... ▪ between a character and nature (man vs. nature) ▪ within a character’s mind (man vs. himself) ▪ between characters (man vs. man) P.981 begins with Homer, who is credited with the first telling of The Odyssey, asking a Muse for help in telling the story of Odysseus Muse- any one of the nine goddesses of the arts, literature, and the sciences; the spirit that is thought to inspire a poet or other artist According to this introduction by Homer, Odysseus has many qualities that make him a hero - he has “weathered many days and nights…at sea” - he has “a deep heart” - he fought for the noble purpose of saving his own life and bringing “his shipmates home” Which act led to this epic journey of Odysseus? The journey begins after Odysseus leads the plunder of Troy. plunder- to take goods by force; steal Sailing from Troy [pic] P.983-984 When this section begins, Odysseus has departed from the goddess Calypso’s island - It has been 10 years since the end of the Trojan War He arrives in Phaeacia, ruled by Alcinous Alcinous offers a ship to Odysseus and asks him to tell his story Odysseus begins by bragging that he is famous for his “guile” which makes him effective in peace and war • guile- craftiness; cunning Explains that his home is in Ithaca (an island off the west coast of Greece) He has been detained by Calypso...
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...states: “O Brother, Where Art Thou? is a Homeric journey through Mississippi during the Depression (Ebert, Roger 2000).” The film itself depicts the obstacles and fate of a man during the Great Depression who escapes from jail and whose only goal is to make it back home. The struggles he and his fellow escapees meet along the way are strikingly similar to the perils that face Odysseus and his men on their mission to get back to Ithaca. Also, the character references in the film that parallel the characters in the epic poem are abundant. The film is almost a modern homage to the ancient poem in all the different ways it emulates “The Odyssey.” To fully understand all of the different ways the film relates to the poem, it is important to establish the character comparisons between the two works. The protagonist of the film, Ulysses Everett McGill is the movie’s equivalent to Odysseus, the hero and king of the poem. Even in their names they are related because Ulysses is the Latin name for Odysseus. They are also similar because they both shared the common goal of getting home to their wives. Ulysses and Odysseus are both leaders, cunning and smart,...
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...Philosophies (Women)- Women play either a motherly role or that of a seductress. They are weakened along with being lost without a guide and a support. An example would be Penelope, wife of Odysseus since she is a mother, but while Odysseus is gone, and when suitors come along, in a way she tempts them in terms of power (of the role of king) and as a woman, but she actually never gives in to any of the men. The purpose of women was mainly to lament the losses for their men and also persuading for their safety. Criticism- Homer had written the Odyssey with a bit of over-the-top reiteration, along with the missing component of a sense of unity. However, even when Odysseus wasn’t on a scene, the lines of the story still indicate that he is...
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...Section 6 1/6/14 Odyssey Book and Movie Comparison In life today many movies are based off of books and vise versa. In fact more people tend to watch movies and read books that are based off each other. The Odyssey by Homer, is a famous piece of literature that depicts a hero’s way home from a war. It is arguably one of the greatest pieces of literature ever written, so there is obviously a movie that bases itself off of this book. There are many similarities between the book and movie due to the fact that the movie wants to stay true to the book. Furthermore, there are also many differences between the book and movie due to many factors that take place when making a movie. The book and movie The Odyssey are very similar and alike, but they do share their differences as no movie and book can be a hundred percent the same. To begin with, The Odyssey book and movie have many similarities. Since the movie is copy of the book, many of the plot points and events are the same. For example Odysseus and his men go on the same journey. The movie includes most of the important places the go to. These places include the land of the Cyclops, island of Aeaea (Circe), the land of the Dead, and the area of the Sirens and Charybdis. Another example is the characters. Both the book and movie include the same charcters such as Odysseus, Telemachus, Penelope, Antinous, etc. The last example is the same plot ending. They both end with Odysseus killing all of the suitors with the help of...
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...Gilgamesh and Odysseus were two heroes from two completely different time periods that were both in search of the meaning of life, or what could be done in a lifetime. Gilgamesh and the Odyssey are both categorized as hero myths. This is because both hero's go through growth and change throughout out their conquests. The epics that the two characters are featured in Gilgamesh, was developed from early Mesopotamia and the Odyssey in early Greece. Gilgamesh was a very popular and it was very valuable to the historian of Mesopotamian culture because it reveals much about the religious world, such as their attitudes toward the gods, how a hero was defined and regarded, views about death and friendship. The Odyssey was also very popular in its era. It was set in ancient Greece where in its culture; mythology was the heart of everyday life. Gilgamesh, the hero from the epic Gilgamesh, was the historical king of Uruk in Babylonia, on the river Euphrates. He lived about 2700B.C. Odysseus, the hero from the epic the Odysseus, was the ruler of the island kingdom of Ithaca. He was one of the most prominent Greek leaders of the Trojan War. Both of these men were granted certain strengths, Gilgamesh had physical, while Odysseus had mental strengths. The journeys of Gilgamesh and Odysseus are two incredible stories written long ago; these two heroes have many similarities, but also many differences. The differences are between these two great heroes are slim, but significant. Gilgamesh was...
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...EXAMINATION OF DUTY AND SELF CONTROL IN THE ODYSSEY Aashna Jamal INTRODUCTION Under the rule of Zeus, events did not occur in isolation but in interdependence causing there to be a flux in the totality of events and the whole drama being played on a cosmic plane. The central theme of Zeus’s rule is the preservation of his “ oikos” or household management where the prevalence of order over Chaos is of utmost importance. In this paper, using the Odyssey as a case study, I will examine the thematic importance of the decisions taken by a hero in accordance to or defiance of self control and pietas and the consequences they lead to. These expectations are clearly marked out for the reader who waits in anticipation to garner the fate of the hero. I will analyse the themes of self control and pietas or duty in the Odyssey and discuss their special significance in this epic. I will then briefly talk about the Hindu concept of duty or Dharma with reference to the Ramayana. I however do not intend to use the concept of monomyth coined by Joseph Campbell also referred to as the hero's journey(which is a basic pattern that its proponents argue is found in many narratives from around the world.) in comparing these epics. The example of the Ramayana will only serve my purpose of highlighting the theme of duty in mythologies across the world. Lastly, I will conclude with the importance of inspecting these themes because of their significance to the plotline. Georg Wissowa notes that pietas was...
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...is light becomes twilight and dark. Just as the East represents the arrival of sun with its light and rationality—of darkness dispelled— so too does the West embody the loss of that sun’s light and logic and the commencement of night. However, there are more boundaries between East and West than merely the presence or absence of light. After the time of Columbus, the people who looked toward the West, and particularly the North American continent, saw more than just land. The West was a sacred place where magic, hallowed, and even treacherous experiences were possible. This idea that possibilities existed in the West that did not exist elsewhere motivated millions to leave the Old World for the new and redefine themselves in a Western landscape of unlimited possibilities. What is the West? These early settlers, religionists, and explorers to the West came to the shores of the Atlantic seaboard unsure of what to expect from the new landscape they encountered. By leaving their homes and coming to a new land to make a new life, these immigrants breached a frontier. Frontiers are not solidified lines of demarcation; instead, they are indistinct and shifting perceptions that divide what is “us” from what is not yet “us.” As immigrants traveled west they increased the distance from their old, comfortable lives, and with each...
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...THE HERO WITH A THOUSAND FACES JOSEPH CAMPBELL BO I. L I N G EN SERIES XVII PRINCETON UNIVERSITY AND PRESS P R I N C E T O N OXFORD Copyright © 2004 by Princeton University Press Published by Princeton Unhxmt^Pms, U WiffiaM SUrtt, Pnnceton, New Jersey 08540; im^inii!-. •:-..• punght i 1-49 by Botiingen e d i t i o n l n ' i l h Foundation, rc't.'itii.yi •: • andpttt t*j''!' !_•"' . !.,.: b% :''ohi: •• Bough, one-volume edition, p. 386. Copyright, 1922 by The MacmiUan Company and used with their permission). Compare Sigmund Freud: "I recognized the presence of symbolism in dreams from the very beginning. But it was only by degTees and as my experience increased that I arrived at a full appreciation of its extent and significance, and I did so under the influence of . . . Wilhelm Stekel. . . . Stekel arrived at his interpretations of symbols by way of intuition, thanks to a peculiar gift for the direct understanding of them. . . . Advances in psycho-analytic experience have brought to our notice patients who have shown a direct understanding of dream-symbolism of this kind to a surprising extent. . . . This symbolism is not peculiar to dreams, hut is characteristic of unconscious ideation, in particular among the people, and it is to be found in folklore, and in popular myths, legends, linguistic idioms,, proverbial wisdom and current jokes, to a more complete extent than in dreams." {The Interpretation of Dreams, translated by...
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...Chapter One A SQUAT grey building of only thirty-four stories. Over the main entrance the words, CENTRAL LONDON HATCHERY AND CONDITIONING CENTRE, and, in a shield, the World State's motto, COMMUNITY, IDENTITY, STABILITY. The enormous room on the ground floor faced towards the north. Cold for all the summer beyond the panes, for all the tropical heat of the room itself, a harsh thin light glared through the windows, hungrily seeking some draped lay figure, some pallid shape of academic gooseflesh, but finding only the glass and nickel and bleakly shining porcelain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse-coloured rubber. The light was frozen, dead, a ghost. Only from the yellow barrels of the microscopes did it borrow a certain rich and living substance, lying along the polished tubes like butter, streak after luscious streak in long recession down the work tables. "And this," said the Director opening the door, "is the Fertilizing Room." Bent over their instruments, three hundred Fertilizers were plunged, as the Director of Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the absent-minded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly arrived students, very young, pink and callow, followed nervously, rather abjectly, at the Director's heels. Each of them carried a notebook, in which, whenever the great man spoke, he desperately...
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...The Wealth of Networks The Wealth of Networks How Social Production Transforms Markets and Freedom Yochai Benkler Yale University Press New Haven and London Copyright _ 2006 by Yochai Benkler. All rights reserved. Subject to the exception immediately following, this book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. The author has made an online version of the book available under a Creative Commons Noncommercial Sharealike license; it can be accessed through the author’s website at http://www.benkler.org. Printed in the United States of America. Library of Congress Cataloging-in-Publication Data Benkler, Yochai. The wealth of networks : how social production transforms markets and freedom / Yochai Benkler. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-300-11056-2 (alk. paper) ISBN-10: 0-300-11056-1 (alk. paper) 1. Information society. 2. Information networks. 3. Computer networks—Social aspects. 4. Computer networks—Economic aspects. I. Title. HM851.B457 2006 303.48'33—dc22 2005028316 A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. 10 9 8 7 6 5 4 3 2 1...
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...'Vhat'Ve Can't A Guide J. Budzisze wski WHAT WE CAN’T NOT KNOW J. BUDZISZEWSKI WHAT WE CAN’T NOT KNOW A Guide Revised and Expanded Edition IGNATIUS PRESS SAN FRANCISCO First edition published by Spence Publishing Company, Dallas, Texas ©2003 by J. Budziszewski All rights reserved Cover illustration: Comstock/Fotosearch.com Cover design by Sam Torode ©2004 Spence Publishing Company Used by permission Published in 2011 by Ignatius Press, San Francisco ©2003, 2011 J. Budziszewski All rights reserved ISBN 978-1-58617-481-1 Library of Congress Control Number 2010927673 Printed in the United States of America To my grandparents Julian and Janina Budziszewski, long departed, not forgotten The mind of man is the product of live Law; it thinks by law, it dwells in the midst of law, it gathers from law its growth; with law, therefore, can it alone work to any result. —George MacDonald CONTENTS PREFACE TO THE SECOND EDITION A New Phase of an Old Tradition ix PREFACE TO THE FIRST EDITION Whom This Book Is For xix ACKNOWLEDGMENTS xxiii INTRODUCTION The Moral Common Ground 3 I THE LOST WORLD Things We Can’t Not Know 1 2 What It Is That We Can’t Not Know 3 Could We Get By Knowing Less? II EXPLAINING THE LOST WORLD 4 The First and Second Witnesses 5 The Third and Fourth Witnesses 6 Some Objections vii 19 29 54 83 93 116 viii WHAT WE CAN’T NOT KNOW III HOW THE LOST WORLD WAS LOST 7...
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...\nvt'$ mvmj of thf "i'emW^ le$t ^mH, THE DISCOURSES OF EPICTETUS. WITH THE ENCHEIRIDION AND FRAGMENTS. TRANSLATED, AND A WITH VIEW NOTES, OF HIS A LIFE OF EPICTETUS, PUILO80PUY. By GEOKGE long, M.A. NEW YORK: A. L. BURT, PUBLISHER, EPICTETUS. Very that he little was a is known* native of and of the life of in Epictetus. Phrygia, the in Maeander the a it is saia Hierapolis, a town tween be- the the to Mgeander branch of named of Paul it in the of Lyons. the Hierapolis of Colossi that time is mentioned epistle from people (Coloss. there of the was iv. a 13); which church date of fact his master has been concluded at Christian The Hierapolis birth of the apostie. The Epictetus life is that is unknown. he a was a only Rome, recorded and of broke the his was early slave in Epaphroditus, There is a profligate that the freedman master to on emperor his slave's dence evi- Nero, story leg by torturing of or him; but the that it is better trust to the Simplicins, who an commentator the weak how Encheiridion in he Manual, from but says Epictetus It is not in was body became that found and a lame early age. said modern slave; parents it has the this ...
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...ALSO BY NEIL STRAUSS The Long Hard Road Out of Hell WITH MARILYN MANSON The Dirt WITH MOTLEY CRUE How to Make Love Like a Porn Star WITH JENNA JAMESON Don't Try This at Home WITH DAVE NAVARRO THE GAME PENETRATING THE SECRET SOCIETY OF PICKUP ARTISTS Neil Strauss Regan Books An Imprint of Harper Collins Publishers Cover silhouettes are from the following fonts :Darrian's Sexy Silhouettes by © Darrian (http://westwood.fortunecity.com/cerruti/445/), Subeve by © Sub Communications (http://www.subtitude.com),NorpIcons 1 and Norp Icons 2 by © DJ Monkeyboy (http://www.djmonkeyboy.com). "The Randall Knife": Words and Music by Guy Clark © 1983 EMI APRIL MUSIC INC. and GSC MUSIC. All Rights Controlled and Administered by EMI APRIL MUSIC INC. All Rights Reserved. International Copyright Secured. Used by Permission. In order to protect the identity of some women and members of the community, the names and identifying characteristics of a small number of incidental characters in this book have been changed, and three minor characters are composites. THE GAME COPYRIGHT © 200 5 BY N E I L STRAUSS. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information, address HarperCollins Publishers Inc., 10 East 53rd Street, New York, NY 10022. HarperCollins...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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