An attentive student, he spent his leisure time drawing, staging puppet shows, and reading Il corriere dei piccoli, the popular children ’ s magazine that reproduced traditional American cartoons by Winsor McCay, George McManus and Frederick Burr Opper.

Among his early favorites were Winsor McCay ( mostly known for Little Nemo ) and Frederick Burr Opper ( mostly known for Happy Hooligan ) but he would later study any style that managed to draw his attention.

Frederick Burr Opper ( January 2, 1857 – August 28, 1937 ) is regarded as one of the pioneers of American newspaper comic strips, best known for his comic strip Happy Hooligan.

Opper also illustrated books for Edgar Wilson Nye, Mark Twain and Finley Peter Dunne, and published his own books, including Puck's Opper Book ( 1888 ), The Folks in Funnyville ( 1900 ) and Happy Hooligan Home Again ( 1907 ).

In 1904, Frederick Opper drew his And Her Name Was Maud, about the kicking mule Maud, into comic strips, books and animation, but on May 23, 1926, Opper positioned And Her Name Was Maud as the topper to his Happy Hooligan, and it ran along with Happy Hooligan until both strips came to a conclusion on October 14, 1932.

* Opper cartoons for 1900 election ridiculing TR and McKinley as pawns of Trusts and Sen. Hanna

* Alphonse and Gaston, an American comic strip by Frederick Burr Opper featuring a bumbling pair of Frenchmen with a penchant for politeness

Opper was then hired to draw for Puck by publishers Joseph Keppler and Adolph Schwarzmann.

In 1899, Opper accepted an offer by William Randolph Hearst for a position with the New York Journal.

* Opper cartoons for 1900 election ridiculing TR and McKinley as pawns of Trusts and Sen. Hanna

Alphonse and Gaston was an American comic strip by Frederick Burr Opper, featuring a bumbling pair of Frenchmen with a penchant for politeness.

Critters 2 is a 1988 science fiction comedy horror film starring Terrence Mann, Don Keith Opper, and Scott Grimes.

Critters 4 is a 1992 science fiction comedy horror film starring Don Keith Opper, Terrence Mann, Angela Bassett and Brad Dourif.

Some of the space scenes are taken from the previous Critter films, as well as the 1982 film Android which also starred Don Keith Opper.

Don Keith Opper ( born June 12, 1949 ) is an American actor, writer, and producer who has starred in film and on television.

The film follows the story of Doctor Daniel ( Kinski ) and his assistant Max 404 ( Don Keith Opper ) who work on a space lab in the year 2036 on an illegal android program.

Among his earliest influences were Punch cartoonist – illustrator Phil May, and American comic strip cartoonists Tad Dorgan, Cliff Sterrett, Rube Goldberg, Rudolph Dirks, Fred Opper, Billy DeBeck, George McManus and Milt Gross.

Thorsten Opper in Hadrian: Empire and Conflict notes: " Hardly anything is known of Antinous ' life, and the fact that our sources get more detailed the later they are does not inspire confidence.

" By this account, Dr. Robinson painted the original mule while a 21-year-old college student inspired by Maud the Mule, from the Frederick Burr Opper comic strip And Her Name Was Maud.

Herriman drew sports cartoons in an office alongside Frederick Burr Opper and James Swinnerton, and Tad Dorgan, who worked at the New York Evening Journal, another Hearst paper.

His influences included cartoonists George Kerr, Frederick Opper, E. W.

Over the years, Puck employed many early cartoonists of note, including, Louis Dalrymple, Bernhard Gillam, Livingston Hopkins, Frederick Burr Opper, Louis Glackens, Albert Levering, Frank Nankivell, J. S.

Opper married Nellie Barnett on May 18, 1881.

On Happy's 30th birthday, Opper threw a party attended by President Hoover, former President Coolidge, Charles Schwab, Alfred E. Smith and others.

Beginning in 1904, Opper drew And Her Name Was Maud, about the kicking mule Maud, into comic strips, books and animation.

Opper drew influential political cartoons supporting Hearst's campaign against the " trusts " with characters " Willie and Teddy ", depicting William McKinley and Theodore Roosevelt, " Willie and his Papa ", satirizing McKinley and " Papa Trusts ", and " Nursie ", a depiction of Cleveland industrialist Mark Hanna.

Opper was a member of several New York clubs, and he painted as a hobby.

Cartoonists Russ Westover and Alex Raymond took part in an August 29, 1937 memorial to Opper broadcast on New York's WNEW.

It was entitled Jiji Manga, and was thought to have been influenced by the works of Frank Arthur Nankivell and Frederick Burr Opper.

The AMPAS was originally conceived by Metro-Goldwyn-Mayer studio boss Louis B. Mayer as a professional honorary organization to help improve the film industry ’ s image and help mediate labor disputes.

The International Encyclopedia of the Social Sciences defines psychological altruism as " a motivational state with the goal of increasing another ’ s welfare ".

Psychological altruism is contrasted with psychological egoism, which refers to the motivation to increase one ’ s own welfare.

One way is a sincere expression of Christian love, " motivated by a powerful feeling of security, strength, and inner salvation, of the invincible fullness of one ’ s own life and existence ".

Another way is merely " one of the many modern substitutes for love, ... nothing but the urge to turn away from oneself and to lose oneself in other people ’ s business.

* David Firestone-When Romney ’ s Reach Exceeds His Grasp-Mitt Romney quotes the song

" Swift extends the metaphor to get in a few jibes at England ’ s mistreatment of Ireland, noting that " For this kind of commodity will not bear exportation, and flesh being of too tender a consistence, to admit a long continuance in salt, although perhaps I could name a country, which would be glad to eat up our whole nation without it.

George Wittkowsky argued that Swift ’ s main target in A Modest Proposal was not the conditions in Ireland, but rather the can-do spirit of the times that led people to devise a number of illogical schemes that would purportedly solve social and economic ills.

In response, Swift ’ s Modest Proposal was " a burlesque of projects concerning the poor ", that were in vogue during the early 18th century.

Critics differ about Swift ’ s intentions in using this faux-mathematical philosophy.

Charles K. Smith argues that Swift ’ s rhetorical style persuades the reader to detest the speaker and pity the Irish.

Swift ’ s specific strategy is twofold, using a " trap " to create sympathy for the Irish and a dislike of the narrator who, in the span of one sentence, " details vividly and with rhetorical emphasis the grinding poverty " but feels emotion solely for members of his own class.

Swift ’ s use of gripping details of poverty and his narrator ’ s cool approach towards them create " two opposing points of view " that " alienate the reader, perhaps unconsciously, from a narrator who can view with ' melancholy ' detachment a subject that Swift has directed us, rhetorically, to see in a much less detached way.

Once the children have been commodified, Swift ’ s rhetoric can easily turn " people into animals, then meat, and from meat, logically, into tonnage worth a price per pound ".

Swift uses the proposer ’ s serious tone to highlight the absurdity of his proposal.

In making his argument, the speaker uses the conventional, text book approved order of argument from Swift ’ s time ( which was derived from the Latin rhetorician Quintilian ).

James Johnson argued that A Modest Proposal was largely influenced and inspired by Tertullian ’ s Apology: a satirical attack against early Roman persecution of Christianity.

Johnson notes Swift ’ s obvious affinity for Tertullian and the bold stylistic and structural similarities between the works A Modest Proposal and Apology.

He reminds readers that " there is a gap between the narrator ’ s meaning and the text ’ s, and that a moral-political argument is being carried out by means of parody ".