Jasmine homework

Individual Acting out with different comedic masks Individual acting out with different comedic masks: In this activity we were required to choose a mask from comedic theatre that ‘spoke to us', and with this mask we must act out the character we believe the mask portrays and communicate it through the questions the teacher asks us. I personally found it hard to let the mask choose me, but I eventually chose one mask that struck me.The ask looked very dopey and stupid in a sense because of the visual characteristics on his face like a large confronting nose, circle shaped face and small eyes. I took the role as a lonely young boy who is over excited by the overload in human interaction. With the questions that were asked like â€Å"how are you? â€Å"Are you excited? † I involved the audience and expressed my enthusiasm by using a deep voice, wonky laugh and a heavy walk. I definitely enjoyed this opportunity especially when I realized the way this I took on the charact er was very similar to the intentions of the real character.I pop to get the chance to complete this activity again with a new mask and see how my perspective of it compares to the main perspective. ‘ Tuesday 3rd June: Continued Individual Acting with comedic masks Wednesday 1 lath June: ABSENT – LEFT SCHOOL EARLY Wednesday 18th June: Warm Up: Being a restoration character Activity: Prime Minister's Dinner and feedback Being a Restoration Character: In this warm up we were required to play a character from the restoration period.We had to be emotionally invested in the character in order to influence the audience by our emotions. We were asked to play a character eke ‘a person late for work and gradually we were asked to increase the energy of our character if it means running faster or using our actions more vigorously. I particularly enjoyed this warm up because it helped me to understand the energy the restoration actors had to put in their performance and what they considered to be theatre suitable for the audience at the time.I hope to warm up to this activity again so I can further improve my energy towards playing characters and emotions in Restoration theatre. Prime Minister's Dinner and feedback In this activity the whole class was required to play an emotion and be involved in a ousted by the Prime Minister where they would showcase their emotion and make it evident to the audience. Each student was given an emotion (e. G. – gossipy, horny, rude etc. ) and had to perform their role as they arrived at the dinner.I was fortunate enough to be the Prime Minister's wife and my character was to spread rumors about the other guests. I definitely struggled with this task because it was very difficult to perform and be heard when the whole class was trying to achieve the same thing. After our performance Ms Weed agreed that we needed a system to aka sure we weren't talking over one another. To improve this problem we made a circle in the middle of the drama space so the only people who should be talking are the ones in the circle while the other students are merely miming.Ms also said that we were lacking energy with our characters and it was then it occurred to me how much more energy I would have to put into the performance even though I thought the energy I had put in initially was enough. I definitely enjoyed this activity and hope to do this again and further improve my skills with working as a class and my energy bevel when characterizing emotion in a restoration character.Monday 23rd June: ABSENT – SICK Term 3- Monday 14th July – Theory work Activities: 4 vowels exercise – Clouds, Jungle, butter/tar and balloons Meditation 4 humors The Four Humors in Renaissance and Elizabethan time By this time the humors had become standardized as follows Body Humor Body substance produced by Element Qualities Complexion and Body type Personality Sanguine blood liver air hot and moist red-cheeked, corpulent amorous, happy, generous, optimistic, irresponsible Choleric yellow bile spleen fire hot and dry deed-haired, thin violent, vengeful, short-tempered, ambitious Phlegmatic phlegm lungs water cold and moist corpulent Sluggish, pallid, cowardly Melancholic black bile gall bladder earth cold and dry sallow, thin Introspective, sentimental, gluttonous Note: â€Å"lazy† is sometimes attributed to Phlegmatic [ref The Four Humors] and sometimes to Melancholies [ref The Four Humors] 4 vowels exercise – Clouds, Jungle, butter/tar and balloons In this exercise we were required to rotate around the classroom in a clockwise direction and act out different environments with each quarter we fall under.The four quarters were clouds, Jungle, butter/tar and balloon and we had to have enough energy to mime the actions that would be conducted in this environment. As we rotated around the environments I particularly enjoyed performing in the Jungle environment and when the teache r asked for students to move into the quarter they liked performing the most I was the only one in the class to move into the Jungle environment and that particularly surprised me personally. I hope to complete the activity again to further improve my skills on miming an environment and using my body to display the emotions presented. Body Meditation In this activity the class conducted a body meditation to help us with connecting shapes with colors.I the meditation the class was to lie down on the drama space floor and as the lights were turned off we would listen to M's voice as she described colors and shapes while we had to focus on the shape/color to find what matched to it. In my experience with this activity I noticed that the circle shapes mostly lead to deep purples and blues whereas the sharp edged shapes were mostly reds and oranges. I really enjoyed this activity because I found it very relaxing and a good way o wind down after an active activity previously. I also enjoy ed it because it helped me gain more understanding of Shakespearean work with color and emotions and the way his characters are able to visually perform that. I hope to complete this relaxing activity again to further development my understanding and connection of emotions and how I present them.Wednesday 16th July – Activity: Watched Year 12 HOC practice Trials (Gave feedback for performance) – Late to class Mediation and Exploration with sounds: In this activity we explored Shakespearean interpretation of how sounds can effect and impact emotion as well as shapes and lour. We started by lying on the drama space floor and turning the lights off- after that Ms Weed began to teach us how to explore different sounds and vowels such as ‘O'. Personally when I expressed this sound I saw a deep purple/blue and an Oval like shape. This was defiantly contrasted when we had to sound out ‘D', because this gave a hard sound I saw a dark green color and a square shape. Doing this exercise made me realizes not only how deep and contextually detailed Shakespearean teachings and works are but it also help me understand it better as I personally struggle grasping Shakespearean concept.I hope to complete this relaxing exercise again to further understand and develop my understanding of Shakespeare and his works. Tuesday 22nd July – Role Scoring Questions- Viola (Twelfth Night) 1 . How does the title of the play relate to your character? Twelfth Night† is usually considered to be a reference to Epiphany, or the twelfth night of the Christmas celebration Unary 6). In Shakespearean day, this holiday was celebrated as a festival in which everything was turned upside down. This is much like the upside-down, chaotic world of Lariat in the play where Viola causes a love arrange to occur. 2. What is your character's main sense of urgency? What strong impulse motivates your character to act? My character, Viola has a strong sense of urgency.After the recent loss of her brother Viola has a missing male piece in her life and as she desperately searches for a replacement to this manly figure she will go to any extreme to achieve that. 3. If your character has a secret, what is it? My character holds a large secret that creates the main basis of the plot and storyline in the play. Her secret is that in the play she pretends to be a male to be closer to her rue love' Duke Rosin who has a much higher status than her and is in love with Olivia 4. What rhythm might you associate with your character? I associate my character to have a smooth, calm and steady rhythm because I see her as someone who is calm under pressure and aware of her intentions and steady of her priorities. 5. What sound might you associate with your character?I find my character to associate with a deep, calm sound because of the personality and her ability to play 2 different characters and attempt to keep her sense of identity at the same time. 6. What is your character's master gesture? My characters master gestures towards the characters in the play is the fact that she caused such complications and a sense of confusion between the characters that it becomes evident that the biggest gesture Viola did was to give up her lifestyle and everything she knew to hide her identity and change herself for one man. 7. What is your character's leading centre? (The head? The heart? The stomach? Something else? My characters leading centre would definitely be the heart, because not only to herself but also to the audience it's the only thing that remains consistent tit the character because almost every aspect of her is hidden except her intentions and her heart. 8. What colors might you associate with your character? Why? I associate the character Viola with a deep purple/blue color. This is not only because that certain color resembles both genders but also because that color is relaxing and calm and easy to associate with. 9. What object might you associate with your character? Why? I associate a map with my character because I believe that the intentions the character is very clear and the route and road to achieve those intentions are also very clear.And although the route to complete this goal is steep Viola is still willing to follow herself/the map to reach her destination of true love. 10. What animal might you associate with your character? Why? I associate my character with a spider, because although they are small and may seem insignificant there intentions are clear and they are a prime predator in the insect family. 1 1 . What are your character's two primary senses? My characters two primary senses would be their voice and their ability to view problems and complications. 12. Does your character â€Å"mask†, or cover up, feelings and behaviors? If so, what does your character mask? My character covers up her feelings and her physical features.She does this because her feelings that she has about Duke Rosin seem impossible to admit and confront about and to achieve this, she hides her female features to look like a man. 13. Does your character have a sense of humors? Is this sense of Humor used in a positive or negative way? My characters sense of humor is reflected primarily on dramatic irony- the scenes and problems that occur to my character hidden as a man are humorous because the actions are conducted as a female and because the audience only knows about it they become more emotionally invested in the character and are more compassionate towards the situation making it more funny. 14. In real life, would you be your character's friend? Why or why not?Yes, I would definitely be my characters friend in real life because I am inspired by her courage and bilabial u to be strong and stick up for her dreams, beliefs and aspirations even after she suffered a server tremor of the loss of her brother. She shows commitment and proves that she will go to any extent to conquer her dreams and I would love to round myself with that positive and inspiring influence. 15. What is your character's most positive trait? My characters most positive trait is her persistence and courage to take risks to reach her goals. Hiding her identity to be with the man she loves could've lead to disastrous consequences, she not only would have suffered shame if her body was compromised but also the duke may not see it from Violas perspective and send her to Jail. 16. What is your character's status in the world? Does your character have money or power?My character has a low status in the world, this is the reason she goes to such extreme measures to be with Duke Rosin – because they both come from different walks of life and it is highly unlikely that the Duke will see Viola for who she truly is without being blinded by the hierarchy put out in society. 17. What are your character's major wants and desires? My characters major wants and desires are to be with her true love Duke Rosin . The complications arise because the Duke is in love with Olivia who is a high status, rich lady. Viola will do anything to be with the Duke even if it is to become his servant and send messages to the one he loves without ever realizing her feelings for him. 8. What is your character's major objective for this scene in the play in which he or she appears?In the scene, the characters major objective is to analyses the problems she has caused and try to think of a solution where she is left with the Duke. It is also in this scene when she realizes how out of hand the problem has become and that its too hard a knot for me to untie'. 19. How does your character go about achieving these major objectives? My character attempts to achieve these major goals by disguising herself as a boy and gets a Job to work for Duke Rosin. She feels the need to hide who she is to achieve her goals. 20. What is your character's life objective? My characters life objective is to gain the love and affecti on of Duke Rosin.After losing her brother Viola missed a manly influence in her life and longed to fill that hole with Duke Rosin to whom she had always been in love with and had chosen to pursue her dream to be with him. 21 . How does your character go about achieving his or her life objective? My character achieves her objective by pretending she is a male so she can work for the Duke and be closer to him and one step closer to his love. 2. Has your character changed by the end of the play. If so, in what ways? No, my character hasn't changed – in the end her intentions and goals were achieved when the Duke saw her for whom she truly was and accepted her as that, as well as the return of her brother whom she thought was lost.FEATURES OF ELIZABETHAN THEATRE: Dramatically exciting Exploring humanity on a social / personal level (Renaissance) Poetic language Words were most important Rhythmic/ poetic dialogue Symbolic imagery Elevated tone of speaking/ voice Use of Aside (whis pering to the audience) and Soliloquy (solo Speech, as though aligning/ thinking to yourself) Wednesday 23rd July: ABSENT Assessment review and recount: (27th August 2014) In term 3 our assigned assessment task was to create and present a performance essay based on the question ‘How is a historical style relevant to drama today I believe although this was a suitable question I personally struggled immensely with the performance and given the circumstances our group suffered I believe our performance doesn't reflect our individual abilities. When we received the question our main idea was to write about how Shakespeare ND Restoration theatre were both connected with each other and how they have influence drama and theatre in our modern society.But our main challenge was converting our ideas to a suitable performance that will not only appropriately answer the question but also to keep the audience entertained. It was also particularly challenging for our group because we had He ather absent for all of the lessons we had to work on the assessment – Heather played a prominent role in the script and I particularly struggled to change the lines and blocking with one less group member. After the script was complete I was definitely challenged by coming up with the blocking of the performance as I personally felt that our grouped lacked teamwork in presenting ideas and equally helping with the work load as well as committing to rehearsals.It was challenging also to reach the standards that I know the group can achieve without the commitment and determination to learn lines and blocking before the deadline from every member. After our group seemed prepared for the performance we were notified that Heather's lines and blocking must be included in the performance even if she was absent on the presentation day. This meant that we had to redelivers the script again as well as change the blocking to fit in another member. I definitely found this to be very conf using on our group as we were all confused about the lines and queues we were learning as it was constantly being changed. But luckily we received an extension on our assessment that definitely improved the group's confidence in performing the piece without using the script.I hope that in our upcoming performance we will be able to reflect to the audience the hard work that was put into the performance essay despite the complications hat occurred. In my opinion writing and performing the essay has been the most challenging drama assessment yet and I hope the next assessment will bring better luck and circumstances. In the future I hope to be more organized with the amount of work each person gets so that every member of the group will equally work on the assessment and one member wont be overloaded. I also now understand how much of a difference lack of energy can make to a performance and I hope that I have developed on these skills in not only increase the energy that I have but a lso my teammates which will evidently engage the audience better.

Purpose of Simple Machines.

Purpose of Simple Machines. Many simple machines have been created even since the early times. According to Ron Kurtus from his website article, "Simple Machines", the ancient Egyptians used levers to lift stones to build their pyramids and ramps to raise them to the top. Also he states that in Roman times, stones were tossed at enemies using catapults. The catapults used levers to fling the stones, and pulleys to pull down the arm of the catapult. The purpose of all of these simple machines is to lessen the amount of work or effort that you must put into a job. The pulley, inclined plane, gear, spring, and lever are good examples of simple machines. In the following paragraphs I will give more information about three of these, the pulley, inclined plane, and the gear.The whole concept the pulley is based on is changing the direction of the force being applied.Block and tackle with six pulleys.Just using a wheel to allow a rope to be pulled in a different direction can be much easier on someone. A pull downward on a rope to lift something is often easier than bending over and picking the load up yourself.Single pulleys are used in many complex machines where the direction of movement must be changed. One of the complex machines that pulleys are used in is the elevator. The elevator car is lowered or raised by large cables and a pulley at the top. The end of the cable has counterweights that balance the weight of the car and passengers. The electric motor turns the pulley so the car moves up and down. Even though you may not notice them, pulleys are everywhere such as on bikes, cable trams, ski lifts, and more.Pulleys can also be connected to be more powerful. For instance, if you connect...

How Culture Shapes Psychology

How Culture Shapes Psychology Free Online Research Papers In this paper I will be exploring the place where language and culture meet psychology and politics. It is my thesis that language biases communication in ways that are both determined by and influence culture and that the combined influence of language and culture shape the practice of psychology. Ultimately this plays an important role in working to support the accepted values that dominate our society and to discourage or discredit those values and perspectives that are not dominant. I begin by adopting the notion of language and communication developed by Jurgen Habermas, the German philosopher. 1 According to Habermas knowledge is always collected for some specific purpose. There is really no such thing as a â€Å"neutral† science or social science. Data collection and analysis always has as its driving force a certain set of interests. Likewise language use always has a purpose. This purpose goes beyond the simple communication of concepts, ideas or intent. The very structure of language itself is created in such a way as to bias the outcome of the communication. Habermas calls this bias of knowledge and communication â€Å"knowledge constitutive interest.†2 According to Habermas, knowledge and information is always collected for some specific purpose or intent. This purpose or intent is determined by the values, world view or ideology of the person collecting the information. Even the scientist in the laboratory collects data and information from the perspective of a belief system dominated by a scientific and technological set of values that legitimates the scientific endeavor itself. This set of values has no â€Å"objective† basis, but is in reality only one perspective about the way the world is and operates. This bias characterizes all language and the acquisition of knowledge and results in â€Å"systematically distorted communication.†3 One example of this structural bias of language, though a simple one, is the word â€Å"communism.† If one says this word to the average American, the emotional as well as the intellectual response to the word is likely to be negative. This negative emotional reaction is not the result of a balanced, reasoned assessment of communism as an economic system. Rather, it is the result of a systematic program of biasing certain words and concepts in the language in order to pre-dispose or pre-determine the outcome of thought or discourse. We have seen repeated applications of this use of language in political discourse. Most recently Rudolph Giuliani attempted to disparage certain approaches to solving the health care crisis in the United States by referring to calls for â€Å"socialized medicine.† Another obvious example of distorted communication and one that permeates our entire society is advertising. Advertising language is a form of communication devoted entirely to and shaped by a specific interest, namely: the pursuit of profits. This use of language does not seek to engage the rational faculties or result in a balanced assessment of the claims put forth about the product. Rather, it is intended to manipulate the consumer through appeals to emotion, obscuring the facts and outright misrepresentation of the true intentions of the entity who has initiated the communication. The implications of systematically distorted communication are enormous and go far beyond commercial speech. Language is the only medium by which we individually or collectively relate to one another and engage the world. It is the medium through which we seek the â€Å"truth,† in so far as â€Å"truth† is knowable to us. If the very language we use is not â€Å"value neutral† then the search for â€Å"truth† whether on the part of the scientist in the laboratory or on the part of citizens engaged in public discourse and debate is seriously compromised. This has the potential, as Habbermas and others have observed, to call the entire democratic process into question.4 The pervasiveness of advertising language or â€Å"hucksterism† has in my view contributed much to the cynicism, alienation and disaffection we see in citizens toward a whole range of social, cultural and political institutions. Like any other field of knowledge or endeavor, psychology is not immune from the influence of systematically distorted communication. During its early period the field of psychology had radical implications for and stood in opposition to much social and political orthodoxy. Freud, Jung and others drew out the implications of their new discipline in ways that were quite challenging to religion, politics and societal norms. In The Future of an Illusion, for example, Freud employed the insights of psychology, arguing that a belief in God had its source in human psychological need and the needs of ego maintenance. God itself was an illusion kept â€Å"alive† due to human weakness at best, or neurosis or psychosis at worst.5 At its outset, the purpose of the psychotherapeutic process as designed to illuminate the sources of unhappiness in the individual. Not surprisingly, much of this source of unhappiness could be found in the social, religious, cultural and political world in which the individual existed, a world that was at fundamental odds with what people needed to live â€Å"authentic† and happy lives.6 Building on the early insights of psychology, a whole genre of work evolved that brought into question the wisdom and utility of the structures that western societies had put in place, and which increasingly looked, when taken as a whole as a â€Å"toxic culture.† Over the course of time religious and secular authority attacked psychology, and especially those aspects of it that were challenging to their authority or power. Herbert Marcuse has discussed this attack on psychology in his Eros and Civilization. 7 According to Marcuse the radical aspects of psychology were destroyed or undermined by the same forces employed in our society to undermine any challenges to its authority. The use language, distorted through the association of certain terms and phrases with negative emotions is the primary way this was done. But it was also accomplished through attacks by conservative and religious interests who tried to undermine the legitimacy of questioning the way things are in our society. 8 Ultimately, psychology was brought into line with the prevailing economic, social and political orthodoxy. Psychology no longer served as a foil to the economic, cultural, social and political sources of human unhappiness. The stress was no longer on questioning whether the environment was one conducive to healthy psychological development. Now psychology and the therapeutic process became concerned with reconciling the individual to the society and its values as they existed. This process today increasingly relies on the use of drugs and medication designed to mitigate feelings of depression and unhappiness, with the stress placed on the individual as the source of the problem.9 The solution to the problem of distorted language, a toxic culture and a psychology that has been made to serve the powerful interests that benefit from the current state of things is complicated. Apart from revolutionary change the best hope for reform lies in a series of steps that would limit the power of wealthy interests to shape our language. One approach would be to remove first amendment protections from commercial speech and imposing strict controls on advertising and what can be said in it. Another approach would be to once again make psychology the radical discipline it once was. A third approach might be to follow what Habermas has proposed in trying to create â€Å"ideal speech situations.† This entails creating conditions in which genuine human interests can be discussed outside of attempts to distort the process of communication itself. 1 Sources for this section are: The Stanford Encyclopedia of Philosohpy. http://plato.stanford.edu/entries/habermas. And Jurgen Habbermas, Knowledge and Human Interests, Beacon Press, Boston, 1968. 2Knowledge and Human Interests, page 191. 3 Thomas McCarthy: The Critical Theory of Jurgen Habermas. MIT Press, Cambridge, 1982. pg. 4 Noam Chomsky has made this point as well in his Necessary Illusions, 1988, South End Press, Boston and other works. 5 Sigmund Freud, The Future of an Illusion, Double Day, Anchor Garden City, New York. 1957 pgs. 47-53 6 Ibid. 7 Herbert Marcuse, Eros and Civilization, Beacon Press, 1955, 1966 8 Ibid. 9 I found materials for this section in the Radical Psychology Network. http://en.wikipedia.org/wiki/Radical_Psychology_Network Research Papers on How Culture Shapes PsychologyAnalysis Of A Cosmetics AdvertisementComparison: Letter from Birmingham and CritoAssess the importance of Nationalism 1815-1850 EuropeThree Concepts of PsychodynamicRelationship between Media Coverage and Social andIncorporating Risk and Uncertainty Factor in CapitalEffects of Television Violence on ChildrenOpen Architechture a white paperQuebec and CanadaAnalysis of Ebay Expanding into Asia

225 Foreign Phrases to Inspire You

225 Foreign Phrases to Inspire You 225 Foreign Phrases to Inspire You 225 Foreign Phrases to Inspire You By Mark Nichol Here’s another writing challenge for you, a sequel to 150 Foreign Expressions to Inspire You. I’ve listed foreign phrases that eloquently draw, in just a few words, a portrait of a person or a situation. Some are obscure in their figurative language (esprit d’le escalier, one of my favorite expressions, refers to the chagrin you feel about coming up with a bon mot or an insult only after the opportunity to utter it has passed) and may require some research on the reader’s part, though everyone can identify with them once the meaning is clear. Others (crise de conscience) are not only universally resonant in our experience but also transparent. Once you’ve chosen one expression, use it as a prompt for a short story. Think what you can do with a story titled â€Å"Mole ruit sua† or â€Å"Hic illae lacrimae.† (Moliere wrapped an entire play, one of the greatest ever written, around malade imaginaire.) Alternatively, this post is a rich mine for a tale featuring an insufferable boor who tosses off foreign expressions ad arbitrium to advertise his erudition. At the very least, employ these phrases to encapsulate your characters; the preceding type could be labeled folie de grandeur, or you might keep faux-naif in mind when writing another character. 1. ab incunabulis: from the cradle 2. a bon chat, bon rat: to a good cat, a good rat (retaliation in kind) 3. a bouch ouverte: with open mouth (eagerly, uncritically) 4. ab ovo usque ad mala: from egg to apples (from beginning to end) 5. a bras ouverts: with open arms 6. ab uno disce omnes: from one learn to know all 7. a coup sur: with sure stroke (surely) 8. acte gratuit: gratuitous impulsive act 9. ad arbitrium: at will (arbitrarily) 10. ad extremum: to the extreme (at last) 11. ad majorem Dei gloriam: to the greater glory of God 12. ad patres: to his fathers (deceased) 13. ad unguem: to the fingernail (exactly) 14. ad utrumque paratus: prepared for either event 15. aegri somnia: a sick man’s dreams 16. aequam servare mentem: to preserve a calm mind 17. aequo animo: with even mind (calmly) 18. aere perennius: more lasting than bronze 19. a huis clos: with closed doors 20. a l’abandon: carelessly 21. a la belle etoile: under the beautiful star (in the open air at night) 22. a la bonne heure: at a good time (all right) 23. a la page: at the page (up to the minute) 24. alter idem: another self 25. a maximis ad minima: from the greatest to the least 26. a marveille: marvelously 27. amicus humani generis: friend of the human race 28. amicus usque ad aras: a friend as far as to the alters (a friend to the last extremity) 29. ami de cour: court friend 30. armamentum ad baculum: argument of the staff (appeal to force) 31. arrectis auribus: with ears pricked up 32. a torte et a travers: wrong and crosswise (without rhyme or reason) 33. au bout de son latin: at the end of one’s Latin (at the end of one’s mental resources) 34. au fait: to the point (socially correct) 35. au grand serieux: in all serious 36. au mieux: on the best terms (on intimate terms) 37. aurea mediocritas: the golden mean 38. auspicium melioris aevi: an omen of a better age 39. ausssitot dit, aussitot fait: no sooner said than done 40. autres temps, autres moeurs: other times, other customs 41. aut vincere aut mori: either to conquer or to die 42. bellum omnium contra onnes: war of all against all 43. bien-pensant: right minded (orthodox) 44. bon gre, mal gre: whether with good grace or bad (willy-nilly) 45. bonis avibus: under good auspices 45. brutum fulmen: insensible thunderbolt (futile threat of display of force) 47. cadit quaestio: the question drops (the argument collapses) 48. capable de tout: capable of anything (unpredictable) 49. cause sine qua non: an indispensable cause or condition 50. cheval de bataille: war-horse (argument constantly relied on) 51. comedie humaine: human comedy (the whole variety of human life) 52. comedie larmoyante: tearful comedy (sentimental comedy) 53. comagnon de voyage: traveling companion 54. compte rendu: report 55. concordia discors: discordant harmony 56. confessio fidei: confession of faith 57. contemptus mundi: contempt for the world 58. coup de maitre: masterstroke 59. coup d’essai: experiment 60. coute que coute: cost what it may 61. cri de coeur: cry of the heart 62. crise de conscience: crisis of conscience 63. crise de nerfs: crisis of nerves 64. crux criticorum: crux of critics 65. cum grano salis: with a grain of salt 66. custos morum: guardian of morals (censor) 67. de bonne grice: with good grace 68. de l’audace, encore de l’audace, et toujours de l’audace: audacity, more audacity, and ever more audacity 69. de mal en pis: from bad to worse 70. Deo favente: with God’s favor 71. de profundis: out of the depths 72. desipere in loco: to indulge in trifling at the proper time 73. Deus absconditus: hidden God (unknowable God) 74. dies faustus: lucky day 75. dies infaustus: unlucky day 76. dies irae: day of wrath 77. esprit d’le escalier: the wit of the staircase 78. faux bonhomme: false friend 79. faux-naif: affectedly simple or childlike 80. festina lente: make haste slowly 81. feux d’artifice: fireworks, or show of wit 82. folie de grandeur: delusion of greatness, megalomania 83. furor loquendi: rage for speaking 84. furor poeticus: rage for poetry 85. furor scribendi: rage for writing 86. gens du mond: fashionable people 87. guerre a outrance: war to the uttermost 88. haut gout: slight taint of decay 89. hic illae lacrimae: hence these tears 90. homme d’esprit: witty man 91. in omnia paratus: ready for all things 92. in partibus infidelium: in the land of the infidels 93. in statu quo ante bellum: just like before the war 94. januis clausis: behind closed doors 95. jeu de mots: play on words 96. ktema es ai: a possession for ever (enduring art or literature) 97. la belle dame sans merci: the beautiful lady without mercy 98. lacrimae rerum: tragedy of life 99. lapsus calami: slip of the pen 100. lapsus linguae: slip of the tongue 101. laudatory temporis acti: one who praises past times 102. lusis naturae: freak of nature 103. magni nominis umbra: the shadow of a great name 104. malade imaginaire: imaginary invalid 105. malis avibus: under evil auspices 106. mauvais quart d’heure: uncomfortable but brief experience 107. meden agen: nothing in excess 108. mens sana in corpore sano: a sound mind in a sound body 109. metteur et scene: (stage or film) director 110. meum et tuem: mine and yours 111. mirabile visu: wonderful to behold 112. mole ruit sua: it collapses from its own size 113. monumentum aere perennius: a monument more lasting than bronze 114. multum in parvo: much in little 115. mysterium tremendum: overwhelming mystery 116. ne quid nimis: not anything in excess 117. nil admirari: equanimity 118. nolens volens: willy-nilly 119. nostalgie de la boue: attraction to what is unworthy, crude, or degrading 120. novus homo: upstart 121. novus ordo seclorum: a new cycle of the ages 122. nuit blanche: sleepless night 123. obscurum per obscurius: explaining the obscure by means of the more obscure 124. onus probandi: burden of proof 125. ore rotundo: eloquently 126. otium cum dignitate: leisure with dignity 127. outre-mer: overseas 128. pallida Mors: pale Death 129. panem et circenses: bread and circuses 130. pater patriae: father of his country 131. paucis verbis: in a few words 132. pax vobiscum: peace be with you 133. peine forte et dure: strong and hard punishment 134. per angusta ad augusta: through difficulties to honors 135. peu a peu: little by little 136. peu de chose: a trifle 137. peu d’occasion: piece for a special occasion 138. piece justificative: document serving as evidence 139. piece montee: set piece (said of decorative food) 140. pleno jure: with full right 141. plus royaliste que le roi: more royalist than the king 142. pocas palabras: few words 143. point de repere: point of reference 144. police verso: with thumb turned (down) 145. pour rire: for laughing (not to be taken seriously) 146. pro aris et focis: for alters and firesides 147. pro bono publico: for the public good 148. pro hac vice: for this occasion 149. pro patria: for one’s country 150. pro rege, lege, et grege: for the king, the law, and the people 151. pro re nata: as needed 152. quantum mutates ab illo: how changed from what he once was 153. quantum sufficit: as much as suffices 154. quoad hoc: to this extent 155. quod erat demonstrandum: which was to be proved 156. quod erat faciendum: which was to be done 157. quod semper, quod ubique, quo dab omnibus: what (has been held) always, everywhere, by everybody 158. quorum pars magna fui: in which I played a great part 159. raison d’etat: reason of state 160. reculer pour mieux sauter: to draw back in order to make a better jump 161. re infecta: the beusiness being unfinished 162. religio loci: religious sanctity of a place 163. ruse de guerre: war strategem 164. rus in urbe: country in the city 165. saeva indignatio: fierce indignation 166. sal Atticum: Attic salt (wit) 167. salon des refuses: salon of the refused (exhibition of officially rejected art) 168. salto mortale: deadly jump (dangerous or crucial undertaking) 169. sancta simplicitas: holy simplicity (naivete) 170. sans doute: without doubt 171. sans gene: without embarrassment or constraint 172. sans peur et sans reproche: without fear and without reproach 173. sans souci: without worry 174. scene a faire: obligatory scene 175. secundum artem: according to the art (according to the accepted practice) 176. secundum naturam: according to nature (naturally) 177. se defendendo: in self-defense 178. semper eadem: always the same (feminine form) 179. semper fidelis: always faithful 180. semper idem: always the same (masculine form) 181. semper paratus: always prepared 182. simpliste: naive 183. splendide mendax: nobly untruthful 184. spolia opima: rich spoils (spoils of the victor) 185. status quo ante bellum: the state existing before the war 186. suaviter in modo, fortiter in re: gently in manner, strongly in deed 187. suo jure: in his own right 188. suo loco: inits proper palce 189. suo marte: by one’s own exertions 190. sur place: in place (on the spot) 191. suum cuique: to each his own 192. tant mieux: so much the better 193. tant pis: so much the worse (too bad) 194. tempus edax rerum: time, that devours all things 195. totidem verbis:: in so many words 196. totis viribus: with all one’s might 197. toto caelo: by the whole extenet of the heavens 198. toujour perdix: always partridge (too much of a good thing) 199. tour d’horizon: circuit of the horizon (general survey) 200. tous frais faits: all expenses defrayed 201. taut au contraire: quite the contrary 202. tout a vous: wholly yours (at your service) 203. tout bien ou rien: everything well (done) or nothing (attempted) 204. tout court: quite short (simply) 205. tout de meme: all the same (nevertheless) 206. tout de suite: Immediately 207. tout ensemble: all together 208. tout le monde: everybody 209. trahison de clercs: treason of the intellectuals 210. tanche de vie: slice of life 211. tristesse: melancholy 212. ultima ratio regum: the final argument of kings (war) 213. uno animo: with one mind 214. urbi et orbi: to the city and the world (to everyone) 215. utile dulci: the useful with the agreeable 216. va et vient: coming and going (traffic) 217. ventre a terre: belly to the ground (at very great speed) 218. verbatim ac litteratim: word for word, and letter for letter 219. vieux jeu: old game (old hat) 220. vin du pays: wine of the locality 221. virgo intacta: untouched virgin 222. virtute et armis: by valor of arms 223. vis medicatrix natureae: the healing power of nature 224. vita nuova: new life 225. vox et praeterea nihil: voice and nothing more Want to improve your English 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