...offenses such as rape, torture, pedophilia and child-abuse are dealt with in New York City, by a special unit of detectives of the police department known as the Special Victims Unit. These crimes are then passed on to the courtroom for prosecution. Law and order is a crime-based drama, with a mixture of ‘court-room’ and ‘detective’, TV series, mainly shown on channel five. By reading the description of the show, I immediately realised that this is a show that is based around the world of crime and how the crime is dealt with within the city of New York. It starts from finding who the criminal is and then we follow the story up to the prosecution in the court room. Words such as ‘courtroom, ‘rape’, ‘victim’, ‘detective’ immediately grabs the reader’s attention, giving us the impression of the type of genre this TV series is. The picture that accompanies the description also shows that the genre of this series is crime as the main detective is pulling out her police badge and is what the audience see’s first when looking at the image. From observing the TV schedules I have noticed that different genres have different schedule times. For example, genres like Game shows, Animation and children tend to have early daytime TV scheduling. In comparison to genres like Horror, Crime and soap operas, which are shown during the evening mainly past 8pm. Genres such as children are...
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...The Story of Hamlet in Hamlet Shakespeare’s tragedy Hamlet has one outstanding character, namely the protagonist Hamlet. His character is so complex that this essay will scarcely present an adequate portrayal of his character. John Russell Brown in “Soliloquies and Other Wordplay Let the Audience Share Some of Hamlet’s Thoughts” explains the interplay of dialogue, soliloquies and narrative in Hamlet’s role: By any reckoning Hamlet is one of the most complex of Shakespeare’s characters, and a series of soliloquies is only one of the means which encourage the audience to enter imaginatively into his very personal and frightening predicament. The play’s narrative is handled so that a prolonged two-way chase is sustained between him and the king, during which the audience knows more than either one of them and so thinks ahead and anticipates events. In interplay with Rosencrantz, Guildenstern and Polonius, and perhaps with Claudius, Gertrude and Ophelia, Hamlet has asides to draw attention to what dialogue cannot express(55-56). Marchette Chute describes the opening scene of the drama: “For two nights in succession, just as the bell strikes the hour of one, a ghost has appeared on the battlements, a figure dressed in complete armor and with a face like that of the dead king of Denmark, Hamlet’s father. [. . .] The hour comes, and the ghost walks” (35). Horatio and Marcellus exit the ramparts of Elsinore intending to enlist the aid of Hamlet...
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...superstars, who have similarities that are baffling, they both are raised by a family of herders; and both of them had been anointed by Samuel while attending their livestock. Similar accounts of murder, regret, depression, both did things the Lord advised them not to do. I will illustrate how man runs a kingdom, and the other how God runs a kingdom. Let’s start this adventure by illustrating some character flaws by reenacting “David and Goliath”. David yet a youth has challenged the Philistine Goliath with the courage of ten armies and faith to match; holding five smooth stones, (1 Sam 17: 49) “sinking one into the Philistine’s forehead killing him instantly”. While Saul is acting as a giant among obedience, David is a giant among men, now paraphrasing Samuel (1 Sam 17:16) he had sequestered himself in a tent for forty days protecting himself from harm, and offering his armor to the youth David. Saul didn’t feel the need to depend on God, he had no personal experience to equate with this encounter. David defended the family sheep against marauding lions and bears, which gave him a dependency to God’s protection. Saul had a immense physique when compared to the rest of Israel, he was a warrior, and yet failed to measure a person for their inner qualities instead he measured the person for their size, capabilities and skills. David was adept to more capable forces such as the more able beasts, and he knew dimensions were not the only issue. Saul was self denying and...
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...Joan of Arc -- the seventeen-year-old peasant girl, who, as she said herself, "did not know ‘A’ from ‘B’, " but who, in a year and a month, crowned a reluctant king, rallied a broken people, reversed the course of a great war, and shoved history into a new path --what are we to make of her? The people who came after her in the five centuries since her death tried to make everything of her: demonic fanatic, spiritual mystic, naive and tragically ill-used tool of the powerful, creator and icon of modern popular nationalism, adored heroine, saint. She insisted, even when threatened with torture and faced with death by fire, that she was guided by voices from God. Voices or no voices, her achievements leave anyone who knows her story shaking his head in amazed wonder.’ Joan was born into a poor common family in the peasant village of Domrémy in the French province of Lorraine in 1412. She grew up a simple but unusually devout farm child during the height of the Hundred Years’ War. Disaster after disaster befell her native France -- the English invaders and their Burgundian allies conquered and occupied the northern half of France including Paris. Dauphin Charles VII, the rightful but un-crowned king of France, set up the remnants of his royal court at the town of Chinon. From here, this weak monarch of questionable competence tried to rule over the unoccupied rump of France. Starting in May, 1428, Joan, claiming that God was directing her through the saints, repeatedly approached...
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...Crouching Tiger, Hidden Dragon CHIN 1088 12/15/2015 Fang 1 Crouching Tiger, Hidden Dragon Let’s look back to the title of this essay. Yes, it is the very film’s name that I would like to talk about. Crouching Tiger, Hidden Dragon was released in China in 2000, and directed by Ang Lee. I believe that lots of people are not unfamiliar to this person. Ang Lee was born on October 23, 1954 in Taipei, Taiwan. His titles are not only a film director, but also producer and screenwriter. Early year, he attended the National Taiwan College of Arts, where he graduated in 1975, and then relocated to the United States, where he studied at the University of Illinois at Urbana-Champaign and New York University. Ang Lee made his directorial debut in 1992 with Pushing Hands and earned Academy Award nominations for his next two films, The Wedding Banquet (1993) and Eat Drink Man Woman (1994). His later films include Sense and Sensibility (1995), starring Emma Thompson, Kate Winslet and Hugh Grant, and for which Lee earned an Academy Award nomination for best picture; The Ice Storm (1997); Crouching Tiger, Hidden Dragon (2000), for which he received four Oscars, four BAFTA Awards, a Golden Globe Award for best director; and Hulk (2003). He also went on to direct Se, Jie (2007) and Taking Woodstock (2009). In 2006, he became the first Asian to win an Academy Award for best director, for his film Brokeback Mountain, a small-budget, low-profile independent film based...
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... As awell as, many action are influenced and shaped by culture and society, lifestyles, media and artistic and literary production. Breastcancer is one very well know topic, a better understanding of this topic which define the disease itself and its sufferers. I will aim to explain the specifically of breast cancer and breast cancer bodies. Part of the challenge of this project, and indeed is to point out breast cancer issues is still not found in major histories ofphotography, or even anthologies of womenþs photography. Itstradition lies inx-rays, MRIs and collections of medical photographs designed forthe purposes ofdocumentation or instruction, or, alternately, in scattered exhibitions or collections. This history has only very recently been reclaimed and written differently by women photographers and writers, and feminist academics and activists. I have deliberately chosen two photographs whose subject involves some type of writing literally on the bodyas a way ofconcentrating my discussion of the issues involved when photography attempts to process or project experiences of breast cancer, or shape publicperceptions ofthe disease. In this essay, which is part of a more extensiveinvestigation, I will begin some readings focusing on how two women's work incombined image andtext points to desire and agency. The photographs have both strongsimilaritiesin their re-writing on and of the breast cancer body, and markeddifferences intheir attitudes and intentions...
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...ENGLISH LITERATURE ITS HISTORY AND ITS SIGNIFICANCE FOR THE LIFE OF THE ENGLISH-SPEAKING WORLD A TEXT-BOOK FOR SCHOOLS BY WILLIAM J. LONG, PH.D. (Heidelberg) TO MY FRIEND C H T IN GRATITUDE FOR HIS CONTINUED HELP IN THE PREPARATION OF THIS BOOK CANTERBURY PILGRIMS From Royal MS., 18 D.ii, in the British Museum PREFACE This book, which presents the whole splendid history of English literature from Anglo-Saxon times to the close of the Victorian Era, has three specific aims. The first is to create or to encourage in every student the desire to read the best books, and to know literature itself rather than what has been written about literature. The second is to interpret literature both personally and historically, that is, to show how a great book generally reflects not only the author's life and thought but also the spirit of the age and the ideals of the nation's history. The third aim is to show, by a study of each successive period, how our literature has steadily developed from its first simple songs and stories to its present complexity in prose and poetry. To carry out these aims we have introduced the following features: (1) A brief, accurate summary of historical events and social conditions in each period, and a consideration of the ideals which stirred the whole nation, as in the days of Elizabeth, before they found expression in literature. (2) A study of the various literary epochs in turn, showing what each gained from...
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...The Gods of Hospitality in Homer’s Iliad and Odyssey In Homer’s the Iliad and the Odyssey, much is made of hospitality as a recurring theme. In Ancient Greece the gods demand it. The nature and extent to which society today follows in that tradition has changed in form only, but not in substance. Food, shelter and protection of strangers from cultural norms of today, as the people of Ancient Greece were more inclined to take in strangers worn weary by travel. In the Iliad, the reader sees that in times of war, hospitality is provided to even the enemy. Housing strangers in one’s home was very common then, as many weary travelers trod by foot or sailed by boat to reach far-off destinations, making stops along the way. Moreover, since the Greeks believed the gods walked the earth amongst them, then turning down a travelers request, could mean rejecting a god masked from view. The Greeks took no chances in this regard; and with only a few exceptions, Homer’s literary characters comply with this religious doctrine and cultural norm. Hospitality in Ancient Greece, as portrayed by Homer, accounts, in part, for their longstanding world dominance and aligns itself in many ways with the Christianity enjoyed by many peace-loving nations of today. The guest-host relationship in both The Iliad and The Odyssey remain constant, the differences between the two dependent only on the differing circumstances posed by each tale (Biggs, Joseph, Schrodt & Dustan, n.d.) Today, America’s...
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...NO W A T T HE F I N I S H L I N E A SP A R T A N G UI D E T O T H E SPO R T O F O B ST A C L E R A C I N G JOE DESENA AND ANDY WEINBERG B 1 , YOU LL K NO W A T T HE F I N I S H L I N E A SP A R T A N G UI D E T O T H E SPO R T O F O B ST A C L E R A C I N G JOE DESENA AND ANDY WEINBERG Spartan Race, Inc. www.spartanrace.com Pittsfield, VT USA Copyright © 2012 by Joe De Sena and Andy Weinberg All rights reserved, Including the right of reproduction in whole or in part in any form. Spartan Race and “You’ll Know at the Finish Line” are registered trademarks of Spartan Race, Inc. Designed by Steven Mosier New York, NY Published by Spartan Press ISBN-13: 978-0615675183 ISBN-10: 0615675182 FOR SP A R T A NS A N D F U T U R E S P A R T A NS E V ER YW H ER E. WE GIVE SPECIAL THANKS TO OUR FAMILIES AND FRIENDS— ESPECIALLY OUR WIVES COURTNEY AND SLOAN, AND OUR CHILDREN JACK, JADE, CHARLIE, GRACE, AND CATHERINE— WHO SUPPORT AND INSPIRE OUR ADVENTURES AND MAKE THE SPARTAN LIFE REAL. 4 T A B LE O F C O N T EN T S 5 FOREWORD PREFACE WELCOME TO OBSTACLE RACING, THE ULTIMATE HUMAN SPORT THE SPARTAN BRAND OF OBSTACLE RACING JOIN THE OBSTACLE RACING COMMUNITY CHAPTER 1. MYTHS AND LEGENDS PRIMAL ELEMENTS: WATER AND LAND, MUD AND FIRE PRECURSOR EVENTS OBSTACLE AND CHALLENGE EVENTS: SKILL, ADVENTURE, AND MUD OBSTACLE RACING AS A FORMALIZED SPORT THE FOUNDING FEW FORGING A NEW SPARTAN LEGACY SPARTAN RACE LORE: IN THE BEGINNING … SPARTAN WARRIOR: JASON JAKSETIC...
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...Introduction The familiarity with the love tradition makes it easily mistakable for a natural and universal phenomenon and even brings a laxity of enquiring into its origins. However, it is difficult of not impossible to show love to be anything more than an artistic phenomenon or construct- a literary per formative innovation of Middle Ages. Courtly love was a medieval European formation of nobly, and politely expressing love and admiration. Courtly love was secret and between members of the nobility. (Simpson). The term "courtly love" was first popularized by Gaston Paris in 1883. It has since come under a wide variety of definitions and uses, even being brushed off as nineteenth-century romantic fiction. Its understanding, beginning, and weight persist as an issue of significant question. Origin of the term ‘courtly love’ The term courtly love was given its original definition by Gaston Paris in 1883 in the journal Romania in the article "Études sur les romans de la Table Ronde: Lancelot du Lac, II: Le conte de la charrette" a treatise inspecting Chretien de Troyes's Lancelot, the Knight of the Cart (1177). The term courtly was derived from the term ‘amour courtis’ which according to Paris was an admiration and an ennobling discipline. The lover accepts the autonomy of his mistress and tries to make himself worthy of her attention by trying to act bravely and doing whatever deed she desires. In order to prove to her his passion and his unwavering commitment and, he...
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...IS NOVEL? A Novel is prose narrative of considerable length and some complexity that deals imaginatively (fictional) with human experiences (near to life) through a connected sequence of events involving a group of persons in a specific setting. Previously it was known as fictional narrative or narrative prose. ( A Narrative opens “in media res”. This means it opens usually with the hero at his lowest point “in the middle of things”, earlier portions of the story appear later as flashbacks..) Main characterstics of novels are theme, plot or setting, structure, action or events in a sequence, strong characterization and expressive language. The genre of extended prose fiction or narrative fictional prose i.e. novel is rooted in the tradition of medieval "romances" or the heroic romance in prose. The term ‘roman or romance’ linked fictions back to the histories that had appeared in the Romance language of 11th and 12th-century southern France. The typical Arthurian romance became a fashion in the late 12th century. The unexpected and peculiar adventures surprised the audience in romances like Sir Gawain and the Green Knight (c. 1380).The romance had become a stable generic term by the beginning of the 13th century, as in the Roman de la Rose (c. 1230), famous today in English through Geoffrey Chaucer's late 14th-century translation. Chaucer's Troilus and Criseyde (1380–87) is a late example of this European fashion. Prose narrators wrote narrative patterns as employed in fairy...
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...mention of lower classes, strong courtly flavour, …So they duly arrived The sumptuous bed on which she lay in their grim war-graith and gear at the hall, Was beautiful. The drapes and tassel, and, weary from the sea, stacked wide shields Sheets and pillows worth a castle. of the toughest hardwood against the wall, The single gown she wore was sheer … And made her shapely form appear. … And the troops themselves She’d thrown, in order to keep warm, were as good as their weapons. Then a proud warrior An ermine stole over her arm, questioned the men concerning their origins: White fur with the lining dyed „Where do you come from, carrying these Alexandrian purple. But her side, Decorated shields and shirts of mail, Her face, her neck, her bosom These cheek-hinged helmets and javelins? Showed whiter than the hawthorn blossom. I am Hrithgar’s herald and an officer. The knight moved towards the bed’s head. I have never seen so impressive or large She asked him to sit down and...
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...Montgomery, James E. "Ibn Fadlan and the Rusiyyah". Journal of Arabic and Islamic Studies vol. 3 (2000) pp. 1-25. ISSN: 0806-198X. Ibn Faḍlān's account of the caliphal embassy from Baghdad to the King of the Volga Bulghārs in the early fourth/tenth century is one of our principal, textual sources for the history, ethnogenesis and polity formation of a number of tribes and peoples who populated Inner Asia. Of especial significance is his description of a people whom he calls the Rūsiyyah. Attempts to identify this people have been the stuff of controversy for almost two centuries and have largely focused on how this description can be made to contribute to the Normanist Controversy (the principal, but by no means the only, controversy concerns the extent of Viking involvement in the creation of Russia). This article provides a fresh, annotated translation of Ibn Faḍlān's passage and considers a multiplicity of identities for the Rūsiyyah. Ibn Faḍlān’s account of his participation in the deputation sent by the Caliph al-Muqtadir in the year 921 A.D. to the King of the Bulghārs of the Volga, in response to his request for help, has proved to be an invaluable source of information for modern scholars interested in, among other subjects, the birth and formation of the Russian state, in the Viking involvement in northern and eastern Europe, in the Slavs and the Khazars. It has been analyzed and commented upon frequently and forms the substance of many observations on the study...
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...poem to be an epic, it has six requirements: long and narrative, involves a long journey for the hero, the hero must overcome obstacles, long prideful speeches, the poem takes place over a long period of time, and the hero reflects the culture from which he comes. The poem was recited as early as the sixth century when stories were passed along orally by scops who were traveling storytellers. Since stories were passed on orally, the authors of many Anglo-Saxon poems are unknown. Beowulf was passed on orally for centuries until the eleventh century, it was finally written down by scholars. Since then the story about the mighty Beowulf has become a polyglot epic poem translated by hundreds of people such as Burton Raffel who translated the poem into modern day English. The poem grew from past traditions such as the monsters, loyalty to the chief, and the decent to unknown regions of the earth were familiar element of Celtic and Scandinavian folk tales. By combining different traditions and later adding Christian ideas into one story, scops created a cultural reference point for Anglo-Saxons to learn from. Since there are various traditions blended into Beowulf, there are underlying themes such as heritage, pride, respect, gifting, good versus evil, strength, and customs. A major theme of the poem is pride. One can believe that the pride of Beowulf led him to his own downfall. Pride can either be a high sense of one's personal status or ego or more commonly known as the positive...
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...Tradition And Modernity In the instinctive mode of western scholars, I had once thought of Tradition and Modernity as individual chapters, each of them thinking about its topic as an entity to be understood in its respective essence and unity. But I have come to understand in perhaps an equally perennial move by western students of Indian culture that these two terms do not in themselves exist. But they do function, dialogically. They work in relation with each other. Modernity functions as an economic and social tool to achieve some wealth, flexibility, and innovation for individuals and groups; Tradition functions, partly and at times largely, as a mythological state which produces the sensation of larger connectedness and stability in the face of shockingly massive social change over the last half-century. One might also say that Modernity is an economic force with social, cultural, and political correlatives; Tradition is a cultural force with social, economic, and political correlatives. Satisfyingly asymmetrical in their relation, they require us, in talking of one, to talk also of the other, just as they induce us to move as nimbly as possible between theoretical abstraction and experiential reality. But their separation is itself part of the mythological drama in current Indian thought, just as their mutual implication is the import of the same ironic smile that brings to an effective close any conversation one hears here about them. And so we take them in turn only...
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