Is Chivalry Alive Today Essay - 710 Words

Chivalry is the type of thing that would be great to have in our society but I don’t believe that it exists too much anymore in the world today. Let me break down here some of the chivalry rules compared with the actions of the people of the current world. nbsp;nbsp;nbsp;nbsp;nbsp;One rule of chivalry is that you have to honor and respect women. Back in the days of King Arthur this was carried out greatly but if you look at the lack of respect given to women today you see that this rule of chivalry no longer exists. Women’s right have made great strides in the past few decades but women are just not given the respect that they deserve. Women were put in high regards back in King Arthur’s day. Now they are not as respected as they†¦show more content†¦It is seen as very honorable to give someone who asks mercy but I don’t see too much honor shown in our world today. nbsp;nbsp;nbsp;nbsp;nbsp;Another rule of chivalry is to never do battle to obtain goods. Well this is the rule that is the most broken in our world in my opinion. I always see on the news have robberies are made and how things are stolen. Sometimes people get hurt in the process of this and that is just not right. I wish that the convicts of the world would take a lesson in what is right from the Knights of the Round Table. nbsp;nbsp;nbsp;nbsp;nbsp;Now a very debatable rule of chivalry is do not do battle without cause. Now what can be justified as proper cause. When you look at the wars that are going on today some can be justified as having proper cause. If a country is going to cause unworthy harm to many innocent victims it is alright to go in and send them a message. If a country is breaking a few trade sanctions or something of that nature then another punishment can be handed down, but not necessarily war. Now when you look at gang wars those probobly have a hidden cause that none of us see, but still that doesn’t make it right. I am sure that when the knights fought they thought that they had cause but even if they didn’t at least they thought they did. That is better than just fighting for material possessions.Show MoreRelatedModernization of Romance Elements Essay1278 Words   |  6 PagesModernization of romance elements in â€Å"Chivalry† by Neil Gaiman In Neil Gaiman’s short story â€Å"Chivalry†, an elderly woman finds and buys the Holy Grail in a thrift shop to use it as a decorative element in her house. At the same time, a knight from the Round Table is in the quest of finding this sacred object of God. This short story contains many elements of romance, such as the religious quest, love and adventure and courtly and chivalric life. By modernizing romance, Gaiman suggests that loveRead More chivalry Essay990 Words   |  4 Pages nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp;nbsp; Ancient to Modern: The Transformation of Chivalry During the medieval era, great adventures and accomplishments of unimaginable feats were told of mortal humans know as Knights. Knights were seen to be the elite, displaying their gentleman-like manners throughout every aspect, which they lived, from social events to acts of brutal combat against their adversaries. Every action of a Knight would be done with honor, courage, respect andRead MoreMonty Python Satire Essay1647 Words   |  7 Pagesacts of chivalry, being hilariously mocked. â€Å"What, ridden on a horse?† â€Å"Yes!† â€Å"You re using coconuts!† â€Å"What?† â€Å"You ve got two empty halves of coconuts and you’re bangin em together.† This is a prime example of satire directed at chivalry today. People seem to think that chivalry is rooted so far in the past that it’s gone. I can say that it may be gone from some minds, but definitely not all. To be a good and true knight, a man had to follow certain ideals, ideals of chivalry and courtlyRead MoreThe Theme Of Racism In Gone With The Wind1147 Words   |  5 Pagesnovel is sticking to their core values of the South. Throughout the novel, the characters- especially Scarlette- represented how Southerns were determined to keep the ways of the old south, which they called home, through their houses, families, and chivalry. â€Å"Land is the only thing in the world that amounts for anything, for ‘tis the only thing in this world that lasts.† (Mitchell 49) In the South at the time how much land you had determined your social status and who you are. Scarlett O Hara wasRead More Knights of Templar Essay1427 Words   |  6 PagesKnights of Templar The Knights Templar were the manifestation of a new chivalry which united the seemingly incompatible roles of monk and warrior. As the first religious military order, these dedicated men were models for successive orders including the Order of the Hospital of St. John of Jerusalem, later known as the Hospitallers, and the Teutonic Knights of the Hospital of St. Mary, two contemporary, rival brotherhoods. These and other orders, flourishing during the 12th-14th centuriesRead MoreDon Quixote - The Relevance of the Ingenious Gentleman Today Essay1613 Words   |  7 Pagesde Cervantes focuses on the titular, self-proclaimed knight-errant and his squire Sancho Panza’s adventures prompted by the knight’s delusion. Quixote was originally a man of sound mind, but becomes mad and believes everything he reads in books of chivalry to be true. A second volume was added ten years later, when Quixote has been thrust into the public eye and ridiculed, leading to many philosophica l discussions on the natures of deception and delusion. The novel has been considered the first pieceRead MoreEssay on Chivalry2466 Words   |  10 PagesChivalry Chivalry, as defined by Encyclopedia Americana is a system of values and ideals of conduct held by knights in medieval Europe. In its institutional form, chivalry was an informal, international order to which many, but not all, of the ruling class (nobility) belonged. The word is derived from the Latin caballus (horse) through the French chevalier (â€Å"horseman† or knight). Chivalry was born from Feudalism in the late middle ages introducing a new, feminine point of view stressingRead More Arhurian Romances Essay1376 Words   |  6 Pageschivalric code that was followed by the knights and royalty of that time.nbsp;nbsp;nbsp;nbsp;nbsp;The courtly relationship between man and woman is the theme created throughout the stories in the Arthurian Romances. The ideas of courtly love and chivalry are summarized in these stories. We see many instances where knights go out of their way to please their woman. Once a knight chooses his woman, she thought of as his chattel, or property. He can do what he pleases with her and she must listen toRead More Medieval Chivalry Essay2847 Words   |  12 Pages Western Civilization Medieval Chivalry and Knighthood During medieval times knighthood was a class culture, cherished and jealousy guarded by the knightly caste. Knight had the honor of defending the king as well as their country. On the bloody fields of battle a code of chivalry evolved that tempered anger and fury with mercy. It created ways of turning the grim business of fighting into something tolerable, perhaps even acceptable. Chivalry was not only looked upon as a code for war; it wasRead More Epic of Beowulf Essay1818 Words   |  8 Pages Chivalry is Yet, Not Dead In some select stories of old/middle english, we can see that people have been fascinated by ideals of heroism, chivalry, and what we now refer to as romance for a very long time. I will argue in this document, that our fascination with such imaginary laws has never ceased, and in some ways is even more fantastic. Every further mention of romance will refer to all of these ideas, the way it did when the term was introduced into english. If all things are to be considered

Justice Explored in Nathaniel Hawthornes The Scarlet Letter

Justice Explored in The Scarlet Letter nbsp; Nathaniel Hawthorne created themes in The Scarlet Letter just as significant as the obvious ideas pertaining to sin and Puritan society. Roger Chillingworth is a character through which one of these themes resonates, and a character that is often underplayed in analysis. His weakness and path of destruction of himself and others are summed up in one of Chillingworths last sentences in the novel, to Arthur Dimmesdale: Hadst thou sought the whole earth over... there were no place so secret, no high place nor lowly place, where thou couldst have escaped me, save on this very scaffold! (171). nbsp; This powerful line from Chillingworth holds three meanings. First, Dimmesdale can save†¦show more content†¦A writhing horror twisted itself across his features, like a snake gliding swiftly over them, and making one little pause, with all its wreathed intervolutions in open sight. His face darkened with some powerful emotion... (44) nbsp; Soon after, Chillingworth makes it evident in his conversation with Hester that he is not after her, but simply wants to seek revenge on the man she slept with. At the end of their conversation, Hester sees an even darker side of Roger after her pact to keep his identity a secret. She says, Art thou like the Black Man that haunts the forest round about us? Hast thou enticed me into a bond that will prove the ruin of my soul? Hesters comparing Roger to the Black Man, a devil figure, foreshadows Rogers power not only over Dimmesdale, but also Hester herself. nbsp; Chillingworth taking on Dimmesdale as his patient for the next seven years is a parallel to the method of punishment the Puritans used at the time, namely with the scarlet letter. Both use a slow, indirect punishment to make the guilty punish themselves. As Chillingworth aids Dimmesdale with medicines, he also prods Dimmesdale to remind him of his crime. By dragging this process along, Chillingworth becomes a scarlet letter to Dimmesdale much in the way Pearl was to Hester. nbsp; When Hester meets with Roger again much later, he admits to hisShow MoreRelatedSpring Awakenings : Hester Prynne And Pearl, The Apprehensive Feminists Essay2317 Words   |  10 PagesSpring Awakenings: Hester Prynne and Pearl, The Apprehensive Feminists The Scarlet Letter, published in 1850, is one of Nathaniel Hawthorne’s most renowned novels. The matter of subject in the novel is revered almost 170 years after publication. Hawthorne walks his readers through the fate of Hester Prynne. He exhibits a woman who has been condemned by Puritan law to wear a scarlet A on her breast as a reflection of her punishment for adultery. Not only is Hester the protagonist of the novel, butRead MoreANALIZ TEXT INTERPRETATION AND ANALYSIS28843 Words   |  116 Pagesto provide essential clues that aid in characterization. Some characters are given names that suggest their dominant or controlling traits, as, for example, Edward Murdstone (in Dickens’ David Copperfield) and Roger Chillingsworth (in Hawthorne’s The Scarlet Letter). Both men are cold-hearted villains their names suggest. Other characters are given names that reinforce (or sometimes are in contrast to) their physical appearance, much in the way that Ichabod Crane, the gangling schoolmaster in Irving’s

Oneself Changes free essay sample

God image’ is the subjective emotional experience of God. It is shaped by our experience of our parents and enables us to continue earlier learned relational patterns. The term, God Image is used to refer to one’s internal, intra-psychic, emotional representation of God. The God Image develops during childhood as the children are confronted with their limitations, and recognizes powers beyond their own work in their environment. This essay will focus on the ‘God image’ as it will be trying to explain ‘how Rizzuto show that as the image of one changes, so too, does one’s image of God change’. Before that, this paper will start by briefing a history of Rizzuto. Ana Maria-Rizzuto was an American psychoanalyst who began her interest in looking at Religion through the eyes of her discipline in 1963 when she was asked to teach a course in the seminary on the psychological foundations of belief. She was inspired by Freud’s insights into the role of parents in search of project with patients admitted to a private psychiatric hospital. Twenty patience were studied, ten men and ten women. The goal of her project was to study the possible origins of the individual’s private representation of God and its subsequent elaborations. Rizzuto took her basic hypothesis from Freud who had connected the individual’s ‘father in flesh’ with God. Freud claimed that all people create their own gods on the basis of early relationships shaped in childhood. In doing his project, Rizzuto had each one fill out detailed questionnaire and then she interviewed each to gain a comprehensive life history. In order to understand her subjects thoroughly, Rizzuto asked them to talk about themselves at the different stages of their growth, about their relationships, conflicts and problems. Her end goal was to be able to make a complex assessment and come to a clinical interpretation of the quality of each subject’s relationships in those private and subjective areas of experience which do not lend themselves easily to statistical analysis (Graham13-5). Rizzuto focused on the formation of an individual’s private representation of God during childhood, its modifications and uses during the entire course of life. She calls this process of formation the â€Å"Birth of the Living God†. As the image of one change, so, too does the one’s image of God change. Rizzuto says that the images and experiences from the earliest years, before oedipal struggles, seem to play a key role. The child alone does not create a God. According to Rizzuto, the development of a child throws light on the way the image and the concept of God come into being and interact. The new born baby has no interpersonal experience. The infant has the experience of the mother, the father and the siblings. The child has a multitude of interpersonal experiences. It is at age of three when the child becomes consciously curious about God. â€Å"A three year old oedipal child, for instance, has great curiosity and wants to know the why of living† (208). The child is especially interested in the causes of things like, ‘why do trees move? Where does the wind come from? The child ceaseless chaining of causes or animistic notions of causality will inevitably lead her/him to think of a superior being. The idea of God suits a child well because her parents and adult are already in her mind superior beings of great size and power. The child easily moves to an anthropomorphic understanding of God as a powerful being like her parents†(Rizzuto qtd in Winnicott 97) The child soon discovers that God is invisible; therefore, he is left to inner resources to fill the image of God as a living being described for him as a person. The powerful fantasy of the child has to ‘create’ the powerful being. As a result, as the image of o ne change, so, too does the one’s image of God changes. Also, an image of God can be created for a new human being through parental and societal devotion to God as like its parents. The child observes its parents and adults giving devotion to God. Since the child’s parents are like God to the child, the parent’s devotion to someone even greater than themselves is a mystery to the child. The parents and God then become associated and not clearly distinguished. The parents as objects become internalized, form the self and become symbolized by God image (Rizzuto qtd in Nelson 35). Horowitz writes, Rizzuto claims that, it is not known what psychic processes take place inside the child at that early age or the selective procedures that bring him/her to use one type of interpersonal experience and reject nother to form his/her image of God. What is known is that, the child has an image of God which he/she spontaneously uses in his/her questioning about him and in his own religious behavior? This early image may, to be sure undergo changes in later life. â€Å"This does not alter the fact that the child has formed his image of God out of interpersonal ex periences before he is intellectually mature enough to grasp the concept of God†( Horowitz 63). When the time comes for the child to receive formal religious teaching, his image of God and the concept of God will also change just as the image of one change (64). Furthermore, Rizzuto acknowledges the idea of Winnicot who says that, when a child grows and matures, he/she will come to his intermediate area of experience, which constitutes the greater part of infant’s experience, and â€Å"throughout life is retained in the intense experiencing that belongs to the arts and to religion and to imaginative and to creative scientific work† (14). At this stage, â€Å"instead of God losing meaning, his meaning becomes heightened by the oedipal experience and all other pre-genital events that have contributed to the reelaboration of his representational characteristics† (Rizzuto 178). Sometimes, however he may seem to lose meaning, paradoxically, on account of being rejected, ignored, and suppressed or found temporarily unnecessary. Lawrence broadened the understanding of what influences the development of the God Image in line with the idea of Rizzuto. It is now more commonly recognized that other relationships and experiences also impact the development of the God Image. One may again ask that, â€Å"Does young people who have not received any kind of religious education in general develop images of God? † This question can be answered with the findings of Rizzuto. She claims that in a very early age every child begins to form its image of God through parental messages about God. The image of God gets a clearer shape when the child begins to create so called fantasy companions, which help the child till adolescence to master inner conflicts. Amongst others, the fantasy companions can take over the role of a scapegoat, which allows the child to repulse negative impulses or they can help the child to strengthen their feelings of omnipotence or they can become caring companions of the lonely, neglected or rejected child (Lawrence 119 and Winnicot 140). Moreover, Rizzuto claims that even if a child is to be brought up in a religious or unreligious way, he/she will create God as a fantasy companion, whose existence is formed from his/her personal experience with parents and what he/she will learn about God in the environment he/she grows up in. he goes on to say that, nothing can be predicted on how the child will use the information which he/she gets about God. This means that no general statements can be made about the childlike image about God and its further development. For some children God may become very meaningful, for others God might have an evil, destructive character and for some he might not be of any importance at all. Nevertheless, the bottom line is that the as the image of a child or one changes, so, too, does the child’s or one’s image changes (Winnicott 143). Rizzuto agrees that Freud was basically correct in suggesting that God has his origins in parental imagos and that God comes to the child at the time of resolution of the oedipal crisis. That implies that all the children in Western world form a God representation- one that may later be used, neglected, or actively repressed. In all cases the type of representation the child has formed as a result of his personal experience with his self-perception. This is not because the God representation can exert any influence of its own but because the child actively uses his God representation and his transformations of it as an element in maintaining a minimum sense of relatedness and hope. Sometimes this is best archived by totally rejecting God; at other times ‘closeness’ to God offers a better solution (208). To sum up, Rizzuto tries to show that as the image of one change, so, too does the one’s image of God change. He does that by focusing on the development of a child. He writes that, the child create God image through experience and fantasy. Freud believes that only the father provides the imago for an ‘exaltation’ to Godhead but Rizzuto would then argue saying that it is either the father or the mother or both who helps in the formation of the God’s image in the child which can also affects his/her ideas and images of God later in life. Other primary objects like grandparents siblings may also provide some representational components. The entire representational process occurs in a wider context of the family, social class, organized religion and particular subcultures. All these experiences contribute a background to the shape, significance, potential use and meaning which the child or adult may bestow on their God representations.

Critical Business Reflection Business Professionalism - Free Solutio

Question: Describe about the Critical Business Reflection for Business Professionalism. Answer: Reflection upon previous experiences is a vital aspect of professionalism, because it helps to develop good conflict resolution capabilities, good communication skills, and the ability to perform better in future. To look back on the team video project completed in week 8 of this semester, it has enabled the participating students to acquire a wide range of practical skills that are vital in the course and the profession. In this reflection paper, I will reflect upon my role in the video making process, and do a critical analysis of the general performance of the entire group. I will also reflect upon the team dynamics, and the possible way that the performance of the team can be improved next time, under similar conditions. In a general view, I would argue that the performance of our team was good generally but effective organization skills and delegation could have been improved for better performance. The beginning of this reflection will comment on the team dynamics. Then I will explore the communication style experienced in the project. I will then reflect on the role that I played in the video production process. Finally, the paper will suggest the possible improvements that can be executed in the future group video making projects. Our team consisted of five members and all the members were accorded different specific roles within the group video making project. Every member was assigned a role to play based on his or her skills and the move to balance work. This method of assigning work ensured that no one had to handle a role that he or she was not well familiar with, or given work beyond his or her capability. In the process, I played the role of a social communicator, researcher, and developer of socio-economic view third part. Reflecting upon my role as the social communicator, researcher, and developer of socio-economic view third part, I felt at the time that the position that was assigned to me entirely suits my profile and skills. I was satisfied with my role because it allowed me to apply my social skills and learn to work in a team. According to Johns and Largo (2008), positive results can be realized in a group project if the close relationship between the personalities of the team members, both in real life and the video making project (p. 10). The close relation ensures that each member is able to carry out their roles freely and to the best of their capability, an aspect that gave our group an upper hand in its activities. In the same spirit, the accordance of the most relevant role to me made me feel a major support from my work group, which motivated me to work energetically towards accomplishing the purpose of the group work (Nagy et al., 2010, p. 891). Through the interaction with my partners in the group project, I learnt to respect and to support the different points of view of my partners. I was also able to highlight and uphold the most important and relevant ideas from the different members of the group, thanks to the advanced social skills that I had, and the role that was closely related to my per sonality. The brainstorming sessions were sessions of fun, as we exchanged ideas for the development of the group video. It became one of the most useful methods to make the video, which every member of the team would feel that they are adequately involved in the project. At the same time, the method gave the advantage of having a variety of ideas, from the many participants, making the accuracy of the information obtained reliable (Griffin Moorhead, 2011, p. 33). The result of the project can be guaranteed that it is the product of the minds of all the members that are involved in the video making. Reflecting on the information acquired during this process of making the video, I now feel that this working process will help me in my future projects. In my case, the most challenging part of the role that was assigned to me was communicating and working effectively with the group in a clear and understandable manner. English is not our first language therefore, communication was very important. Communication helped us to understand each other and respect the opinion of each other. The mutual understanding and respecting the ideas of every member of the team helped to avoid misunderstandings (Hall Buzwell, 2012, p. 16). The other problem that was notable was difficulty with straight away communication because members were all working. To solve this problem, we created a WhatsApp group chat and a Google drive shared folder, where every member updated ideas, findings and corrections meetings. The third problem encountered was shy members. Two members of the group felt shy to speak in the video. All the group members encouraging them, and creating a private space to make the video rectified this problem. In this case, they would ease their fear and accomplished the goal of the team. Under some circumstances, I felt difficult to negotiate with other team members, who felt that they had their ideas and did not want to give up on them. It was sometimes difficult to conclude, since every had a different stance which they held to be the most appropriate for the video. I can generalize that communication and coming to a conclusion on a certain idea to incorporate in the video was the greatest challenge in th e project. In spite of all the difficulties that came about because of this feature, it gave me a chance to build my communication skills and confidence in the areas of conflict over the period of weeks that the group video production activity took place. Effective communication played a vital role in the process of making the team video project, and it is important to carry out a critical reflection on it at personal level. Kerzners research on teamwork and cooperation (2013) has indicated that effective communication in a team dynamic is vital (p. 15). In further research, it is stated that team member team members have to incorporate open dialogue and provide agendas that are clear (Cohen Lotan, 2014, p. 120). Fushino (2010) stated that it would help to ease the possibility of conflicts arising (p. 710). Reflecting on my method of communication, it is evident that I attempted to forego my ideas and take the ideas of others, but posed as a reasoned and clear communicator and thinker. For most sections of the project, our group exchanged ideas in a good manner and it would be evident that most of the results obtained came because of effective dialogue between the members of the group, working as closely bonded group, and clear under standing. To sum up, I appreciate that our team communicated effectively during the team video project, and this nature helped us in accomplishing the overall objective. Reflection provides an opportunity to correct issues that can hinder performance Braun et al., 2013, p. 1343). Richmond et al. (2012) stated that improving oneself involves the display of effective determination, persistence and courage (p. 20). Hence, reflecting upon the challenges that were involved with execution of the project, we can solve them through effective time management and delegation (Zwikael Unger-Aviram, 2010, p. 413). The conflicting work schedules, commitments and workloads made it seem difficult to delegate tasks to members. It was a great problem to our project in my view and upon reflection; we should have used an effective task allocation plan. Significant time can be saved when accomplishing tasks, if delegation is done correctly (Filippatou Kaldi, 2010, p. 20). We should have considered as well the weaknesses of the various members, but not only their strengths. Additionally, it is evident that we had a problem communicating straight since all the members were working. Reflecting back, we had disputes with arriving for meetings at the same time because all members stuck to their work schedules, and we did not make an alternative group schedule that would cater for the convenience of all members. The problem affected me, as well as the other members of the team. To reflect on this challenge, there is an indication that every member needs to be committed to acting as an agent of change in the team (Perc et al., 2013, p. 20). After experiencing these shortcomings and critically reflecting upon the problems that we faced, it is evident that our team should have a more realistic schedule to take care of our varying work schedules, effectively identifying the weaknesses of the various group members to provide a favorable environment for them, and to establish an effective communication media. If the problems mentioned above were addressed properly, we would have achieved our team objective in adequate time. The experience from the execution of this team video project has equipped me with valuable information on carrying on such projects. If I have to do a similar project in future, I will carry out adequate planning and allocation of adequate time to the various sections of the project. I will also consider the special weaknesses of individual members and provide a suitable environment for them to participate adequately. In conclusion, reflecting upon the role that I played in the process of making the team video project week 8, I can hold that I have confronted a lot, learned a lot, and experienced a lot. On the other hand, commenting on the team dynamics and the literature that was used in this semester learning, I would argue that I have learned and created a new set of understanding and knowledge, which I would use in my future projects and coursework. Additionally, carrying out this critical reflection was very important. The process of carrying out such observation assists in developing both the performance of the individual and enhances the information available in the field. Bibliography Braun, U.K., Gill, A.C., Teal, C.R. and Morrison, L.J. (2013). The utility of reflective writing after a palliative care experience: can we assess medical students' professionalism?. Journal of palliative medicine, 16(11), pp.1342-1349. Cohen, E.G. and Lotan, R.A. (2014). Designing Groupwork: Strategies for the Heterogeneous Classroom Third Edition. Teachers College Press. Filippatou, D. and Kaldi, S. (2010). The Effectiveness of Project-Based Learning on Pupils with Learning Difficulties Regarding Academic Performance, Group Work and Motivation. International journal of special education, 25(1), pp.17-26. Fushino, K. (2010). Causal relationships between communication confidence, beliefs about group work, and willingness to communicate in foreign language group work. TESOL quarterly, pp.700-724. Griffin, R.W. and Moorhead, G. (2011). Organizational behavior. Nelson Education. Hall, D. and Buzwell, S. (2012). The problem of free-riding in group projects: Looking beyond social loafing as reason for non-contribution. Active Learning in Higher Education, p.14-. Johns, M. Largo, E. (2008). Sensing of Change management: Rulemaking for the 21st Century, Swan Page, London. Kerzner, H.R. (2013). Project management: a systems approach to planning, scheduling, and controlling. John Wiley Sons. Nagy, M., Akos, Z., Biro, D. and Vicsek, T. (2010). Hierarchical group dynamics in pigeon flocks. Nature, 464(7290), pp.890-893. Perc, M., Gmez-Gardees, J., Szolnoki, A., Flora, L.M. and Moreno, Y. (2013). Evolutionary dynamics of group interactions on structured populations: a review. Journal of The Royal Society Interface, 10(80), p.20. Richmond, V.P., McCroskey, J.C. and Powell, L. (2012). Organizational communication for survival. Pearson Higher Ed. Zwikael, O. and Unger-Aviram, E. (2010). HRM in project groups: The effect of project duration on team development effectiveness. International Journal of Project Management, 28(5), pp.413-421.

The Sun Also Rises Hemingways Depiction Of The Traditional Hero The H

The Sun Also Rises: Hemingway's depiction of the traditional hero The Hemingway Hero Prevalent among many of Ernest Hemingway's novels is the concept popularly known as the ?Hemingway hero?, an ideal character readily accepted by American readers as a ?man's man?. In The Sun Also Rises, four different men are compared and contrasted as they engage in some form of relationship with Lady Brett Ashley, a near-nymphomaniac Englishwoman who indulges in her passion for sex and control. Brett plans to marry her fiancee for superficial reasons, completely ruins one man emotionally and spiritually, separates from another to preserve the idea of their short-lived affair and to avoid self-destruction, and denies and disgraces the only man whom she loves most dearly. All her relationships occur in a period of months, as Brett either accepts or rejects certain values or traits of each man. Brett, as a dynamic and self-controlled woman, and her four love interests help demonstrate Hemingway's standard definition of a man and/or masculinity. Each man Brett has a relationship with in the novel possesses distinct qualities that enable Hemingway to explore what it is to truly be a man. The Hemingway man thus presented is a man of action, of self-discipline and self-reliance, and of strength and courage to confront all weaknesses, fears, failures, and even death. Jake Barnes, as the narrator and supposed hero of the novel, fell in love with Brett some years ago and is still powerfully and uncontrollably in love with her. However, Jake is unfortunately a casualty of the war, having been emasculated in a freak accident. Still adjusting to his impotence at the beginning of the novel, Jake has lost all power and desire to have sex. Because of this, Jake and Brett cannot be lovers and all attempts at a relationship that is sexually fulfilling are simply futile. Brett is a passionate, lustful woman who is driven by the most intimate and loving act two may share, something that Jake just cannot provide her with. Jake's emasculation only puts the two in a grandly ironic situation. Brett is an extremely passionate woman but is denied the first man she feels true love and admiration for. Jake has loved Brett for years and cannot have her because of his inability to have sex. It is obvious that their love is mutual when Jake tries to kiss Brett in their cab ride home: You mustn't. You must know. I can't stand it, that's all. Oh darling, please understand!', ?Don't you love me?', ?Love you? I simply turn all to jelly when you touch me'? (26, Ch. 4). This scene is indicative of their relationship as Jake and Brett hopelessly desire each other but realize the futility of further endeavors. Together, they have both tried to defy reality, but failed. Jake is frustrated by Brett's reappearance into his life and her confession that she is miserably unhappy. Jake asks Brett to go off with him to the country for bit: Couldn't we go off in the country for a while?', ?I t wouldn't be any good. I'll go if you like. But I couldn't live quietly in the country. Not with my own true love', ?I know', ?Isn't it rotten? There isn't any use my telling you I love you', ?You know I love you', ?Let's not talk. Talking's all bilge'? (55, Ch. 7). Brett declines Jake's pointless attempt at being together. Both Brett and Jake know that any relationship beyond a friendship cannot be pursued. Jake is still adjusting to his impotence while Brett will not sacrifice a sexual relationship for the man she loves. Since Jake can never be Brett's lover, they are forced to create a new relationship for themselves, perhaps one far more dangerous than that of mere lovers - they have become best friends. This presents a great difficulty for Jake, because Brett's presence is both pleasurable and agonizing for him. Brett constantly reminds him of his handicap and thus Jake is challenged as a man in the deepest, most personal sense possible. After the departure of their first meeting, Jake feels miserable: ?This was Brett, that I had felt like crying about. Then I thought of her walking up the street The Sun Also Rises Hemingways Depiction Of The Traditional Hero The H The Sun Also Rises: Hemingway's depiction of the traditional hero The Hemingway Hero Prevalent among many of Ernest Hemingway's novels is the concept popularly known as the ?Hemingway hero?, an ideal character readily accepted by American readers as a ?man's man?. In The Sun Also Rises, four different men are compared and contrasted as they engage in some form of relationship with Lady Brett Ashley, a near-nymphomaniac Englishwoman who indulges in her passion for sex and control. Brett plans to marry her fiancee for superficial reasons, completely ruins one man emotionally and spiritually, separates from another to preserve the idea of their short-lived affair and to avoid self-destruction, and denies and disgraces the only man whom she loves most dearly. All her relationships occur in a period of months, as Brett either accepts or rejects certain values or traits of each man. Brett, as a dynamic and self-controlled woman, and her four love interests help demonstrate Hemingway's standard definition of a man and/or masculinity. Each man Brett has a relationship with in the novel possesses distinct qualities that enable Hemingway to explore what it is to truly be a man. The Hemingway man thus presented is a man of action, of self-discipline and self-reliance, and of strength and courage to confront all weaknesses, fears, failures, and even death. Jake Barnes, as the narrator and supposed hero of the novel, fell in love with Brett some years ago and is still powerfully and uncontrollably in love with her. However, Jake is unfortunately a casualty of the war, having been emasculated in a freak accident. Still adjusting to his impotence at the beginning of the novel, Jake has lost all power and desire to have sex. Because of this, Jake and Brett cannot be lovers and all attempts at a relationship that is sexually fulfilling are simply futile. Brett is a passionate, lustful woman who is driven by the most intimate and loving act two may share, something that Jake just cannot provide her with. Jake's emasculation only puts the two in a grandly ironic situation. Brett is an extremely passionate woman but is denied the first man she feels true love and admiration for. Jake has loved Brett for years and cannot have her because of his inability to have sex. It is obvious that their love is mutual when Jake tries to kiss Brett in their cab ride home: You mustn't. You must know. I can't stand it, that's all. Oh darling, please understand!', ?Don't you love me?', ?Love you? I simply turn all to jelly when you touch me'? (26, Ch. 4). This scene is indicative of their relationship as Jake and Brett hopelessly desire each other but realize the futility of further endeavors. Together, they have both tried to defy reality, but failed. Jake is frustrated by Brett's reappearance into his life and her confession that she is miserably unhappy. Jake asks Brett to go off with him to the country for bit: Couldn't we go off in the country for a while?', ?I t wouldn't be any good. I'll go if you like. But I couldn't live quietly in the country. Not with my own true love', ?I know', ?Isn't it rotten? There isn't any use my telling you I love you', ?You know I love you', ?Let's not talk. Talking's all bilge'? (55, Ch. 7). Brett declines Jake's pointless attempt at being together. Both Brett and Jake know that any relationship beyond a friendship cannot be pursued. Jake is still adjusting to his impotence while Brett will not sacrifice a sexual relationship for the man she loves. Since Jake can never be Brett's lover, they are forced to create a new relationship for themselves, perhaps one far more dangerous than that of mere lovers - they have become best friends. This presents a great difficulty for Jake, because Brett's presence is both pleasurable and agonizing for him. Brett constantly reminds him of his handicap and thus Jake is challenged as a man in the deepest, most personal sense possible. After the departure of their first meeting, Jake feels miserable: ?This was Brett, that I had felt like crying about. Then I thought of her walking up the street

Sample Descriptive Essay Topics

Sample Descriptive Essay TopicsSample descriptive essay topics are almost always a given. And, what better way to find sample topics for your essays than to research the writing requirements of employers who hire students? The search is often made on your college or university's information web site, but what about your local job centers?Employers always ask for sample essays from your English composition course. You will find that there are often hundreds of these programs offered by colleges and universities throughout the country. And, you have probably heard that you should write your own application essay so you will want to find sample descriptions to use for your essay topic.You can usually find the answers to your questions at individual websites or schools. If you do not find your topic at one of these sources, you should consider looking for one through your local newspaper. Most papers have job listings posted at various times throughout the year, so this may be a good tim e to look.One good thing about searching your local paper is that the writers there have to give you an answer because you are paying them to read and write the news. So, you will find a lot of them are willing to help you find something to use as a sample. And, you might just get lucky enough to find something that they have never used before and it may be something that will work well for your class project.You might also want to look in your local library as many college newspapers are still run by the traditional print media. In fact, some library personnel may even know of an English college student who will have ideas for sample writing on hand. And, you might find a few sample essays they use for their own classes.If you are unable to find anything on any of these sources, you may also want to look online for sample descriptive essay topics. Many college or university web sites will have a section for student feedback which can provide you with sample descriptions as well.Whe n you are preparing for your college essay, it can be helpful to look around to see what other students are doing in terms of their own writing assignments. What might seem like a pretty simple task of writing your own is actually a complex process when you have nothing to compare it to. So, it can be helpful to consider using samples as reference.I recommend that you look for a quality sample first and to also find out if the sample is something that has been used before in the form of an essay. In other words, don't settle for the first sample you find, but also don't get disappointed when you find out that it does not work well for your class project. Use the Internet as well to find the best samples to use in your writing.

Architecture Timeline of Important Historic Periods

Architecture Timeline of Important Historic Periods When did Western architecture begin? Long before the magnificent structures of ancient Greece and Rome, humans were designing and constructing. The period known as the Classical Era grew from ideas and construction techniques that evolved centuries and eons apart in distant locations. This review illustrates how each new movement builds on the one before. Although our timeline lists dates related mostly to American architecture, historic periods do not start and stop at precise points on a map or a calendar. Periods and styles flow together, sometimes merging contradictory ideas, sometimes inventing new approaches, and often re-awakening and re-inventing older movements. Dates are always approximate - architecture is a fluid art. 11,600 B.C. to 3,500 B.C. - Prehistoric Times Stonehenge in Amesbury, United Kingdom. Jason Hawkes/Getty Images Archaeologists dig prehistory. Gà ¶bekli Tepe in present day Turkey is a good example of archaeological architecture. Before recorded history, humans constructed earthen mounds, stone circles, megaliths, and structures that often puzzle modern-day archaeologists. Prehistoric architecture includes monumental structures such as Stonehenge, cliff dwellings in the Americas, and thatch and mud structures lost to time. The dawn of architecture is found in these structures. Prehistoric builders moved earth and stone into geometric forms, creating our earliest human-made formations. We dont know why primitive people began building geometric structures. Archaeologists can only guess that prehistoric people looked to the heavens to imitate the sun and the moon, using that circular shape in their creations of earth mounds and monolithic henges. Many fine examples of well-preserved prehistoric architecture are found in southern England. Stonehenge in Amesbury, United Kingdom is a well-known example of the prehistoric stone circle. Nearby Silbury Hill, also in Wiltshire, is the largest man-made, prehistoric earthen mound in Europe. At 30 meters high and 160 meters wide, the gravel mound is layers of soil, mud, and grass, with dug pits and tunnels of chalk and clay. Completed in the late Neolithic period, approximately 2,400 BC, its architects were a Neolithic civilization in Britain. The prehistoric sites in southern Britain (Stonehenge, Avebury, and associated sites) are collectively a UNESCO World Heritage Site. The design, position, and inter-relationship of the monuments and sites, according to UNESCO, are evidence of a wealthy and highly organized prehistoric society able to impose its concepts on the environment. To some, the ability to change the environment is key for a structure to be called architecture. Prehistoric structures are sometimes considered the birth of architecture. If nothing else, primitive structures certainly raise the question, what is architecture? Why does the circle dominate mans earliest architecture? It is the shape of the sun and the moon, the first shape humans realized to be significant to their lives. The duo of architecture and geometry goes way back in time and may be the source of what humans find beautiful even today. 3,050 B.C. to 900 B.C. - Ancient Egypt The Pyramid of Khafre (Chephren) in Giza, Egypt. Lansbricae (Luis Leclere)/Getty Images (cropped) In ancient Egypt, powerful rulers constructed monumental pyramids, temples, and shrines. Far from primitive, enormous structures such as the Pyramids of Giza were feats of engineering capable of reaching great heights. Scholars have delineated the periods of history in ancient Egypt. Wood was not widely available in the arid Egyptian landscape. Houses in ancient Egypt were made with blocks of sun-baked mud. Flooding of the Nile River and the ravages of time destroyed most of these ancient homes. Much of what we know about ancient Egypt is based on great temples and tombs, which were made with granite and limestone and decorated with hieroglyphics, carvings, and brightly colored frescoes. The ancient Egyptians didnt use mortar, so the stones were carefully cut to fit together. The pyramid form was a marvel of engineering that allowed ancient Egyptians to build enormous structures. The development of the pyramid form allowed Egyptians to build enormous tombs for their kings. The sloping walls could reach great heights because their weight was supported by the wide pyramid base. An innovative Egyptian named Imhotep is said to have designed one of the earliest of the massive stone monuments, the Step Pyramid of Djoser (2,667 B.C. to 2,648 B.C.). Builders in ancient Egypt didnt use load-bearing arches. Instead, columns were placed close together to support the heavy stone entablature above. Brightly painted and elaborately carved, the columns often mimicked palms, papyrus plants, and other plant forms. Over the centuries, at least thirty distinct column styles evolved. As the Roman Empire occupied these lands, both Persian and Egyptian columns have influenced Western architecture. Archaeological discoveries in Egypt reawakened an interest in the ancient temples and monuments. Egyptian Revival architecture became fashionable during the 1800s. In the early 1900s, the discovery of King Tuts tomb stirred a fascination for Egyptian artifacts and the rise of Art Deco architecture. 850 B.C. to A.D. 476 - Classical The Pantheon, A.D. 126, Rome, Italy. Werner Forman Archive/Heritage Images/Getty Images (cropped) Classical architecture refers to the style and design of buildings in ancient Greece and ancient Rome. Classical architecture shaped our approach to building in Western colonies around the world. From the rise of ancient Greece until the fall of the Roman empire, great buildings were constructed according to precise rules. The Roman architect Marcus Vitruvius, who lived during first century B.C., believed that builders should use mathematical principles when constructing temples. For without symmetry and proportion no temple can have a regular plan, Vitruvius wrote in his famous treatise De Architectura, or Ten Books on Architecture. In his writings, Vitruvius introduced the Classical orders, which defined column styles and entablature designs used in Classical architecture. The earliest Classical orders were Doric, Ionic, and Corinthian. Although we combine this architectural era and call it Classical, historians have described these three Classical periods: 700 to 323 B.C. - Greek. The Doric column was first developed in Greece and it was used for great temples, including the famous Parthenon in Athens. Simple Ionic columns were used for smaller temples and building interiors. 323 to 146 B.C. - Hellenistic. When Greece was at the height of its power in Europe and Asia, the empire built elaborate temples and secular buildings with Ionic and Corinthian columns. The Hellenistic period ended with conquests by the Roman Empire. 44 B.C. to A.D. 476 - Roman. The Romans borrowed heavily from the earlier Greek and Hellenistic styles, but their buildings were more highly ornamented. They used Corinthian and composite style columns along with decorative brackets. The invention of concrete allowed the Romans to build arches, vaults, and domes. Famous examples of Roman architecture include the Roman Colosseum and the Pantheon in Rome. Much of this ancient architecture is in ruins or partially rebuilt. Virtual reality programs like Romereborn.org attempt to digitally recreate the environment of this important civilization. 527 to 565 - Byzantine Church of Hagia Eirene in the First Courtyard of the TopkapÄ ± Palace, Istanbul, Turkey. Salvator Barki/Getty Images (cropped) After Constantine moved the capital of the Roman empire to Byzantium (now called Istanbul in Turkey) in A.D. 330, Roman architecture evolved into a graceful, classically-inspired style that used brick instead of stone, domed roofs, elaborate mosaics, and classical forms. Emperor Justinian (527 to 565) led the way. Eastern and Western traditions combined in the sacred buildings of the Byzantine period. Buildings were designed with a central dome that eventually rose to new heights by using engineering practices refined in the Middle East. This era of architectural history was transitional and  transformational. 800 to 1200 - Romanesque Romanesque Architecture of the Basilica of St. Sernin (1070-1120) in Toulouse, France. Anger O./AgenceImages courtesy Getty Images As Rome spread across Europe, heavier, stocky Romanesque architecture with rounded arches emerged. Churches and castles of the early Medieval period were constructed with thick walls and heavy piers. Even as the Roman Empire faded, Roman ideas reached far across Europe. Built between 1070 and 1120, the  Basilica of St. Sernin in Toulouse, France is a good example of this transitional architecture, with a Byzantine-domed apse and an added Gothic-like steeple. The floor plan is that of the Latin cross, Gothic-like again, with a high alter and tower at the cross intersection. Constructed of stone and brick, St. Sernin is on the pilgrimage route to Santiago de Compostela. 1100 to 1450 - Gothic The Gothic Cathedral of Notre Dame de Chartres, France. Alessandro Vannini/Getty Images (cropped) Early in the 12th century, new ways of building meant that cathedrals and other large buildings could soar to new heights. Gothic architecture became characterized by the elements that supported taller, more graceful architecture - innovations such as pointed arches, flying buttresses, and ribbed vaulting. In addition, elaborate stained glass could take the place of walls that no longer were used to support high ceilings. Gargoyles and other sculpting enabled practical and decorative functions. Many of the worlds most well-known sacred places are from this period in architectural history, including Chartres Cathedral and Paris Notre Dame Cathedral in France and Dublins St. Patricks Cathedral and Adare Friary in Ireland. Gothic architecture began mainly in France where builders began to adapt the earlier Romanesque style. Builders were also influenced by the pointed arches and elaborate stonework of Moorish architecture in Spain. One of the earliest Gothic buildings was the ambulatory of the abbey of St. Denis in France, built between 1140 and 1144. Originally, Gothic architecture was known as the French Style. During the Renaissance, after the French Style had fallen out of fashion, artisans mocked it. They coined the word Gothic to suggest that French Style buildings were the crude work of German (Goth) barbarians. Although the label wasnt accurate, the name Gothic remained. While builders were creating the great Gothic cathedrals of Europe, painters and sculptors in northern Italy were breaking away from rigid medieval styles and laying the foundation for the Renaissance. Art historians call the period between 1200 to 1400 the Early Renaissance or the Proto-Renaissance of art history. Fascination for medieval Gothic architecture was reawakened in the 19th and 20th centuries. Architects in Europe and the United States designed great buildings and private homes that imitated the cathedrals of medieval Europe. If a building looks Gothic and has Gothic elements and characteristics, but it was built in the 1800s or later, its style is Gothic Revival. 1400 to 1600 - Renaissance Villa Rotonda (Villa Almerico-Capra), near Venice, Italy, 1566-1590, Andrea Palladio. Massimo Maria Canevarolo via Wikimedia Commons, Creative Commons Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0) A return to Classical ideas ushered an age of awakening in Italy, France, and England. During the Renaissance era architects and builders were inspired by the carefully proportioned buildings of ancient Greece and Rome.  Italian Renaissance master Andrea Palladio helped awaken a passion for classical architecture when he designed beautiful, highly symmetrical villas such as Villa Rotonda near Venice, Italy. More than 1,500 years after the Roman architect Vitruvius wrote his important book, the Renaissance architect Giacomo da Vignola outlined Vitruviuss ideas. Published in 1563, Vignolas The Five Orders of Architecture became a guide for builders throughout western Europe. In 1570 Andrea Palladio used the new technology of movable type to publish I Quattro Libri dell Architettura, or The Four Books of Architecture. In this book, Palladio showed how Classical rules could be used not just for grand temples but also for private villas. Palladios ideas did not imitate the Classical order of architecture but his designs were in the manner of ancient designs. The work of the Renaissance masters spread across Europe, and long after the era ended, architects in the Western world would find inspiration in the beautifully proportioned architecture of the period. In the United States its descendant designs have been called neoclassical. 1600 to 1830 - Baroque The Baroque Palace of Versailles in France. Loop Images Tiara Anggamulia/Getty Images (cropped) Early in the 1600s, an elaborate new architectural style lavished buildings. What became known as Baroque was characterized by complex shapes, extravagant ornaments, opulent paintings, and bold contrasts. In Italy, the Baroque style is reflected in opulent and dramatic churches with irregular shapes and extravagant ornamentation. In France, the highly ornamented Baroque style combines with Classical restraint. Russian aristocrats were impressed by the Palace of Versailles, France and incorporated Baroque ideas in the building of St. Petersburg. Elements of the elaborate Baroque style are found throughout Europe. Architecture was only one expression of the Baroque style. In music, famous names included Bach, Handel, and Vivaldi. In the art world, Caravaggio, Bernini, Rubens, Rembrandt, Vermeer, and Velzquez are remembered. Famous inventors and scientists of the day include Blaise Pascal and Isaac Newton. 1650 to 1790 - Rococo Catherine Palace Near Saint Petersburg, Russia. Saravut Eksuwan/Getty Images During the last phase of the Baroque period, builders constructed graceful white buildings with sweeping curves. Rococo art and architecture is characterized by elegant decorative designs with scrolls, vines, shell-shapes, and delicate geometric patterns. Rococo architects applied Baroque ideas with a lighter, more graceful touch. In fact, some historians suggest that Rococo is simply a later phase of the Baroque period. Architects of this period include the great Bavarian stucco masters like Dominikus Zimmermann, whose  1750 Pilgrimage Church of Wies is a UNESCO World Heritage site. 1730 to 1925 - Neoclassicism The U.S. Capitol in Washington, D.C. Architect of the Capitol By the 1700s, European architects were turning away from elaborate Baroque and Rococo styles in favor of restrained Neoclassical approaches. Orderly, symmetrical Neoclassical architecture reflected the intellectual awakening among the middle and upper classes in Europe during the period historians often call the Enlightenment. Ornate Baroque and Rococo styles fell out of favor as architects for a growing middle class reacted to and rejected the opulence of the ruling class. French and American revolutions returned design to Classical ideals  - including equality and democracy - emblematic of the civilizations of ancient Greece and Rome. A keen interest in ideas of Renaissance architect Andrea Palladio inspired a return of Classical shapes in Europe, Great Britain, and the United States. These buildings were proportioned according to the classical orders with details borrowed from ancient Greece and Rome. In the late 1700s and early 1800s, the newly-formed United States drew upon Classical ideals to construct grand government buildings and an array of smaller, private homes. 1890 to 1914 - Art Nouveau The 1910 Hà ´tel Lutetia in Paris, France. Justin Lorget/chesnot/Corbis via Getty Images Known as the New Style in France, Art Nouveau was first expressed in fabrics and graphic design. The style spread to architecture and furniture in the 1890s as a revolt against industrialization turned peoples attention to the natural forms and personal craftsmanship of the Arts and Crafts Movement. Art Nouveau buildings often have asymmetrical shapes, arches, and decorative Japanese-like surfaces with curved, plant-like designs and mosaics. The period is often confused with Art Deco, which has an entirely different visual look and philosophical origin. Note that the name Art Nouveau is French, but the philosophy  - to some extent spread by the ideas of William Morris and the writings of John Ruskin - gave rise to similar movements throughout Europe. In Germany it was called Jugendstil; in Austria it was Sezessionsstil; in Spain it was Modernismo, which predicts or event begins the modern era. The works of Spanish architect Antoni Gaudà ­ (1852-1926) are said to be influenced by Art Nouveau or Modernismo, and Gaudi is often called one of the first modernist architects. 1895 to 1925 - Beaux Arts The Paris Opera by Beaux Arts Architect Charles Garnier. Francisco Andrade/Getty Images (cropped) Also known as Beaux Arts Classicism, Academic Classicism, or Classical Revival, Beaux Arts architecture is characterized by order, symmetry, formal design, grandiosity, and elaborate ornamentation. Combining classical Greek and Roman architecture with Renaissance ideas, Beaux Arts architecture was a favored style for grand public buildings and opulent mansions. 1905 to 1930 - Neo-Gothic The Neo-Gothic 1924 Tribune Tower in Chicago. Glowimage/Getty Images (cropped) In the early 20th century, medieval Gothic ideas were applied to modern buildings, both private homes and the new type of architecture called skyscrapers. Gothic Revival was a Victorian style inspired by Gothic cathedrals and other medieval architecture.  Gothic Revival home design began in the United Kingdom in the 1700s when Sir Horace Walpole decided to remodel his home, Strawberry Hill. In the early 20th century, Gothic Revival ideas were applied to modern skyscrapers, which are often called Neo-Gothic. Neo-Gothic skyscrapers often have strong vertical lines and a sense of great height; arched and pointed windows with decorative tracery; gargoyles and other medieval carvings; and pinnacles. The 1924 Chicago Tribune Tower is a good example of Neo-Gothic architecture. The architects Raymond Hood and John Howells were selected over many other architects to design the building. Their Neo-Gothic design may have appealed to the judges because it reflected a conservative (some critics said regressive) approach. The facade of the Tribune Tower is studded with rocks collected from great buildings around the world. Other Neo-Gothic buildings include the Cass Gilbert design for the Woolworth Building in New York City. 1925 to 1937 - Art Deco The Art Deco Chrysler Building in New York City. CreativeDream/Getty Images With their sleek forms and ziggurat designs, Art Deco architecture embraced both the machine age and ancient times. Zigzag patterns and vertical lines create dramatic effect on jazz-age, Art Deco buildings. Interestingly, many Art Deco motifs were inspired by the architecture of ancient Egypt. The Art Deco style evolved from many sources. The austere shapes of the modernist Bauhaus School and streamlined styling of modern technology combined with patterns and icons taken from the Far East, classical Greece and Rome, Africa, ancient Egypt and the Middle East, India, and Mayan and Aztec cultures. Art Deco buildings have many of these features: cubic forms; ziggurat, terraced pyramid shapes with each story smaller than the one below it; complex groupings of rectangles or trapezoids; bands of color; zigzag designs like lightening bolts; strong sense of line; and the illusion of pillars. By the 1930s, Art Deco evolved into a more simplified style known as Streamlined Moderne, or Art Moderne. The emphasis was on sleek, curving forms and long horizontal lines. These buildings did not feature zigzag or colorful designs found on earlier Art Deco architecture. Some of the most famous art deco buildings have become tourist destinations in New York City - the Empire State Building and Radio City Music Hall may be the most famous. The 1930 Chrysler Building in New York City was one of the first buildings composed of stainless steel over a large exposed surface. The architect, William Van Alen, drew inspiration from machine technology for the ornamental details on the Chrysler Building: There are eagle hood ornaments, hubcaps, and abstract images of cars. 1900 to Present - Modernist Styles De La Warr Pavilion, 1935, Bexhill on Sea, East Sussex, United Kingdom. Peter Thompson Heritage Images/Getty Images The 20th and 21st centuries have seen dramatic changes and astonishing diversity. Modernist styles have come and gone  - and continue to evolve. Modern-day trends include Art Moderne and the Bauhaus school coined by Walter Gropius, Deconstructivism, Formalism, Brutalism, and Structuralism. Modernism is not just another style  - it presents a new way of thinking. Modernist architecture emphasizes function. It attempts to provide for specific needs rather than imitate nature. The roots of Modernism may be found in the work of Berthold Luberkin (1901-1990), a Russian architect who settled in London and founded a group called Tecton. The Tecton architects believed in applying scientific, analytical methods to design. Their stark buildings ran counter to expectations and often seemed to defy gravity. The expressionistic work of the Polish-born German architect Erich Mendelsohn (1887-1953) also furthered the modernist movement. Mendelsohn and Russian-born English architect Serge Chermayeff (1900-1996) won the competition to design the De La Warr Pavilion in Britain. The 1935 seaside public hall has been called Streamline Moderne and International, but it most certainly is one of the first modernist buildings to be constructed and restored, maintaining its original beauty over the years. Modernist architecture can express a number of stylistic ideas, including Expressionism and Structuralism. In the later decades of the twentieth century, designers rebelled against the rational Modernism and a variety of Postmodern styles evolved. Modernist architecture generally has little or no ornamentation and is prefabricated or has factory-made parts. The design emphasizes function and the man-made construction materials are usually glass, metal, and concrete. Philosophically, modern architects rebel against traditional styles. For examples of Modernism in architecture, see works by Rem Koolhaas, I.M. Pei, Le Corbusier, Philip Johnson, and Mies van der Rohe. 1972 to Present - Postmodernism Postmodern Architecture at 220 Celebration Place, Celebration, Florida. Jackie Craven A reaction against the Modernist approaches gave rise to new buildings that re-invented historical details and familiar motifs. Look closely at these architectural movements and you are likely to find ideas that date back to classical and ancient times. Postmodern architecture evolved from the modernist movement, yet contradicts many of the modernist ideas. Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse. Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer. Philip Johnsons ATT Headquarters is often cited as an example of postmodernism. Like many buildings in the International Style, the skyscraper has a sleek, classical facade. At the top, however, is an oversized Chippendale pediment. Johnsons design for the Town Hall in Celebration, Florida is also playfully over-the-top with columns in front of a public building. Well-known postmodern architects include Robert Venturi and Denise Scott Brown; Michael Graves; and the playful Philip Johnson, known for making fun of Modernism. The key ideas of Postmodernism are set forth in two important books by Robert Venturi. In his groundbreaking 1966 book, Complexity and Contradiction in Architecture, Venturi challenged modernism and celebrated the mix of historic styles in great cities such as Rome. Learning from Las Vegas, subtitled The Forgotten Symbolism of Architectural Form, became a postmodernist classic when Venturi called the vulgar billboards of the Vegas Strip emblems for a new architecture. Published in 1972, the book was written by Robert Venturi, Steven Izenour, and Denise Scott Brown. 1997 to Present - Neo-Modernism and Parametricism Zaha Hadids Heydar Aliyev Centre, 2012, Baku, Azerbaijan. Christopher Lee/Getty Images Throughout history, home designs have been influenced by the architecture du jour. In the not far off future, as computer costs come down and construction companies change their methods, homeowners and builders will be able to create fantastic designs. Some call todays architecture Neo-Modernism. Some call it Parametricism, but the name for computer-driven design is up for grabs. How did Neo-Modernism begin? Perhaps with Frank Gehrys sculpted designs, especially the success of the 1997 Guggenheim Museum in Bilbao, Spain. Maybe it began with architects who experimented with Binary Large Objects - BLOB architecture. But you might say that free-form design dates back to prehistoric times. Just look at Moshe Safdies 2011 Marina Bay Sands Resort in Singapore: It looks just like Stonehenge. Prehistoric Stonehenge (left) and Moshe Safdies 2011 Marina Bay Sands Resort in Singapore (right). Left: Grant Faint / Right: photo by william cho Sources History and Research: Silbury Hill, English Heritage Foundation, english-heritage.org.uk/daysout/properties/silbury-hill/history-and-research/; Stonehenge, Avebury and Associated Sites, UNESCO World Heritage Centre, United Nations, http://whc.unesco.org/en/list/373 Additional photo credits: Tribune Tower, Jon Arnold/Getty Images; Stonehenge / Marina Bay Sands Resort, Images (cropped) by Archive Photos/Archive Photos Collection/Getty Images (left) and AT Photography/Moment Collection/Getty Images (right)