...Personal Response Agamemnon is a play written by Aeschylus 2500 years ago in Greece. It is known as one of the most tragic Greek play of that time. The play is named after its main character Agamemnon, the King of Argos. The play consists of three main characters Agamemnon the King of Argos, Clytemnestra the Queen of Argos and Cassandra the Princess of Troy. Agamemnon Agamemnon, the King of Argos and the primary character of the play is a big believer in God. He was fighting with Trojans for ten years to conquer Troy. And in order to win the battle he sacrificed his own daughter Iphigenia to please his God to gain favour in the battle. This character of Agamemnon reflects that he is only concerned about his own interests and his immense greed for power. For his own interests he left his wife alone for ten years and even worse he sacrificed his daughter to God for his greed of gaining power. Thus for Agamemnon, his self interests and greed for power was more than love for his family. And at the end Agamemnon was killed by his wife who was seeking revenge on him. Clytemnestra Clytemnestra, the Queen of Argos plays a significant role in the play. After Agamemnon went for Trojan War, his wife Clytemnestra was left alone for ten years. And by this time she developed a relationship with Aegisthus due to the absence of her husband. And when she came to know that Agamemnon sacrificed their daughter Iphigenia...
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...Lesson 1 personal response. Agamemnon Agamemnon seems humble and charming to refuse to walk along the silk carpet. He calls the act arrogant and it would be suitable for a god, not himself. He says he is man, not god and he would be afraid to offend the almighty. He then agrees to walk the carpet after Clytemnestra's flattery. He sounds like a child praying that he not get caught for stealing a cookie. "I pray, let none among the gods look down." He knows walking along the carpet will feel glamorous and wonderful but he is disregarding his first statement of the arrogance of the action. I had a lot of respect for him in the beginning, staying humble and true. Then for him to agree after his previous statement makes me feel like he is not a man of his word and he is easily persuaded. Cassandra Poor Cassandra has the ability to see the future but the curse also says that no one would believe her prophesies. In her vision she sees Agamemnon's wife kill her husband and Cassandra in many ways, poison, chopped by a sword and strangled. Cassandra feels revenged, she says a prophesies about someone who will avenge not only her, but her fathers death as well. He will be, "a banished wanderer in a stranger's land." It makes Cassandra courageous looking to talk to Hades, to acknowledge her soon to be fate and to pray for a swift end. Clytemnestra She seems a bit crazy to have murdered her husband and the innocent prisoner of war and then to be offended that the Chorus is concerned...
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...these destinies controlled by? Fate seems to be the only answer, yet, can fate alone stop a god from changing outcomes for their personal gain? In the Iliad, gods and humans are shown to have a varying degree of control on the outcome of human life and death. The true controller of the outcome of success vs. failure, and life vs. death, will be analyzed with...
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...Their willingness to harm and even kill those that please them in order to exact revenge on those that have angered them portrays their fondness of the Greeks to be similar to that of pieces on a chess board. Although it might disappoint them that the favored individuals are dead, they can rejoice that they have fulfilled their desired outcome; just like a pawn is sacrificed in to capture a more important piece, such as the queen. This is the case for Apollo, for in the end, Agamemnon released the priest’s daughter. His desired goal had been fulfilled, but at the price of many lives. If the gods truly cared about their people, the lives of many would not have been considered a fair price to pay to achieve such a goal. ”In the Iliad, the gods often are watching the events of the siege at Troy as a group,” and in one such occasion, [“the race between Hector and Achilles is compared to games, and the watching gods implicitly to the audience at the games”] (Lovatt). By implying that the gods think of the war between the Greeks and the Trojans as a game, one can fully understand how detached the gods truly are from the people that serve them. They are nothing but a form of entertainment for these immortal beings. Death becomes...
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...Rahat Hasan War, Love, and Glory “And his loving father laughed, his mother laughed as well, and glorious Hector, quickly lifting the helmet from his head, set it down on the ground, fiery in the sunlight, and raising his son he kissed him, tossed him in his arms, lifting a prayer to Zeus, all you immortals! Grant this boy, my son, may be like me, first in glory among the Trojans, strong and brave like me, and rule all Troy in power” (6.562-69) In Book 6 of The Iliad, Homer describes the highly acclaimed Trojan warrior, Hector, returning from the battlefield to the city of Troy, where he meets his wife Andromache, and his infant son Astyanax. The excerpt displayed above describes the meeting of Hector with his family and serves an important purpose in The Iliad because it humanizes and reveals the positive traits of the great warrior; the audience can relate to Hector as he returns from war and suddenly embraces Astyanax upon seeing him. Homer is able to achieve a great level of emotional depth in this excerpt because he employs imagery that vividly conveys Hector’s return to his family. When Hector hastily removes his helmet upon seeing how it frightens Astyanax, Homer writes a series of clauses containing thoughts, feelings, and emotions which make the audience realize that Hector, who previously affirmed his devotion to the war, has a tender and loving side as well. Hector’s sudden display of emotion may seem questionable to the audience at first, because in...
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...Book 1 That night, Agamemnon puts Chryseis on a ship back to her father and sends heralds to have Briseis escorted from Achilles’ tent. Achilles prays to his mother, the sea-nymph Thetis, to ask Zeus, king of the gods, to punish the Achaeans. He relates to her the tale of his quarrel with Agamemnon, and she promises to take the matter up with Zeus—who owes her a favor—as soon as he returns from a thirteen-day period of feasting with the Aethiopians. Thetis makes her appeal to Zeus, as promised. Zeus is reluctant to help the Trojans, for his wife, Hera, favors the Greeks, but he finally agrees. Hera becomes livid when she discovers that Zeus is helping the Trojans, but her son Hephaestus persuades her not to plunge the gods into conflict over the mortals. Analysis But while the poem focuses most centrally on the rage of a mortal, it also concerns itself greatly with the motivations and actions of the gods. Even before Homer describes the quarrel between Achilles and Agamemnon, he explains that Apollo was responsible for the conflict. In general, the gods in the poem participate in mortal affairs in two ways. First, they act as external forces upon the course of events, as when Apollo sends the plague upon the Achaean army. Second, they represent internal forces acting on individuals, as when Athena, the goddess of wisdom, prevents Achilles from abandoning all reason and persuades him to cut Agamemnon with words and insults rather than his sword. But while the gods serve a serious...
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...Personal Response Agamemnon made himself seem like a humble, apologetic character by acknowledging the fact that he wasn’t godlike, to which he was quickly changed into an egotistical character filled with nothing but pride. He was an easily persuaded man who viewed women as prizes to be won and used, which in turn lead to his untimely death. His actions set the play in action, but his character had little effect on the rest of play; he was more seen than heard. I thought he was going to be a more important character so I was surprised by the fact that he was easily killed off when the play was written after him. His character had the least impact on me emotionally and I believe throughout every reader. Cassandra was a character who had a very short character development but was able to make the impression that she was a very accepting, humble, grateful woman. We learn that she has a gift of prophecy which is evidently cursed with disbelief by everyone else around her. She is a very calm, opinionated character who has to accept that she is going to die and is unable to change the fact or ask for help. She had a bigger impact than the role she played due to atmosphere she creates, which ultimately makes you pity her while she accepts her fate and awaits to be avenged. I got attached to her character more than the others due to her emotional disconnection with everyone else around, she was vulnerable and I connected with her even though she didn’t play a big part in the tragedy...
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...from oral storytelling to literary works. I believe this to be true because a reader will not get the same story as an audience listening to an oral telling. One of the ways that the literary transitions of epics falls short of the oral telling is the lack of control the author has over the reader’s understanding of the intended emotional response. Devices such as emphasis, volume, delivery, intonation, cadence, and facial expressions are all together lost when a work is being read as opposed to heard and seen. An oral storyteller has the ability to change a single sentence from a sorrowful tragedy to a comedic parody using simply their voice and tone. The first lines of Homer’s The Iliad could be argued to be the most important in the book. Within the first stanza, the whole tone and mood of the epic is set; imagine the immense power a story teller possess here: “RAGE: Sing, Goddess, Achilles’ rage, Black and murderous, that cost the Greek incalculable pain, pitched countless souls of heroes into Hades’ dark, and left their bodies to rot as feasts for dogs and birds, as Zeus’ will was done. Begin with the clash between Agamemnon-The Greek warlord-and godlike Achilles”...
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...In Freudian psychology, psychosexual development is a central element of the psychoanalytic sexual drive theory, that human beings, from birth, possess an instinctual libido (sexual energy) that develops in five stages. Each stage – the oral, the anal, the phallic, the latent, and the genital – is characterized by the erogenous zone that is the source of the libidinal drive. Sigmund Freud proposed that if the child experienced sexual frustration in relation to any psychosexual developmental stage, he or she would experience anxiety that would persist into adulthood as a neurosis, a functional mental disorder.[1][2] Contents [hide] 1 Background 2 Freudian psychosexual development 2.1 Oral stage 2.2 Anal stage 2.3 Phallic stage 2.4 Latency stage 2.5 Genital stage 3 Criticisms 3.1 Scientific 3.2 Feminist 3.3 Anthropologic 4 Medical sexological model 5 See also 6 References Background[edit] The neurologist Sigmund Freud, c. 1921. Sigmund Freud (1856–1939) observed that during the predictable stages of early childhood development, the child's behavior is oriented towards certain parts of his or her body, e.g. the mouth during breast-feeding, the anus during toilet-training. He argued that adult neurosis (functional mental disorder) often is rooted in childhood sexuality, and consequently suggested that neurotic adult behaviors are manifestations of childhood sexual fantasy and desire. That is because human beings are born "polymorphous perverse", infants...
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...Modern Performance and Adaptation of Greek Tragedy Helene P. Foley Barnard College, Columbia University “Leave it to a playwright who has been dead for 2,400 years to jolt Broadway out of its dramatic doldrums” begins a recent New York Times review (December 4, 1998) of a British Electra by Sophocles starring Zoe Wanamaker and Claire Bloom. This fall the Times has repeatedly remarked on the “deluge” of Greek tragedy in the 1998-99 theater season: the National Theater of Greece’s Medea, Joanne Akalaitis’ The Iphigeneia Cycle (a double bill that combines Euripides’ two Iphigeneia plays), a revival of Andrei Serban’s famous Fragments of a Greek Trilogy, and a four-and-a-half-hour adaptation of the Oedipus Rex were announced at the start of the season. Off-off Broadway versions will inevitably follow. The Brooklyn Academy of Music even hosted a dance/theatre piece based on the Eleusinian Mysteries. 1 The Classic Stage Company, an off-Broadway theater group devoted to performance and adaptation of Western classics, currently receives more scripts that re-work Greek tragedy than any other category of drama. 2 From a global perspective, New York is simply reflecting a trend set by important modern playwrights and directors worldwide. Greek drama now occupies a regular place in the London theater season. In the past twenty years, acclaimed productions have been mounted not only in Europe but also in Japan, India, and Africa. Translations are even beginning to proliferate in China, occasionally...
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...evidence that work breaks increases productivity and that computer games can be beneficial. We investigated the effects of computer games, particularly short Internetbased games, on productivity, especially when games are played during short breaks. We conducted two studies simulating work in an office environment, and examined the impact of computer game breaks. Although our investigations proved inconclusive, our methodology can be used for future investigations into this subject. Chapter 1: Introduction 1.1 - Preface Computer games have existed as a major recreational activity since the introduction of Pong in the 1970’s. Since the introduction of the personal computer the availability of electronic entertainment has increased drastically, becoming available in locations where it was previously unaccessible. The sheer number of personal computers in the workplace and presence of games on the World Wide Web have made computer games easily accessible to employee's in the workplace. Like most entertainment, the use of computer games in the workplace is frowned upon by many employers1, although there is mounting evidence that games can help stimulate thinking and foster social relationships2. However, the effects of computer games on productivity have not been as thoroughly explored. This IQP investigated the effects of skill-based computer games, particularly casual online games, on productivity, especially when the games are played during a short...
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...In Conjunction with History of Ethics Instructor: Robert Cavalier Teaching Professor Robert Cavalier received his BA from New York University and a Ph.D. in Philosophy from Duquesne University. In 1987 he joined the staff at Carnegie Mellon's Center for Design of Educational Computing (CDEC), where he became Executive Director in 1991. While at CDEC, he was also co-principal in the 1989 EDUCOM award winner for Best Humanities Software (published in 1996 by Routledge as A Right to Die? The Dax Cowart Case). He also coauthored the CD-ROM The Issue of Abortion in America (Rountledge, 1998) Dr. Cavalier was Director of CMU's Center for the Advancement of Applied Ethics and Political Philosophy from 2005-2007. He currently directs the Center's Digital Media Lab which houses Project PICOLA (Public Informed Citizen Online Assembly), and is also co-Director of Southwestern Pennsylvania Program for Deliberative Democracy. Co-Editor of Ethics in the History of Western Philosophy (St. Martin's/Macmillan, England, 1990), Editor of The Impact of the Internet on Our Moral Lives (SUNY, 2003) and other works in ethics as well as articles in educational computing, Dr. Cavalier is internationally recognized for his work in education and interactive multimedia. He was President of the "International Association for Computing and Philosophy" (2001 - 2004) and Chair of the APA Committee on Philosophy and Computers (2000-2003). Dr. Cavalier has given numerous addresses and...
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...Principles of Measurement Mosso member of the FASB FASB’s Conceptual Framework project over the period 1973-1985 Define measurement Measurement is the assignment of numerals and other symbols to represent the magnitude of an attribute of a phenomenon Phenomenon A thing or event of interest E.g. a table, a performance, an exam Attribute A characteristic or quality of the phenomenon to be measured Magnitude The extent to which the phenomenon has the attribute Often we can’t directly observe a phenomenon of interest We need to find a substitute Direct observation- the only time we can accurately observe the attribute and phenomenon How happy is the baby? Phenomenon-baby Attribute-happiness Can you measure this attribute directly? NO Smiles per hour Laughter per day Financial Statements: When investors focus on a company’s net income, is net income necessarily the investors’ attribute of interest Firm performance Firm future performance What two things do accounting measures often represent Performance- what have we done? Position- what do we have? Business Strategy and Accounting USSBA Too many teams to manage What is strategy according to Porter? Strategy is creating a fit among an organization’s activities (to enable it to realize its goal or mission). The success of a strategy depends on doing many things well and integrating among them Operational Effectiveness versus Strategic Positioning Operational effectiveness Performing similar activities...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...A618C90F-C2C6-4FD6-BDDB-9D35FE504CB3 First American paperback edition published in 2006 by Enchanted Lion Books, 45 Main Street, Suite 519, Brooklyn, NY 11201 Copyright © 2002 Philip Stokes/Arcturus Publishing Limted 26/27 Bickels Yard, 151-153 Bermondsey Street, London SE1 3HA Glossary © 2003 Enchanted Lion Books All Rights Reserved. The Library of Congress has cataloged an earlier hardcover edtion of this title for which a CIP record is on file. ISBN-13: 978-1-59270-046-2 ISBN-10: 1-59270-046-2 Printed in China Edited by Paul Whittle Cover and book design by Alex Ingr A618C90F-C2C6-4FD6-BDDB-9D35FE504CB3 Philip Stokes A618C90F-C2C6-4FD6-BDDB-9D35FE504CB3 ENCHANTED LION BOOKS New York Contents The Presocratics Thales of Miletus . . . . . . . . . . . 8 Pythagoras of Samos . . . . . 10 Xenophanes of Colophon 12 Heraclitus . . . . . . . . . . . . . . . . . . . 14 The Scholastics St Anselm . . . . . . . . . . . . . . . . . . 48 St Thomas Aquinas . . . . . . . 50 John Duns Scotus . . . . . . . . . 52 William of Occam . . . . . . . . . 54 The Liberals Adam Smith . . . . . . . . . . . . . . 106 Mary Wollstonecraft . . . . 108 Thomas Paine . . . . . . . . . . . . . 110 Jeremy Bentham . . . . . . . . . 112 John Stuart Mill . . . . . . . . . . 114 Auguste Comte . . . . . . . . . . . 116 The Eleatics Parmenides of Elea . . . . . . . 16 Zeno of Elea . . . . . . . . . . . . . . . 18 The Age of Science Nicolaus Copernicus . . . . . . 56 Niccolò Machiavelli...
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