Answer:
“You are the sun, Grandma, you are the sun in my life.” – Kitty Tsui
“It’s such a grand thing to be a mother of a mother — that’s why the world calls her grandmother.” – Author Unknown
Explanation:
I believe the answer would be by radio. I hope this helps!
The Dogma of Ethos was a Greek philosophy, idea or belief that stated that certain instruments and modes affect the balance between rational behavior (Logos) and emotional frenzy (Pathos).
Explanation:
During the Greek ages, the Dogma of Ethos was a philosophy or belief that music had an influence on mind, behavior, soul and body of a person. The earliest Greeks did not like certain music pulse and rhythms to be played as they feared it would reveal immoral attitude and bring out bad ethos.
Hence, they had not allowed and tolerated certain music rhythms and beats to be played as their belief had made them believe that it would bring out evil behavior and ethos, strongly influencing the ones who would listened ultimately affecting the balance between rational behavior (Logos) and emotional frenzy (Pathos).
So, The Dogma of Ethos was a Greek philosophy, idea or belief that stated that certain instruments and modes affect the balance between rational behavior (Logos) and emotional frenzy (Pathos).
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Answer:
Manolo made 16 handbags first day and then she made 12 handbags each day. Annalisa made 8 handbags first day and then she made 12 handbags each day. Manolo learning curve is reduced and she is making lesser handbags which she made on first day.
Explanation:
Annalisa have worked towards her learning curve and she has been able to make more handbags than she used to make on her first day. She has worked fast paced and learned to work quicker than her first day.
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.
