Spiritual Journeys: Dante And St Augustine

Spiritual Journeys: Dante And St Augustine The individual spiritual journeys of Dante in the Divine Comedy and St. Augustine in the Confessions are quite similar, as each man searches for divine love and grace, and true eternal closeness to God. Both Dante and St. Augustine admired and were heavily influenced by Virgil, the classical Roman poet of the Aeneid, in their writing and works; however, because of their strong Christian faith, Dante and Augustine also make it clear in their autobiographical accounts that Virgils pagan beliefs cannot receive salvation, or allow the soul to enter heaven after death. Dantes journey begins with the poet being portrayed as spiritually lost in sin, in the darkness of woods, when a guide is sent to him in the form of the ancient Roman poet Virgil, who represents human reason and wisdom. Virgil tells Dante that the only way out of the darkness is for Virgil to lead him through Hell and Purgatory, in order for Dante to recognize the nature of sin and the consequences of his actions. Once Virgil has guided Dante to the top of Mount Purgatory, where the renunciation and rejection of sin occurs, Virgil tells the Pilgrim that he can no longer accompany him on his final journey to Heaven, because human reason cannot reach the ultimate height of Paradise. Dante is lead instead to Heaven by his beloved Beatrice, who is now living as one of the blessed in the afterlife, and who also symbolizes divine love. Much like Dante, St. Augustines journey also begins with his confessions as being spiritually lost, especially in his earlier years as a sinful youth, turning away from God, and preoccupied with only worldly desires and needs of the flesh. St. Augustine implores in Book VI of his Confessions, Thou hadst made me wiser, yet did I walk in darkness, and in slippery places, and sought Thee abroad out of myself, found not the God of my heart; and had come into the depths of the sea, and distrusted and despaired of ever finding truth (Augustine 94). Here St. Augustine talks about the darkness he walked in during his early life, very similar to Dantes struggle and despair in his own dark woods of sin, where Virgil finds him in the beginning of the Inferno. St. Augustine describes his spiritual void and emptiness further, stating, And I perceived myself to be far off from Thee [God], in the region of unlikeness (134). In this declaration, St. Augustine is associating his many sins with a regi on of unlikeness, which causes him to wander aimlessly without direction or purpose, becoming hopelessly lost. Whereas Dantes descent into Hell in the Inferno is both dramatically real and an allegorical representation of his souls journey towards God, St. Augustines Confessions represents a metaphorical rather than physical journey of the soul, as Augustine searches for divine truth and grace. However, both men view this spiritual descent as necessary in order for the human soul to attain ultimate closeness to God. An example of this is expressed by St. Augustine in Book IV of his Confessions, when he states, Even now, after the descent of Life to you, will ye not ascend and live? But whither ascend ye, when ye are on high, and set your mouth against the heavens? Descend, that ye may ascend, and ascend to God. For ye have fallen, by ascending against Him (64). Furthermore, according to John Freccero, author of Dante: The Poetics of Conversion, In the spiritual life, one must descend in humility before one can begin the ascent to truth, and in the physical world, according to both Dante and A ristotle, one must travel downward with respect to our hemisphere in order to rise (74). This spiritual belief of descending in humility before one can rise again is clearly echoed by both Dante and St. Augustine in their poetic works regarding Christian faith. Virgil, the pagan Roman poet of the Aeneid, also plays an important role in the autobiographical accounts of Dante and St. Augustine as well. Dante uses Virgil as his guide to illustrate Virgils supreme human reason and intellect during his journey, as well as emphasizing Dantes heartfelt admiration for the classical Roman poet. However, to demonstrate and make clear his devout and strict Christian beliefs, Dante places Virgil in Limbo, the first circle of Hell, along with other virtuous pagan Roman poets of the past. Dantes placement of Virgil and the other non-Christians is essential, since they can never be allowed to enter Paradise because of their pagan beliefs. Virgil himself understands this divine judgment delivered by God, when he states to the poet Sordello in Canto VII, I am deprived of Heaven for no fault other than my lack of faith (Alighieri et al. 56). Dante shows that despite Virgils moral perfection, he was without faith, and human reason alone can never reach Heaven . St. Augustine also admired the Roman poet Virgil during his early life, and being a successful teacher of rhetoric, Augustine understood very well a life led by reason. However, he, like Dante, discovers that reason alone is not enough to gain salvation from God, and as a result, was spiritually lost, tormented by temptation and sin. Thus, St. Augustine too realizes it is only when one has true faith in God that eternal salvation can be achieved. As Olson reminds us, Augustine testifies to how reason puts man on the road toward God, and how it is [only] faith that informs and elevates reason, taking it beyond its natural limitations while never being tyrannical or confining in any way. [St. Augustine] summarized this seemingly paradoxical fact in the famous dictum, I believe, in order to understand; and I understand, the better to believe (Augustines Confessions). History of Portraiture: Changes in Styles and Techniques History of Portraiture: Changes in Styles and Techniques The immemorial fascination of mans own image and of those of his fellow human beings arose a desire in men to attempt and embellish his likeliness into a physical medium. However at the time portrait was exclusive to those who wished to celebrate mans relationship with God and the divine rulers of the times, which makes the Renaissance a revolutionary era for portraiture and the development or artist techniques. The common subjects of royalty and wealth were joined together with the trivial and oppressed, giving artists around the world more latitude to delve into painting intricate and thought-provoking portraits to be cherished for centuries. Deciding to undertake the task of compiling the substantial triumphs for portraiture styles and methods over time, I plan to introduce it in the span of six notable art movements and cover the most significant artist of the time. The theme portraiture hold a special place in my heart, its enigmatic and flexible principles give the artist the u pmost freedom to depict people in a way that suits them. Its a theme that lasted through the test of time, becoming more and more popular as the centuries turn. Jan Van Eyck was a powerful visionary in 15th century with his command of linear perspective and capticating interiors that bathed in golden lights, his art sank into oblivion until the 1930s. Expressing a new awareness of reality through the use of oil paint, he crafted remarkable paintings and portraits that had remarkable attention to detail, observation of nature and light, and constructing spaces steeped in elegant interior which inhabited realistic characters. His careful positioning, golden lights and expert command of the technique of oil painting made him one of the most significant representative of the Renaissance art movement. His style and technique was a step up from the less realistic depiction of human forms by the then pre-Renaissance artists Giotto di Bondone and Cimabue. As the 17th century approached, the subject for painters was changing as the patrons no longer served an essential role in the choice of subjects and composition. Michelangelo Merisi da Caravaggio painted people who were then counted as trivial: peasants appeared alongside sovereigns and saints, crafting a new approach to portraiture for his time. At the beginning of his artistic career he broke through with his loose interpretations of traditional subjects, painting the first still life in the history of art as a subject in itself and knowingly portrayed saints as everyday people. The conventions of his time didnt worry him, nor did the already established art guidelines. He did not make primary sketches but place the paint straight to the canvas, using the foundation coats as an artistic element.   The early works of the artist revealed his love of poetic naturalism that was inspired by his everyday life. Caravaggios approach to chiaroscuro (the artistic play of light and shadow) was a clear departure from the art conventions of Mannerism. These conventions found their way into the most significant Baroque and Rococo artists. In the 18th century, a new freedom became apparent with the French painters as they began portraying a carefree and libertine behavior of society consistently in their artwork. The most noteworthy artist of the time was the Rococo painter Franà §ois Boucher. He was highly adept in many forms of media as he switched traditional bright oil paints to forms of decorative art. Adopting a high tone palette that favoured blues and pinks, he set a definite foundation for most paintings of dream-like quality. His paintings of beautiful women in rich silk clothing endorsed scenes of erotic and passionate love. Oil and gouache sketches were common in preparation for his bigger commissions as his careful attention to finer background detail made the scene more poignant and alive, filling it with character and passion. The dream like qualities of his prominent artwork carried on into the triumph or Romanticism. The spirituality and the influences from the previous eras stimulated the imagination of artists around the world. The art historian and theoretician of colour, Eugà ¨ne Delacroix was and still is the acknowledged master of Romanticism and one of the last great decorative painters. His passion for colours and the depiction of lively composition is reflected in his canvas won the admiration of the public. Everything is the subject; the subject is yourself: our impressions, your emotions when faced with nature. he professed. His skill in the thick impasto unified well with his choice of colours, giving his paintings the form of a sketch. The innovative take on colour, the earthy shades and the use of rich varnishes changed the way most artists composed their portraits and subject matters, crafting their styles to match Delacroixs. The analytical approach to colour is recognised in almost all realism, impressionism and art nouveu paintings that dominated the early 20th century. The creations of Vincent Van Gogh, albeit spanning over a short period of ten years, contained distinguishing marks of his life and the tourment he endoured as well as the places he lived in. The canvases beared his trademark frantic colours and figures in the form of various self-portraits, landscapes and scenes from ordinary day to day life. His impact on art gave colour a new meaning in the works of artists and put forth a new style in which the painter can place his brush on the canvas. A new approach to light and colour enabled him to go beyond both Impressionism and Neo-Impressionism, enabling his style in his self-portraits to experience a change that brough critisim upon him at the time. The intense expressiveness, accompanied by a turmoil of brush strokes produced a new wave of artists stimulated to create more illusive and stylised paintings to continue the tradition of expressive portraiture.

Kines Final Review

What are the 3 functions of the Menisci? 10. Which menisci Is shaped Like an â€Å"O† and which one Is shaped Like a â€Å"C†? 11. What are the 3 different zones of the menisci and what is the difference between each of these zones? 12. What are the two Excruciate ligaments? 13. Where does the PC attach on the femur? Where does the PC attach on the Tibia? 14. Where does the CAL attach on the femur? Where does the CAL attach on the tibia? 15. During non-weight bearing, what does the CAL prevent? During weight bearing, what does the CAL prevent? 16. During non-wealth bearing, what does the PC revert?During weight bearing. What does the PC prevent? 17. What force does the MAC prevent? What force does the LLC prevent? 18. Which muscles are our main hip fellers? 19. What does it mean for a muscle to be a 2-Joint muscle? 20. What are the names of our four quad muscles? Which ones affect both the hip and the knee? 21 . What are the names of the 3 hamstring muscles? 22. How do we manage or treat a quadriceps contusion? 23. For a hip dislocation, the leg will be In a position. 24. How do we manage a femur fracture? 25. Why are females more prone to CAL tears? 6.What is another name for a PC sprain? And 27. What are the common signs and symptoms of a maniacal lesion? 28. What is the difference between Osgood-Clatterers and Larsen-Johansson Disease? 29. What Is Patella Altar? What Is Patella Baja? 30. What are other names for Gene Vulgar and Gene Vary? Chapter 19- The Ankle and Lower Leg 1 . What are the four bones that make up the ankle? Ligaments are on the medial side of the ankle? 4. What are the names of the tarsal bones? 5. What are the four compartments of the lower leg and what muscles are in each compartment? 6.What two motions make up the actions probation and suppuration of the ankle? 7. Describe what pees caves and pees planks are. 8. What are the two phases of the gait cycle and what motions make up these two phases? 9. What is a more common nam e for hall values? 10. How do we manage hall values? 11. What Joints are involved in a Hammer Toe? 12. What Joints are involved in Mallet toe? 13. What Joints are involved in claw toe? 14. What is the etiology for turf toe? 15. How do we manage or treat an ingrown toenail? 16. What are the three different types of compartment syndrome? 7. What type of ankle sprain is the most common? 18. What are the signs and symptoms of an Achilles Tendon Rupture? 19. What is a more common name for Medial Tibia Stress Syndrome? 20. Define a Jones Fracture. Chapters 20-24 and 26-27- General Medical Conditions 1 . What is another name for syncope? 2. What are some signs and symptoms of syncope? 3. What is another name for Sudden Cardiac Death? 4. What are some red flags for Sudden Cardiac Death? 5. What is Commotion Cord's and how does it occur? 6. Compare and Contrast a Generalized Seizure and a Partial or Focal Seizure. 7.How do we manage or treat seizures? . What are some things that can trigger an Asthma Attack? 9. What are signs and symptoms of Asthma? 10. Compare and Contrast Type I and Type II Diabetes Mellitus. 11. What are some signs and symptoms of Diabetes? 12. What is Hyperglycemia? What are some signs and symptoms? 13. What is Hypoglycemia? What are some signs and symptoms? 14. What is the difference between food poisoning and the Flu? 15. What is normal body temperature? What is a low-grade fever? What is a high-grade fever? 16. What is the difference between a bacterial infection and a viral infection? 7. What is mononucleosis? How do we get it? 18. What are the signs and symptoms of Mononucleosis? 19. What is Seer's Sign? 20. What does OSHA stand for? 21 . What are some of our personal precautions for bloodstone pathogens? 22. What are two different types of Menstrual Irregularities? 23. What is the female athlete triad? 1 . What is triangulation? 2. What gland controls triangulation? 3. What are the five different types of heat exchange or production? 4. When should we begin hydrating for activities? 5. How do we check hydration levels? 6. What are the recommendations for hydration? 7.What are common signs and symptoms of dehydration? 8. How do we manage dehydration? 9. Why do we need to replace our fluid and electrolytes? 10. What is acclimatization? 1 1 . Who are more susceptible to heat illnesses? 12. What is hyperthermia? What is hypothermia? 13. What is heat rash? 14. What is heat syncope? 15. What causes exertion heat cramps? 16. What are common signs and symptoms of heat exhaustion? How do we treat it? 17. What are common signs and symptoms of heat stroke? How do we treat it? 18. What is exertion hypothermia? 19. What is frost nip? 20. What are signs and symptoms of frostbite? . How do we treat cold injuries? 22. What do we do if there is lightning? 23. What is the flash to bang theory? Chapter 29- Dermatology 1 . What three things can cause skin infections? 2. What four things does the skin do for us? 3. What are signs and sympto ms of bacterial infections? 4. What is follicles? 5. What is MRS.? What are the dangers of not treating MRS.? 6. How do we manage bacterial infections? 7. How do we prevent fungal infections? 8. What is tinge piped? 9. What is tinge capitals? 10. What causes fungal infections and how do we treat fungal infections?

Angels Demons Chapter 62-63

62 Langdon's progress around his side of the Pantheon was being hampered somewhat by the guide on his heels, now continuing his tireless narration as Langdon prepared to check the final alcove. â€Å"You certainly seem to be enjoying those niches!† the docent said, looking delighted. â€Å"Were you aware that the tapering thickness of the walls is the reason the dome appears weightless?† Langdon nodded, not hearing a word as he prepared to examine another niche. Suddenly someone grabbed him from behind. It was Vittoria. She was breathless and tugging at his arm. From the look of terror on her face, Langdon could only imagine one thing. She found a body. He felt an upswelling of dread. â€Å"Ah, your wife!† the docent exclaimed, clearly thrilled to have another guest. He motioned to her short pants and hiking boots. â€Å"Now you I can tell are American!† Vittoria's eyes narrowed. â€Å"I'm Italian.† The guide's smile dimmed. â€Å"Oh, dear.† â€Å"Robert,† Vittoria whispered, trying to turn her back on the guide. â€Å"Galileo's Diagramma. I need to see it.† â€Å"Diagramma?† the docent said, wheedling back in. â€Å"My! You two certainly know your history! Unfortunately that document is not viewable. It is under secret preservation in the Vatican Arc – â€Å" â€Å"Could you excuse us?† Langdon said. He was confused by Vittoria's panic. He took her aside and reached in his pocket, carefully extracting the Diagramma folio. â€Å"What's going on?† â€Å"What's the date on this thing?† Vittoria demanded, scanning the sheet. The docent was on them again, staring at the folio, mouth agape. â€Å"That's not†¦ really†¦Ã¢â‚¬  â€Å"Tourist reproduction,† Langdon quipped. â€Å"Thank you for your help. Please, my wife and I would like a moment alone.† The docent backed off, eyes never leaving the paper. â€Å"Date,† Vittoria repeated to Langdon. â€Å"When did Galileo publish†¦Ã¢â‚¬  Langdon pointed to the Roman numeral in the lower liner. â€Å"That's the pub date. What's going on?† Vittoria deciphered the number. â€Å"1639?† â€Å"Yes. What's wrong?† Vittoria's eyes filled with foreboding. â€Å"We're in trouble, Robert. Big trouble. The dates don't match.† â€Å"What dates don't match?† â€Å"Raphael's tomb. He wasn't buried here until 1759. A century after Diagramma was published.† Langdon stared at her, trying to make sense of the words. â€Å"No,† he replied. â€Å"Raphael died in 1520, long before Diagramma.† â€Å"Yes, but he wasn't buried here until much later.† Langdon was lost. â€Å"What are you talking about?† â€Å"I just read it. Raphael's body was relocated to the Pantheon in 1758. It was part of some historic tribute to eminent Italians.† As the words settled in, Langdon felt like a rug had just been yanked out from under him. â€Å"When that poem was written,† Vittoria declared, â€Å"Raphael's tomb was somewhere else. Back then, the Pantheon had nothing at all to do with Raphael!† Langdon could not breathe. â€Å"But that†¦ means†¦Ã¢â‚¬  â€Å"Yes! It means we're in the wrong place!† Langdon felt himself sway. Impossible†¦ I was certain†¦ Vittoria ran over and grabbed the docent, pulling him back. â€Å"Signore, excuse us. Where was Raphael's body in the 1600s?† â€Å"Urb†¦ Urbino,† he stammered, now looking bewildered. â€Å"His birthplace.† â€Å"Impossible!† Langdon cursed to himself. â€Å"The Illuminati altars of science were here in Rome. I'm certain of it!† â€Å"Illuminati?† The docent gasped, looking again at the document in Langdon's hand. â€Å"Who are you people?† Vittoria took charge. â€Å"We're looking for something called Santi's earthly tomb. In Rome. Can you tell us what that might be?† The docent looked unsettled. â€Å"This was Raphael's only tomb in Rome.† Langdon tried to think, but his mind refused to engage. If Raphael's tomb wasn't in Rome in 1655, then what was the poem referring to? Santi's earthly tomb with demon's hole? What the hell is it? Think! â€Å"Was there another artist called Santi?† Vittoria asked. The docent shrugged. â€Å"Not that I know of.† â€Å"How about anyone famous at all? Maybe a scientist or a poet or an astronomer named Santi?† The docent now looked like he wanted to leave. â€Å"No, ma'am. The only Santi I've ever heard of is Raphael the architect.† â€Å"Architect?† Vittoria said. â€Å"I thought he was a painter!† â€Å"He was both, of course. They all were. Michelangelo, da Vinci, Raphael.† Langdon didn't know whether it was the docent's words or the ornate tombs around them that brought the revelation to mind, but it didn't matter. The thought occurred. Santi was an architect. From there the progression of thoughts fell like dominoes. Renaissance architects lived for only two reasons – to glorify God with big churches, and to glorify dignitaries with lavish tombs. Santi's tomb. Could it be? The images came faster now†¦ da Vinci's Mona Lisa. Monet's Water Lilies. Michelangelo's David. Santi's earthly tomb†¦ â€Å"Santi designed the tomb,† Langdon said. Vittoria turned. â€Å"What?† â€Å"It's not a reference to where Raphael is buried, it's referring to a tomb he designed.† â€Å"What are you talking about?† â€Å"I misunderstood the clue. It's not Raphael's burial site we're looking for, it's a tomb Raphael designed for someone else. I can't believe I missed it. Half of the sculpting done in Renaissance and Baroque Rome was for the funeraries.† Langdon smiled with the revelation. â€Å"Raphael must have designed hundreds of tombs!† Vittoria did not look happy. â€Å"Hundreds?† Langdon's smile faded. â€Å"Oh.† â€Å"Any of them earthly, professor?† Langdon felt suddenly inadequate. He knew embarrassingly little about Raphael's work. Michelangelo he could have helped with, but Raphael's work had never captivated him. Langdon could only name a couple of Raphael's more famous tombs, but he wasn't sure what they looked like. Apparently sensing Langdon's stymie, Vittoria turned to the docent, who was now inching away. She grabbed his arm and reeled him in. â€Å"I need a tomb. Designed by Raphael. A tomb that could be considered earthly.† The docent now looked distressed. â€Å"A tomb of Raphael's? I don't know. He designed so many. And you probably would mean a chapel by Raphael, not a tomb. Architects always designed the chapels in conjunction with the tomb.† Langdon realized the man was right. â€Å"Are any of Raphael's tombs or chapels considered earthly?† The man shrugged. â€Å"I'm sorry. I don't know what you mean. Earthly really doesn't describe anything I know of. I should be going.† Vittoria held his arm and read from the top line of the folio. â€Å"From Santi's earthly tomb with demon's hole. Does that mean anything to you?† â€Å"Not a thing.† Langdon looked up suddenly. He had momentarily forgotten the second part of the line. Demon's hole? â€Å"Yes!† he said to the docent. â€Å"That's it! Do any of Raphael's chapels have an oculus in them?† The docent shook his head. â€Å"To my knowledge the Pantheon is unique.† He paused. â€Å"But†¦Ã¢â‚¬  â€Å"But what!† Vittoria and Langdon said in unison. Now the docent cocked his head, stepping toward them again. â€Å"A demon's hole?† He muttered to himself and picked at his teeth. â€Å"Demon's hole†¦ that is†¦ buco divolo?† Vittoria nodded. â€Å"Literally, yes.† The docent smiled faintly. â€Å"Now there's a term I have not heard in a while. If I'm not mistaken, a buco divolo refers to an undercroft.† â€Å"An undercroft?† Langdon asked. â€Å"As in a crypt?† â€Å"Yes, but a specific kind of crypt. I believe a demon's hole is an ancient term for a massive burial cavity located in a chapel†¦ underneath another tomb.† â€Å"An ossuary annex?† Langdon demanded, immediately recognizing what the man was describing. The docent looked impressed. â€Å"Yes! That is the term I was looking for!† Langdon considered it. Ossuary annexes were a cheap ecclesiastic fix to an awkward dilemma. When churches honored their most distinguished members with ornate tombs inside the sanctuary, surviving family members often demanded the family be buried together†¦ thus ensuring they too would have a coveted burial spot inside the church. However, if the church did not have space or funds to create tombs for an entire family, they sometimes dug an ossuary annex – a hole in the floor near the tomb where they buried the less worthy family members. The hole was then covered with the Renaissance equivalent of a manhole cover. Although convenient, the ossuary annex went out of style quickly because of the stench that often wafted up into the cathedral. Demon's hole, Langdon thought. He had never heard the term. It seemed eerily fitting. Langdon's heart was now pounding fiercely. From Santi's earthly tomb with demon's hole. There seemed to be only one question left to ask. â€Å"Did Raphael design any tombs that had one of these demon's holes?† The docent scratched his head. â€Å"Actually. I'm sorry†¦ I can only think of one.† Only one? Langdon could not have dreamed of a better response. â€Å"Where!† Vittoria almost shouted. The docent eyed them strangely. â€Å"It's called the Chigi Chapel. Tomb of Agostino Chigi and his brother, wealthy patrons of the arts and sciences.† â€Å"Sciences?† Langdon said, exchanging looks with Vittoria. â€Å"Where?† Vittoria asked again. The docent ignored the question, seeming enthusiastic again to be of service. â€Å"As for whether or not the tomb is earthly, I don't know, but certainly it is†¦ shall we say differente.† â€Å"Different?† Langdon said. â€Å"How?† â€Å"Incoherent with the architecture. Raphael was only the architect. Some other sculptor did the interior adornments. I can't remember who.† Langdon was now all ears. The anonymous Illuminati master, perhaps? â€Å"Whoever did the interior monuments lacked taste,† the docent said. â€Å"Dio mio! Atrocits! Who would want to be buried beneath piramides?† Langdon could scarcely believe his ears. â€Å"Pyramids? The chapel contains pyramids?† â€Å"I know,† the docent scoffed. â€Å"Terrible, isn't it?† Vittoria grabbed the docent's arm. â€Å"Signore, where is this Chigi Chapel?† â€Å"About a mile north. In the church of Santa Maria del Popolo.† Vittoria exhaled. â€Å"Thank you. Let's – â€Å" â€Å"Hey,† the docent said, â€Å"I just thought of something. What a fool I am.† Vittoria stopped short. â€Å"Please don't tell me you made a mistake.† He shook his head. â€Å"No, but it should have dawned on me earlier. The Chigi Chapel was not always known as the Chigi. It used to be called Capella della Terra.† â€Å"Chapel of the Land?† Langdon asked. â€Å"No,† Vittoria said, heading for the door. â€Å"Chapel of the Earth.† Vittoria Vetra whipped out her cell phone as she dashed into Piazza della Rotunda. â€Å"Commander Olivetti,† she said. â€Å"This is the wrong place!† Olivetti sounded bewildered. â€Å"Wrong? What do you mean?† â€Å"The first altar of science is at the Chigi Chapel!† â€Å"Where?† Now Olivetti sounded angry. â€Å"But Mr. Langdon said – â€Å" â€Å"Santa Maria del Popolo! One mile north. Get your men over there now! We've got four minutes!† â€Å"But my men are in position here! I can't possibly – â€Å" â€Å"Move!† Vittoria snapped the phone shut. Behind her, Langdon emerged from the Pantheon, dazed. She grabbed his hand and pulled him toward the queue of seemingly driverless taxis waiting by the curb. She pounded on the hood of the first car in line. The sleeping driver bolted upright with a startled yelp. Vittoria yanked open the rear door and pushed Langdon inside. Then she jumped in behind him. â€Å"Santa Maria del Popolo,† she ordered. â€Å"Presto!† Looking delirious and half terrified, the driver hit the accelerator, peeling out down the street. 63 Gunther Glick had assumed control of the computer from Chinita Macri, who now stood hunched in the back of the cramped BBC van staring in confusion over Glick's shoulder. â€Å"I told you,† Glick said, typing some more keys. â€Å"The British Tattler isn't the only paper that runs stories on these guys.† Macri peered closer. Glick was right. The BBC database showed their distinguished network as having picked up and run six stories in the past ten years on the brotherhood called the Illuminati. Well, paint me purple, she thought. â€Å"Who are the journalists who ran the stories,† Macri asked. â€Å"Schlock jocks?† â€Å"BBC doesn't hire schlock jocks.† â€Å"They hired you.† Glick scowled. â€Å"I don't know why you're such a skeptic. The Illuminati are well documented throughout history.† â€Å"So are witches, UFOs, and the Loch Ness Monster.† Glick read the list of stories. â€Å"You ever heard of a guy called Winston Churchill?† â€Å"Rings a bell.† â€Å"BBC did a historical a while back on Churchill's life. Staunch Catholic by the way. Did you know that in 1920 Churchill published a statement condemning the Illuminati and warning Brits of a worldwide conspiracy against morality?† Macri was dubious. â€Å"Where did it run? In the British Tattler?† Glick smiled. â€Å"London Herald. February 8, 1920.† â€Å"No way.† â€Å"Feast your eyes.† Macri looked closer at the clip. London Herald. Feb. 8, 1920. I had no idea. â€Å"Well, Churchill was a paranoid.† â€Å"He wasn't alone,† Glick said, reading further. â€Å"Looks like Woodrow Wilson gave three radio broadcasts in 1921 warning of growing Illuminati control over the U.S. banking system. You want a direct quote from the radio transcript?† â€Å"Not really.† Glick gave her one anyway. â€Å"He said, ‘There is a power so organized, so subtle, so complete, so pervasive, that none had better speak above their breath when they speak in condemnation of it.' â€Å" â€Å"I've never heard anything about this.† â€Å"Maybe because in 1921 you were just a kid.† â€Å"Charming.† Macri took the jab in stride. She knew her years were showing. At forty-three, her bushy black curls were streaked with gray. She was too proud for dye. Her mom, a Southern Baptist, had taught Chinita contentedness and self-respect. When you're a black woman, her mother said, ain't no hiding what you are. Day you try, is the day you die. Stand tall, smile bright, and let 'em wonder what secret's making you laugh. â€Å"Ever heard of Cecil Rhodes?† Glick asked. Macri looked up. â€Å"The British financier?† â€Å"Yeah. Founded the Rhodes Scholarships.† â€Å"Don't tell me – â€Å" â€Å"Illuminatus.† â€Å"BS.† â€Å"BBC, actually. November 16, 1984.† â€Å"We wrote that Cecil Rhodes was Illuminati?† â€Å"Sure did. And according to our network, the Rhodes Scholarships were funds set up centuries ago to recruit the world's brightest young minds into the Illuminati.† â€Å"That's ridiculous! My uncle was a Rhodes Scholar!† Glick winked. â€Å"So was Bill Clinton.† Macri was getting mad now. She had never had tolerance for shoddy, alarmist reporting. Still, she knew enough about the BBC to know that every story they ran was carefully researched and confirmed. â€Å"Here's one you'll remember,† Glick said. â€Å"BBC, March 5, 1998. Parliament Committee Chair, Chris Mullin, required all members of British Parliament who were Masons to declare their affiliation.† Macri remembered it. The decree had eventually extended to include policemen and judges as well. â€Å"Why was it again?† Glick read. â€Å"†¦ concern that secret factions within the Masons exerted considerable control over political and financial systems.† â€Å"That's right.† â€Å"Caused quite a bustle. The Masons in parliament were furious. Had a right to be. The vast majority turned out to be innocent men who joined the Masons for networking and charity work. They had no clue about the brotherhood's past affiliations.† â€Å"Alleged affiliations.† â€Å"Whatever.† Glick scanned the articles. â€Å"Look at this stuff. Accounts tracing the Illuminati back to Galileo, the Guerenets of France, the Alumbrados of Spain. Even Karl Marx and the Russian Revolution.† â€Å"History has a way of rewriting itself.† â€Å"Fine, you want something current? Have a look at this. Here's an Illuminati reference from a recent Wall Street Journal.† This caught Macri's ear. â€Å"The Journal?† â€Å"Guess what the most popular Internet computer game in America is right now?† â€Å"Pin the tail on Pamela Anderson.† â€Å"Close. It's called, Illuminati: New World Order.† Macri looked over his shoulder at the blurb. â€Å"Steve Jackson Games has a runaway hit†¦ a quasi-historical adventure in which an ancient satanic brotherhood from Bavaria sets out to take over the world. You can find them on-line at†¦Ã¢â‚¬  Macri looked up, feeling ill. â€Å"What do these Illuminati guys have against Christianity?† â€Å"Not just Christianity,† Glick said. â€Å"Religion in general.† Glick cocked his head and grinned. â€Å"Although from the phone call we just got, it appears they do have a special spot in their hearts for the Vatican.† â€Å"Oh, come on. You don't really think that guy who called is who he claims to be, do you?† â€Å"A messenger of the Illuminati? Preparing to kill four cardinals?† Glick smiled. â€Å"I sure hope so.†

A Student At The College Of William And Mary - 1256 Words

I am writing to you today as a student at the College of William and Mary. I am in an International Security class and recently we studied the events occurring in Syria. As you are well aware, the situation in Syria has been dramatically deteriorating in recent months with the rise of the Islamic State of Iraq and the Levant (ISIL) and the recent entrance of Russia into the conflict. Syria, meanwhile, has been in the midst of a ravaging civil war since the early spring of 2011. Currently, the government of Syria is led by President Bashar al-Assad, a member of the Syrian Ba’ath Party, a branch of the same Ba’ath Party that Saddam Hussein was also a member of. This similarity may lead some to think that Syria will end up like Iraq, with a†¦show more content†¦This led to various sectarian strifes among the countries in the Middle East. Since Russia started bombing, they have mostly targeted anti-Assad rebels, rather than ISIL which they stated they were bombing. I propose to include Russia in the current coalition, led by the United States, which also include Australia, Bahrain, Canada, France, Jordan, Qatar, Saudi Arabia, Turkey, United Arab Emirates, United Kingdom. There will have to be negotiations in order to get Russia to cooperate so they do not go rogue and bomb targets that are supported by the West and other countries in the coalition. By having Russia in the coalition and working with the United States, there will be a greater oversight of their operations and more transparency among the nations. This will help with making strategic attacks so ISIL can be degraded and destroyed and also so the Assad regime will finally relinquish power to a democratic government. There also must be targeted strikes upon ISIL’s main sources of income: oil reserves. Although this may harm potential future capabilities of Syria or Iraq to drill for oil, it will severely disrupt the income of ISIL so that they will not be able to buy the reso urces necessary to fight against the governments and to maintain the territory which it has already conquered. Next, in order to quell