Considerable emphasis is given to scientific experimentation, aimed at improving industry, health, and general living conditions. To that end a great laboratory for the natural sciences is operated, and an exhibition hall of science, industry, and the arts offers educational opportunities through scale models of machinery and mural paintings similar to those in the City of the Sun.
The robed figure wears a trailing magical scarf which allows the player to briefly fly; doing so uses up the scarf's magical charge, represented visually by glowing runes on the scarf. The scarf's runes are recharged by walking, or a variety of other means.[4] Touching glowing symbols scattered throughout the levels lengthens the initially vestigial scarf, allowing the player to remain airborne longer. Larger strips of cloth are present in the levels and can be transformed from a stiff, dull gray to vibrant red by singing near them. Doing so may have effects on the world such as releasing bits of cloth, forming bridges, or levitating the player. This, in turn, allows the player to progress in the level by opening doors or allowing them to reach previously inaccessible areas. The robed figure does not have visible arms to manipulate the game world directly.[3] Along the way, the player encounters flying creatures made of cloth, some of which help the player along. In later levels, the player also encounters hostile creatures made of stone, which upon spotting the player rip off parts of the figure's scarf.[2]
One of the few Westerners to interview Osama bin Laden face-to-face, Peter Bergen is a print and television journalist, documentary producer, and the author of four books, three of which were New York Times bestsellers and three of which were named books of the year by the Washington Post. The books have been translated into 20 languages. He is the director of the national security studies program at the New America Foundation in Washington D.C.; a fellow at Fordham University's Center on National Security and CNN's national security analyst. He has held teaching positions at the Kennedy School of Government at Harvard University and at the School of Advanced International Studies at Johns Hopkins University.
The politics of Utopia have been seen as influential to the ideas of Anabaptism and communism.[citation needed] While utopian socialism was used to describe the first concepts of socialism, later Marxist theorists tended to see the ideas as too simplistic and not grounded on realistic principles.[citation needed] The religious message in the work and its uncertain, possibly satiric, tone has also alienated some theorists from the work.[citation needed]
The new Boston of 2000, Julian West discovers, is a city of beauty and grace, with many splendid public buildings, reflecting an undreamed of prosperity; but, more important, it is populated by people who are remarkably healthy and happy. The basic reason for these conditions is that equality has been attained throughout the population. There are no more rich, no more poor.
The Medieval document most frequently cited in historical surveys of the utopian theme is Dante's Latin treatise on government, De Monarchia (1308?). Here again the differences between that work and More's are greater than the resemblances, and it is not suggested that More was acquainted with Monarchia. Dante, living in the period when the rivalry between popes and emperors for secular supremacy was splitting nations, cities, and even families, wrote his book to maintain the right of the emperor to independent authority over Europe in temporal matters, refuting the claims of the papacy that the emperor owed his title to the pope as God's vicar and was the pope's subject in matters temporal as well as spiritual. Dante does present his practical concept of an ideal commonwealth, the Holy Roman Empire. What this meant to him was a United Europe under the rule of a man of authority, an emperor elected — not by the populace but by the designated electors.
Forbidden Planet (1950) is a movie directed by Fred M. Wilcox, which is today regarded as one of the most influential science fiction movies of all time. Its story revolved around Commander John J. Adams (Leslie Nielsen) in his quest across the stars to find an expedition colony that disappeared 20 years ago. By the end of the movie, he discovered those colonists were killed by the technology created by the long extinct race of aliens, called Krell. They managed to create a machine, which was able to materialize their every dream and help them in establishing perfect utopia. However, same technology led to their extinction when their subconscious fears and monsters also became real.

Of course! Eponymous founder of the genre; brilliant mixture of satire, political idealism, and obfuscation of the author's own views. More's book has been seen by some as an attempt to justify colonisation of the Americas, by others as a dreary state of Catholic dogma and by his champions as a proto-communistic vision. The book's very indeterminacy is testament to its constant inventiveness.
The trailer of " Voyage en Chine " (Trip to China) is undoubtedly attractive : while it displays beautiful views of the Chinese countryside it sets against them the shapeless figure of an aging, limping, more uncomely than ever Yolande Moreau. The effect is that you can't help asking yourself what the Belgian comedian is doing in such an exotic place ? And the title is only half explicit about that, for this trip does not look like a sightseeing one. Well, for more information, there is no other solution than... to go and see the film. Which I did. I then found out what Yolande Moreau was doing in the Middle Kingdom. In the film she is in fact Liliane Rousseau, a fifty-odd-year-old nurse sharing her modest suburban house with a husband she does not seem to particularly care for. One night she learns by phone the death of her twenty-five-year-old son Philippe : the young man has just been killed in a car accident in China, his adopted homeland. Due to administrative complications, the grieving mother brings herself to go to China, in order to try and sort things out of course but also and above all to mourn her only child with dignity. Only she insists on going alone, certainly not in the company of her husband Richard, whom she blames for having misunderstood their son and caused his estrangement from them. And this is precisely what she does, landing first in Shanghai where Philippe lived and then in the province of Sichuan where he had his accident. Speaking a little English (which does not help very much in the countryside) but not a word of Chinese, this journey proves no pleasure cruise. However Liliane, like a brave little soldier, holds on and finally achieves her initiatory voyage - with a little help from local friends naturally. And just while she opens up to China and its people she gets closer to her son, even if it is too late for him. A profound theme combined with the discovery of another civilization, it looks like we are on track for a masterpiece... Unfortunately this is not really the case. The film is pleasant, yes. As expected, you discover many things about China, particularly about rural China, which is rarely shown in fiction cinema, the views are beautiful and Yolande Moreau is great. So, how come you leave the theater vaguely dissatisfied? One explanation may lie in its exceedingly slow pace. Too many scenes last too long and as they are not rich enough in meaning and/or emotions, a distancing effect (unwanted by the director, I suppose) sets in. With the result that instead of translating the meditative mood of his heroine, Zoltan Mayer inoculates a slight dose of boredom in the viewers' brains. A little more dynamic editing and scenes a little richer in content would have helped give "Voyage en Chine " more impact, which it deserved actually. Another weak point is the way the scenes connected with Philippe's death and funeral. Oddly enough, while the general tone of the film is subdued (even a little too much, as I mentioned before), this part of the film is presented in a melodramatic, if not whiny, fashion. An illustration of it is the (inappropriate) way Mayer directs the pretty Chinese actress Qu Jing Jing, who embodies the late son's former fiancée : she expresses grief too conventionally. So, when she finds herself face to Yolande Moreau, it is disturbing to see the former play while the latter lives. But don't get me wrong: even if I dwelt at some length on the film's imperfections these are only reservations. On the whole, as it is, " Voyage en Chine " remains a respectable work, at any rate worth seeing. Simply, it could have been even better. On the other hand, knowing that this is photographer Zoltan Mayer's first feature, such defects are understandable. So, if you feel like a trip to grassroots China, you can try this one. Just do not expect too many thrills and spills.
Morocco is an immensely rich cultural center point of north-western Africa that exudes influences of all of the proximal regions, including Spain and the Mediterranean, Egypt, the Sahara Desert, and the Atlas Mountains. The port of Casablanca, established in the 20th century, is a busy metropolis and home to the Hassan II Mosque, the second largest in the world after Mecca. Teaming with color bazaars and exotic culture, Casablanca and nearby Rabat and Marrakech will give voyagers a taste of a culture far different from any other place.
Denis Diderot's Supplement to Bougainville's "Voyage" (1772) is a prime example of the eighteenth-century vogue of primitivism which was spurred by Rousseau's thesis of the "noble savage" and which generated such novels as St. Pierre's Paul and Virginia and Chateaubriand's Atala. Diderot's book makes a case for the simple, natural ways of a South Sea Island culture as reported by Bougainville, a French explorer. The central portion of the story presents an imaginary dialogue between a French chaplain and a native of Tahiti (Orou) in which a comparison is made between the customs and institutions of Europe and those of Tahiti. The way of life of the islanders is eloquently defended, and that of the Europeans discredited. According to the Tahitian, man's natural instincts, which are equated with the laws of nature, are interpreted as justifying complete freedom in sexual relations. Their observance of community property is defended as minimizing personal conflicts and legal entanglements and promoting a general concern for the welfare of the community as a whole.