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The Birth of the fiero

            The Fiero was one of the most unique cars ever to be made in America. The Pontiac division of General Motors produced the Fiero from 1984 to 1988 were it turned a profit every year. The Fiero is most unique for its drive train layout and body styling. When first seen most people believe the car is front wheel drive, but in reality it is really rear wheel drive. Even more unique is the engine location, because it's not in the traditional front of the car location. The Fiero was the first production car in America to use a mid-engine design putting the motor behind the driver. .
             The Fiero was also special in that the body had an Italian racing theme to it. It showed lines from Ferraris and was often thought as an imported sports car. Its body was also untraditional at the time being made from a combination of plastics and fiberglass materials. Making removal of body panels very easy and cutting the weight of the car down at the same time. The Fiero's chassis is made from a steel structure that gives it a unibody design. "The chassis was made from 300 major stampings using approximately 4300 welds to piece the chassis together." (Pontiac Press. ClassicFiero.com) .
             Another item contributing to the Fiero's uniqueness was that it was a true two-seater cockpit design. As you step way down into the cockpit you will realize your only about 11 inches off the ground. You look around inside and notice the Italian racey-sports car theme once again. Another item you"ll notice is that the gear shifter is located about the same height as the steering wheel giving you easier shifting. The gauge pod has a simple design that sits with the normal speedo on you left and tach on its right. You stroll around to the passenger side and have a seat. You then lay back and realize that there is plenty of surprising leg room letting a six-foot person easily stretch their legs. .
             In the late 70's Pontiac was looking to design a new sports car.


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1. Women, prisoners of the past

... physical appearance. From the middle ages to the Renaissance, the stereotypical body types of women have been portrayed in artwork in "Fiero" and the lectures, as much different from that of today. Women were portrayed as being round and soft with many curves. The artwork from the past, especially from the Renaissance period, exemplified the idealized portrayal of womankind, such as in "Fiero" Chapter 17, in Botticelli's "Birth of Venus" painting (. The majority of artists during that ... time painted nude bodies: the women were always pale, with large, round stomachs and wide hips. How...

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2. Fertility

Since the birth of civilization fertility has been the prime focus for survival. Fertility symbols have been venerated ever since the paleothic culture was begun . Fertility symbols give a sense of security to the people amongst which it's being revered. In paleothic culture the Venus of Willendorf is a prime example of pre-christaian fertility symbols. A small statue made of limestone with large breast, buttocks and swollen abdomen, indication pregnancy (Fiero, pg ... always exist in one way or another because for all beings fertility in the basis for survival. I believe fertility symbols wil...

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3. Egypt

... . Witnessing these natural processes of their environment likely influenced their beliefs. The Egyptians perceived both the certainty of death and the assurance of birth through the constant reliability of nature confirmed by the daily rising and setting of the sun, (Fiero 19). According to Egyptian mythology, at the beginning of time the Nile's "primordial waters" brought a mound of silt, and out of this mound the self generating sun god emerged. And from the Sun God, the rest of Egypt's gods were born ... , (Fiero 19). Without this river there ... ...

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4. Dante Alighieri's Divine Comedy

... , also known as Inferno, tells about the spiritual pilgrimage of Dante from Hell to Purgatory (Fiero 148). The Roman poet Virgil, who guides Dante through hell, acts as the symbol of reason and studies the varieties of human sin (Sayre 441). As a matter of fact, the Inferno serves as criticism of his Italian contemporaries, some from history and legend from his era, marred by the severity of their sin (Sayre 441). Alighieri opted ... , should want to get mislead by a public figure. The nine circles conveyed in the Inferno are relevant examples of conflicting moralities that reflected both...

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