...Women in the Ancient World From the very beginning of time, women have played a very significant role in development and advancement of life, serving as the companion for men as well as procreating with them to ensure the world would be inhabited and settled. In present-day society, we view women as essential to everyday life. Society sees and treats women as intelligent individuals who are equally efficient for most of the same work and intellectual skills as men. In most cases, we believe that women and men are equal, as women are able to legally run for and hold government offices, perform physical labor, work in medical professions, and basically anything they desire so long as, like anyone else, they attain the required certifications, education, etc. However, this outlook on women’s roles and abilities was not always shared among the social order. Throughout history, women’s roles in society, economy, government and culture have evolved and shifted dramatically. Throughout each culture and society in the ancient world, we find differences in the way women were treated, the responsibilities expected of them, and their learned place in the social order. Women featured in Homer’s The Iliad were some of some earliest examples of women being viewed with poor outlooks in the eyes of men in Greek culture. David Harvey claims that Aristotle had no doubt that women were inferior in this particular society (Harvey, 46). They were mainly viewed as prizes throughout Homer’s...
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...Whittaker, Helene. (1995) Renowned professor of classical Archeology and Ancient History at the University of Gothenburg in Sweden. Helene whittaker is known for mainly being concerned with the Greek Bronze age. She wrote about the Gender role in The Odyssey, specifically focusing on the women's role and how women's treatment by men can be indicated as sexist. They are usually identified by their looks and treated based on how their physical appearance is, and whether they have power over any men. She makes it clear that throughout Odysseus’ journey to the underworld, he spots and gets a glimpse of different variety of women. She says that throughout the Odyssey, they do not state anything about the women’s accomplishments in their lifetime, but only about their important son's, good looks and pleasingness, and their affairs with gods. She also talks about how women are known for their action and activity towards their sons and husbands, but never for the action and deeds of their own, or how they are, nor what accomplishments they did for themselves. Helene states that it seems in the book Odyssey, the only achievements women could achieve was being pretty and attractive to they eyes of the men. She proves throughout her paper that even Homer made it sound as...
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...manner (Ashmore, Del Boca, and Wohlers 1986). Men are more likely than women to feel ashamed of crying. There are variations in degree, but this indicates that social norms restricting male crying may be pretty much universal. Male crying being generally discouraged from an early age, while female crying is accepted or even rewarded (Fox, 2004). Men cry less frequently and intensely than women, and this sex difference is especially marked for crying in response to anger. (Santiago-Menez & Campbelle, February, 2013) The history of men crying, men have always cried. Yet the acceptability of male crying has varied across time and across culture. There are many references to man tears in ancient Greek and Roman culture. In Homer’s The Iliad there is no conflict between Odysseus’ heroic qualities and the inclusion of many episodes of his weeping for home, loved ones, and fallen comrades. The man cry today culture’s view of male crying has continued to evolve into our day. While we still expect men to cry...
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...COMPARATIVE LITERATURE: SHARING KNOWLEDGES FOR PRESERVING CULTURAL DIVERSITY – Vol. II - The Impact Of Media On Literature - William Egginton and Bernadette Wegenstein THE IMPACT OF MEDIA ON LITERATURE William Egginton and Bernadette Wegenstein The Johns Hopkins University Keywords: media, media studies, media theory, history of media, new media, comparative literature Contents U SA NE M SC PL O E – C EO H AP LS TE S R S 1. Introduction 2. Current Media Theory and Media Studies 2.1. Origins of Discipline 2.2. New Media Theory 3. Historical Examples 3.1. Oral Transmission 3.2. Pictography 3.3. The Andean Khipu 3.4. Manuscript 3.5. Print 3.6. Theater 3.7. Photography 3.8. Moving Image 3.9. Radio and Television 3.10. The Digital 4. Conclusion Acknowledgements Glossary Bibliography Biographical Sketches Summary The growing consensus among literary scholars is that the meaning of literature cannot be properly studied or understood outside of the specific medium of its transmission and archival. This realization can be considered a revolution in literary studies, and its fundamental ramification is the confluence of literary studies and theory with media studies and theory. The fields of media studies and media theory are dedicated to the analysis and understanding of the myriad media through which information is communicated. Under the influence of these fields, the media through which literature is communicated is no longer considered...
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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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...Love From Wikipedia, the free encyclopedia Jump to: navigation, search For other uses, see Love (disambiguation). Archetypal lovers Romeo and Juliet portrayed by Frank Dicksee Love is an emotion of a strong affection and personal attachment.[1] Love is also a virtue representing all of human kindness, compassion, and affection —"the unselfish loyal and benevolent concern for the good of another".[2] Love may describe actions towards others or oneself based on compassion or affection.[3] In English, love refers to a variety of different feelings, states, and attitudes, ranging from pleasure ("I loved that meal") to interpersonal attraction ("I love my partner"). "Love" may refer specifically to the passionate desire and intimacy of romantic love, to the sexual love of eros, to the emotional closeness of familial love, to the platonic love that defines friendship,[4] or to the profound oneness or devotion of religious love[5], or to a concept of love that encompasses all of those feelings. This diversity of uses and meanings, combined with the complexity of the feelings involved, makes love unusually difficult to consistently define, compared to other emotional states. Love in its various forms acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts.[6] Love may be understood as part of the survival instinct, a function to keep...
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...this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas are...
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...Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?…………………………………… Eugene E. Selk Storylines………………………………………………………………………………… Bozenna Wisniewsak SECTION SIX: Art and Identity Two Late Crisis Paintings by Van Gogh………………………………………………….. Robert Wauhkonen Personal Stories and the Intransigent Critic…………………………………………….. Charles S. Mayer The Role or Story in the Development of a...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Ministry of Education of the Republic of Moldova State Pedagogical University “Ion Creangă” Foreign Languages and Literature Faculty English Philology Department DIPLOMA PAPER Figurative Language, Language Shaped by Imagination in Katherine Mansfield’s Short Stories Submitted by: the 4th year student Paşcaneanu Mariana Group 404 Scientific adviser: Tataru Nina Senior Lecturer Chişinău 2012 Contents INTRODUCTION 2 CHAPTER I: SHORT STORY AS A FORM OF FICTION 5 I.1.Common Characteristics of a Short Story as a Form of Fiction. Its Plot and Structure. 5 I.2. Figurative Language. Definition. Function. 9 I.3. Imagery – Language that Appeals to the Senses 11 I.3.1. Simile, Metaphor and Personification. 13 1.3.2. Symbol and Symbolism. 26 I.3.3 Allegory. 30 CHAPTER II: LANGUAGE SHAPED BY IMAGINATION IN K. MANSFIELD’S SHORT STORIES 36 II.1. Figurative Language, Symbolism and Theme in "Her First Ball": 37 II.2. Katherine Mansfield – Techniques and Effects in A Cup of Tea. 41 II.3. Literary Colloquial Style in “Miss Brill” by K. Mansfield. 49 II.3.1. Lexical features—Vague Words and Expressions 49 II.3.2 Syntactical and Morphological Features 52 II.3.3 Phonological Schemes of the Figures of Speech 55 II.4. Simplifying Figurative Language in K.Mansfield’s Short Stories 60 CONCLUSION 64 BIBLIOGRAPHY 66 APPENDIX 70 INTRODUCTION Figurative Language is the use of words that...
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...THE CONSEQUENCES OF MASS COMMUNICATION Cultural and Critical Perspectives on Mass Media and Society Kirk Hallahan ii For Jean and Jenna Copyright info to be set by McGraw-Hill. iii Foreward This book is a brief survey of contemporary ideas about the cultural impact of mass media on society. The use of consequences in the title reflects the fact that most cultural researchers prefer this term (instead of media effects) to describe media's influence on human experience. During the past 30 years, culture has emerged as a major theoretical framework in which to investigate media. Chapter I examines how media influence culture generally, as suggested by various contemporary media scholars and others. Chapter II then focuses on critical-cultural theories about the nature of media power and its potentially negative influence. This book can adopted as a supplementary text in introductory mass media courses along with a survey text such as Joseph R. Dominick's The Dynamics of Mass Communication (available from McGraw-Hill). It also can serve as a foundational text for other assigned readings in advanced courses dealing with mass media and society, communication theory, or cultural studies. Students are encouraged to focus thoughtfully on the main ideas, not attempt to merely memorize details. Important concepts and names appear in boldface and are defined in italics. The abridged Subject Index lists the page with the primary discussion of each topic. Sidebars throughout...
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...The Gospel ACCORDING TO FEMIGOD He who has ears, let him hear The author and publisher have provided this e-book to you without Digital Rights Management software (DRM) applied so that you can enjoy reading it on your personal devices. THE GOSPEL ACCORDING TO FEMIGOD Copyright © 2013 by Femigod Ltd. Published by Femigod Ltd. www.femigod.com Femigod® is a registered trademark of Femigod Ltd. ISBN: 9780992642600 For my darling sister, Pero. I love you dearly. No matter what you want, it’s yours. Beyond money and weapons. Contents Introduction ............................................................................................................................................... 1 Book One: Understanding Mainstream and Organised Religion.............................................................. 5 Christianity ............................................................................................................................................ 6 Islam ...................................................................................................................................................... 9 Hinduism.............................................................................................................................................. 12 Buddhism ........................................................................................................................................... 155 Chinese traditional religions ...........
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...GLENCOE LANGUAGE ARTS Grammar and Language Workbook G RADE 9 Glencoe/McGraw-Hill Copyright © by The McGraw-Hill Companies, Inc. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or means, or stored in a database or retrieval system, without the prior written permission of the publisher. Send all inquiries to: Glencoe/McGraw-Hill 936 Eastwind Drive Westerville, Ohio 43081 ISBN 0-02-818294-4 Printed in the United States of America 1 2 3 4 5 6 7 8 9 10 024 03 02 01 00 99 Contents Handbook of Definitions and Rules .........................1 Troubleshooter ........................................................21 Part 1 Grammar ......................................................45 Unit 1 Parts of Speech 1.1 Nouns: Singular, Plural, and Collective ....47 1.2 Nouns: Proper and Common; Concrete and Abstract.................................49 1.3 Pronouns: Personal and Possessive; Reflexive and Intensive...............................51 1.4 Pronouns: Interrogative and Relative; Demonstrative and Indefinite .....................53 1.5 Verbs: Action (Transitive/Intransitive) ......55 1.6 Verbs: Linking .............................................57 1.7 Verb Phrases ................................................59 1.8 Adjectives ....................................................61 1.9 Adverbs........................................................63 1.10 Prepositions...
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