The Great Chain of Being refers to hierarchy in a system,which definitely exists in Dante's Inferno. You can see as the protagonist goes through Hell that first he goes into Limbo, where the least serious criminals and people who haven't been Christened are located. As he goes through nine circles of Hell, he comes across more serious offenders and demons who guard them, until he comes into the very core of Inferno where Satan is keeping 3 people prisoners: Judas, Brutus, and Cassius.
Hope this helps! :)
I think in this quote, Zeus is referring to the fire as the "evil thing in which they may take pleasure to their gut," because he refers to it right before he uses the word evil to describe it.
Answer:
I don't want to fall asleep
'Cause I never knew what to do with you
Every time I wake up, I feel lost in space, love
Dreaming I was laying next to you
Answer:
I'm going to choose 3 superpowers.
Explanation:
1st:
<em>Invisibility</em>
Who wanted want to literally disappear? I can literally sneak into any area I freely wish for. I can scare anyone I want. Pranking to the extreme.
2nd:
<em>Ability to bend time</em>
I would control time but not where it tears rip into space. It doesn't affect your future.
3rd:
<em>Teleportation</em>
Two words. Time saved. I can literally be on any spot I want.
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Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
