibitions on the subject and publications books on Art Deco fashion and fashion illustration had encouraged the revival of Art Deco. This new interest influenced many younger artists and designers such as The Memphis Group of the 1980s. According to Benton(2003), Art Deco also encouraged Post-modern architects and designers to employ a richer iconography to be playful and to take risks with materials, colours, surfaces, shapes and visual references. Although Art Deco style had left many good influential examples of designs for the future generations, there were some disadvantages in those influences it had handed down to later design movements especially popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous and big business art movement in the 1950s which was known as Pop art. Late Art Decos mass consumption and mass production concepts of design were the certain part of the origins of mass media, and the illusion of popular artificial fulfilment of the modern art culture. Like mass produced cheap Art Deco products fulfilled the desires of the mass society after the First World War, according to Belting(2003) today visual advertising blinds the consumers eye to the thing itself and hides the illusion, its true nature behind the effects and lies of advertisements. Hence Art Decos both illustrative influence and conceptual influence has reappeared in nowadays graphic and advertising designs. Besides, Art Deco architecture and interior design also regained its popularity nowadays and the style was adapted in many of the recent architecture and replicated for the interior designs of contemporary buildings. The Parkview Square in the downtown area of Singapore, for instance is proof that the Art Deco influence is still surviving in some parts of the world today. The building design is classic Art Deco style and inspired by the Chanin Building as well as the lobby of the building is filled with Art Deco style hand crafted details and decorations. Similarly, the Williams Tower which is also known as the Transco Tower in Houston, Texas is also a fine example of Art Deco inspired skyscraper with rigid lines, angles and setbacks of the 1920s Art Deco architectural characteristics. What is more, the rotating beacon at the top which lights up at night put emphasis on the influence of the glamorous and luxurious night light of the pure Art Deco style. In addition, there are a few c ommercial and residential buildings surviving in Houston which are designed in postmodern interpretations of Art Deco streamline moderne style. Indeed, Art Deco may not be as popular as it was in its period of 1920s and 1930s,its intellectually and visually fascinating design concepts are still influencing the contemporary world and many design aspects of everyday life. CONCLUSION To conclude, Art Deco was a style as well as a total result of styles, a wonderful mixture of traditional and contemporary designs, with diverse cultures and technologies. It not only took inspirations from past and its predecessors, but also was influenced by the changing lifestyle and modernity of the period. Even though the time and the age between two wars was unrest and unstable, Art Deco had lived long for three decades and flourished successfully until the spirit died down entirely in 1939 at The New York Worlds Fair. Many iconic and notable examples survived until these days and the styles elements and characteristics are being adapted or replicated in contemporary designs by today designers. The styles concepts of uniting mass production and the artist, function and decorations, commercial profits and emotional fulfilments, had passed essential examples and lessons in the history of art and design to younger generations and new birth of modern designs. Art Deco was decorativ e using fine craftsmanship in traditional style, yet it was modern and advanced in technologies and creations. Art Deco had gained its satisfying popularity during its high time, and in fact the style is still being enjoyed by todays society. What is more, the fact that it is still influencing many designers these days is undeniable.