Destiny, Fate and Free Will in Homers Odyssey - Odysseus’s Fulfills Hi

Odysseus’s Fulfills his Destiny in The Odyssey During Odysseus’s venture in The Odyssey, his own trickiness, the gods’ snags and their help for him influenced his predetermination. Odysseus utilizes his tricky feeling of cunning and trickiness to escape circumstances, which permit him to arrive at his fate of getting back. Ordinarily in The Odyssey the divine beings who detest Odysseus set impediments to attempt to prevent him from getting back. Be that as it may, there are divine beings who favor him and give him help to arrive at his country of Ithaca.     Odysseus ended up in some risky circumstances during his excursion yet he was cunning enough to consider approaches to get away from them. For instance, when he experienced Polyphemus, Odysseus deceived him when he told the Cyclops his name was Noman.  After Polyphemus trusted him and was cut in the eye, not realizing any better shouted to his companions, Noman is killing me by make. Power there is none (87). Odysseus’ control over his adversary is by and by affirmed by his mind more than by physical power. In spite of the fact that this feeling of trickiness is at his enemy’s cost, there exists a pinch of emotional incongruity that encourages the peruser to partake in knowing something that Odysseus’ foe doesn’t know.     To get his way with Calypso, Odysseus compliments her to convince her to liberate him from bondage. Odysseus flatters Calypso and afterward expresses his fate when he says, Ground-breaking goddess, don't be wroth at what I state. Full well I realize that mindful Penelope, contrasted and you, is poor to view in tallness and excellence; for she is human, yet you are an undying, youthful until the end of time. However all things being equal, I wish-truly, consistently I long-to travel home and see my day of coming (49). Odysseus’ day of coming represents greetings... ...other of this Scylla, who bore her a bane to mankind; she will control her from a subsequent beginning (116). Odysseus needs to quit feeling that battling consistently works. It is ideal to run and take the simple and safe way out when he is battling a more remarkable being than himself.     Odysseus’ own trickiness, the gods’ snags, and their help for him are for the most part factors that influenced his destiny during his excursion. His cleverness to cause troublesome circumstances to appear to be straightforward turned out to be extremely convenient in getting away from the hazardous occasions and permitted him to move further in his odyssey. The divine beings who despise him sent tempests or traps in their endeavors to stop and stop Odysseus’ venture home. The divine beings who affirm of Odysseus’ get back, for example Athena, Hermes, and Circe, helped him from various perspectives to facilitate his route home to his home in Ithaca and to satisfy his fate.    

Child and Man free essay sample

Understanding the importance of the kid is father of the man The precept implies that the direct of a kid demonstrates what sort of man he will be in his future life. It is said that youth shows the man as morning shows the day. In the event that the morning is reasonable, the day is relied upon to be reasonable. On the off chance that the kid gives indications of good character it is normal that he will be a decent man in future. Propensities for youth structure the character of the adult man. Obviously, training and condition have some impact in forming a man’s character; however they don't completely change his normal bowed of psyche. It is, in this way, essential to watch the normal twisted of brain of a youngster. On the off chance that it is acceptable, it ought to be permitted to develop appropriately in the correct manner. Some of the time a kid shows a characteristic bowed of science. We will compose a custom exposition test on Youngster and Man or then again any comparable subject explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page In the event that he is appropriately coordinated, he will in future be an effective man of science. Consequently profession experts currently test the fitness of a kid with the goal that he might be accurately guided and have an effective vocation throughout everyday life. Again as the direct of a kid significantly shapes the character of an adult man, it ought to be the obligation of the guardians to see that a youngster procures no negative behavior pattern. It is hard to shake off the propensities for adolescence. A youngster has a truly naive psyche. Fortunate or unfortunate, as it might be, that impression keep going long. A kid ought to in this way be raised in acceptable condition. He ought not be permitted to blend in with underhanded organization. He composed it concerning the encounters of the three phases of advancement in a man’s life-adolescence, youth, and mature age. It was Wordsworth’s perception that what we experience as youngsters makes us the individuals we are the point at which we are more seasoned. Youth is the most basic and significant part in a person’s advancement. The Jesuits used to accept that the initial seven years of a person’s life are his most retaining years. On the off chance that the correct seeds are planted in these seven years the reap would be foreordained. When a kid arrives at the age of seven, his character is to a great extent set and he starts to demonstrate looks at the man he will be. A kid is unconstrained and unselfish in sharing his affection and it is this that makes the progress to full adulthood attainable. However the irregular part of immaturity regularly observes the propensity of the adoration to be dominated by the quick expansion of the juvenile acumen, and this unevenness of brain and heart frequently is the purpose behind the agonies of youthfulness. Anyway the characteristics of the grown-up that in the long run surface in us are an enormous impression of our soonest, unselfish, ostensibly arriving at adoration which is later invigorated by our insight and experience. The youngster is the seed from which will develop forward the grown-up man. There are different settings in which this citation is utilized. It can likewise imply that we attempt to encourage our youngsters all that we have adapted however some place down the line our kids show us things that we have overlooked. They instruct us to grin, to snicker, to cherish and to pardon; basic unconstrained things that we have overlooked driving our bustling lives. A different line of thought is that today’s kids will be the dads of tomorrow’s men. What we instill in our children’s minds today will be passed onto the people in the future. A bunch of today’s adolescents will be presidents, innovators, scholars, researchers and they will run the world. This parcel will settle on choices that influence the lives of ages yet to come and they will be known as the â€Å"fathers of men†. The other side of this citation is that a man’s youngsters are frequently his Achilles heel. While he may not bow to any other person, regularly despite influence from his kids, he will capitulate persuading that the kid is the dad of man. One more flip side to this citation is that when man develops old he starts to carry on like a youngster. He needs to do things that the specialist hasn’t endorsed, he wants consideration and regularly pitches up fits like a newborn child causing one to accept that genuinely kid is the dad of man. There are some who accept that there is a karmic sound in this citation. What we do in our current lives influences our future lives. Kid speaks to our present and man speaks to our future lives. So the end is drawn that kid is the dad of man meaning our present makes our future. Youngster Is the Father of Man This incomprehensible line of Wordsworth communicates a significant truth. It implies that all the characteristics, mental, good and physical, which will be found later on man are conceivably present in the kid. Similarly as the future tree preâ ­exists in the sprout, the future man pre-exists in the youngster. Youth is the most receptive time of a keeps an eye on life. It is a period when his fundamental character is being molded. The characteristics which a kid acquires from his folks, joined with those which he creates because of his childhood, start to show themselves in the early years. Remembering this reality, guardians and instructors should attempt to form the character of kids, dealing with their wellbeing and encompassing them with great impacts. As per present day brain science, the encounters of youth have an enduring impact. A portion of these encounters lie covered in the more profound brain of the adult man and impact his conduct without his insight. A few models substantiate reality of the comment that the kid is father of the man. Napoleon as a kid was partial to building posts of day off raging or protecting them, subsequently anticipating his later striking accomplishment as a General. At the point when Nelson was a youngster he was once inquired as to whether he had no dread. He answered Fear! What's going on here? I never knew dread. This youngster was bound to turn into the bold legend of Trafalgar. Shivaji as a kid indicated a distinct fascination for legislative issues and was partial to hearing stories from the Indian sagas. Macaulay who is popular for his amazing memory read a ton even as a student, and recalled all that he had perused. That is the reason in his works he as often as possible uses the articulation As each school kid knows-which makes us uncomfortable in light of the fact that we don't have the foggiest idea what this student knows. There are, obviously, exemptions. A few men of virtuoso don't appear to have given early signs of their future enormity. Numerous English artists like Wordsworth and Shelley were articulated dolts at school.

Speaker for the Dead

Prime Directive Response When managing remote conscious species, it is urgent to keep up what is know as a prime mandate. This is the thought that an animal categories may investigate inaccessible planets, however should avoid potential risk when managing other conscious species to forestall any adjustment in their movement. In the novel Speaker for the Dead, the residents of Lusitania put forth an admirable attempt to safeguard their prime order, yet the indigenous species seem to profit by their experiences with these people, and start to acknowledge it themselves.The locals of the planet Lusitania, referred to the people as â€Å"piggies†, have gained much from the people in the short time that they have lived respectively. The human dialects, Stark and Portuguese, were vital so as to have the option to speak with the piggies, yet the piggies appear to utilize it for something beyond correspondence. Pages 142-143 show that the piggies can progress among Stark and portuguese as a kind of language game that they play with the humans.The piggies definitely know four unique dialects, and the expansion of two more can enable their general public to communicate in more manners. Other than language, the unimportant truth of reaching another aware species shows the locals that they are not the only one known to man and that they may not be the most grounded or the sharpest. In the event that they understand this, it might assist them with uniting as a planet-wide animal types quicker than they ordinarily would have without outside contact. By observing that the people are all the more innovatively propelled, the piggies may likewise concentrate more on endeavoring to make new advancements themselves.History has given us that most creations happen in light of the fact that they are vital, and the expansion of people on Lusitania may expand the need of mechanical movement. Now, the piggies are a long way from being prepared to do initially contact and along the se lines can't be polluted by human culture because of the Prime Directive. Their way of life appears to be in reverse to the people, however that doesn't legitimize any impedance, regardless of whether it would possibly profit the piggies. The two species are essentially excessively far separated in movement to have the option to effectively connect with each other.The truth that two people have just been slaughtered, and fiercely so (in any event in human measures), fortifies this thought. The piggies' way of life is still thwarted by radical conventions that the people don't comprehend and doubtlessly never will. By being around the piggies, the people are embeddings themselves into the piggies' customs and culture. The piggies may in the end understand that their way of life is in reverse and may forsake such customs sooner than they would have. Or on the other hand maybe, they may even adjust their way of life to human standards.With this being stated, it appears to be obvious that even negligible contact between the two species is having an unobtrusive however significant impact on the two social orders. The social distinction of the piggies is too huge to even think about allowing cooperations with the people if the Prime Directive is to be kept up. As of now, as is seen on pages 144-145, one of the locals understood that the people are utilizing metals as an asset to achieve more prominent assignments, for example, flight. It might have taken a very long time for the piggies to have found metal as a valuable asset all alone. The people ought to have gone to far more prominent lengths to safeguard the prime directive.No asset that isn't prepared accessible or achievable ought to try and be experienced by the locals until they find it for themselves. The thought of a prime order may appear to be accommodating towards different species, however on account of the piggies it seems, by all accounts, to be practically inconceivable. The endeavors to study the locals of Lusitania without sullying their way of life has brought about a great many disappointments. Regardless of whether the people were to leave promptly, the piggies have still learned changeless data that they would not have even estimated for years.Although it appears as if the prime mandate has been undermined between the people and piggies, the last appears to at present advantage enormously from the information. They've learned new dialects, found that heading out to far off planets is conceivable, and are presently in any event, thinking about looking for new materials to make better innovation. Maybe the people ought to have taken more consideration to forestall innovative defilement, however the colonization of Lusitania by people has prompted an unavoidable movement of the local culture.

A&P vs Araby

In this paper I want to show contrasts between John Updike’s A&P and James Joyce’s Arbay. A portion of the things are that both of the creators talk about a similar thought of a youthful boy’s development for their adolescences. These young men need much more involvement in this present reality this accompanies time, age and furthermore experience. How is it for Sammy to grow up with his folks and arbay to grow up with his auntie and uncle? In these articles what might you do on the off chance that you were in a similar circumstance as these young men? How do these young men need to grow up and mature?Or do you feel that their activities may be somewhat over the edge Even however John Updikes’s and James Joyce vary in stories the two of them are discussing a similar kind of circumstance two young men that are growing up from their various circumstances from their adolesonces. This shared belief turns out to be clear through the route both of the writer s composed their papers. In John Updike’s exposition Sammy Works for A&p when he saw a gathering of young ladies come into the store while he was working immediately he made a decision about them on what they were wearing and what they looked like not even to stop to think about anything about there personality’s.In James Joyce’s article the writer alludes to the young lady of his fantasies as Megan’s sister? What is her name does he know anything about her. You can see where these accounts are beginning to each other to identify with each other. In John Updike’s article A&P Sammy Is recounting to the story from his point of view witch makes the exposition less intriguing as I would like to think. Then again with James Joyce’s article Arbay he is somewhat increasingly Experienced and articulate with his words witch makes the paper more interesting.Sammy from A&P has gotten extremely exasperated at his specific employment on the g rounds that the clients are exceptionally impolite for a wide range of reasons: As he makes reference to â€Å"She’s one of the these sales register witches† (227). That created some serious trouble for him beause he rang up a container of Hiho saltines multiple times unintentionally. Sammy truly got bothered after that occurrence occurred at work I imagine that truly began to get him exasperated by then he was truly beginning to think sanely and not in a develop way. We see the creator and fundamental character of Araby as he fights with his adulthoodEmotions as he attempts to comprehend his emotions towards Megan’s sister each morning He follows her however barely addresses her Still â€Å"her name resembled a summons to all my Foolish blood† (227). He is as yet a kid, since he is too frightened to even think about approaching her however managing grown-up sentiments which he doesn't get it? His displeasure is appeared toward the finish of the Story, si nce the bazaar is shut and there is nothing he can get for her and he says â€Å"he Sees himself as an animal driven and ridiculed by vanity† This again shows the fight ofHormones as he sees his emotions being founded on how he can dazzle Megan’s sister. The two young men are experiencing developing into adulthood contrastingly in their accounts Sammy being at the A&P considers his to be as the normal spot where the exhausting, revolting Average individuals go the young ladies he sees come in speak to a dream of his the preferred Merchandise that is better over normal the fundamental character of Araby additionally has a dream But in his chance to adulthood he attempts to purchase the young lady he had always wanted an article Therefore, It’s a subject appeared as the young men are developing into adulthood it is baffling to bothSince the kid in Araby can't achieve anything for the sister, and Sammy sees the Merchandise at A&P as normal and pointless at any rate Vanity is disappointing in light of the fact that a ton of young ladies like physical things and endowments from young men and for the kid in Araby he can't get this and subsequently has bombed in having the option to dazzle the young lady Sammy considers the To be as not being sufficient for the swimsuit young ladies which possibly why he concludes it isn't adequate for him either. One thing I need to bring up is that in A&P we see the contrast between omeone in adulthood and somebody developing into it While Sammy wishes to see the young ladies in their swimming outfits that come into A&P, his chief chides the young ladies, disclosing to them they have too small attire Sammy here speaks to the other side of pre-adulthood, where in his brain the young ladies are better than the normal lady who shop in A&P, the ones who are â€Å"house slaves in pin curlers† and â€Å"women with six kids and varicose veins mapping their legs† (64).His supervisor is the opposite side a ways into his adulthood who considers the to be as being obscene, and even says something regarding whenever they will ave to come in â€Å"with their shoulders covered† (64) Sammy is so enraged at this he stops which shows the degree of feeling in the topic of developing into adulthood His Hormones have defeated his explanation and he follows up on his feelings. Despite the fact that there are distinct contrasts in â€Å"Arabay† and â€Å"A&P,† we see a similar topic of developing into adulthood in the two stories This isn't a simple errand Both Sammy and the kid from Arabay end up baffled as they experience their musings Sammy is worried about quality which is something he sees little of in theA&P, in the two his judgment of the A&P and ladies that normally are shopping in it The creator of Arabay is likewise worried about quality on an alternate level He would like to get a decent present for his friend’s sister that is the young lady he is feeling his adulthood coordinated on. He is despondent when he goes to the bazaar, and sees that the vast majority of the things are gone and he can't give something to the young lady he had always wanted that fulfills him. In the two stories the young men share a typical dissatisfaction with their emotions and change in perspectives, which show the inward strife of hormones, and their advancement to adulthood.

Beauty the Evolution of Perception Free Essays

Vennette Gonzalez Mr. Warner English 111 (032W) 19 November 2012 â€Å"Beauty†: The advancement of discernment When glancing in the past to perceive how individuals lived and saw the world, there is one shared characteristic that sticks out. A woman’s marvel says a ton on how the way of life and the individuals of that society saw themselves as well as other people. We will compose a custom article test on Excellence: the Evolution of Perception or then again any comparative subject just for you Request Now These past recognitions influence how current society and culture is seen by the people of our age as well as by our people in the future too. This paper will address how we as society see excellence as it has changed over some undefined time frame, how these progressions happened, and how the media assumed a job in this magnificence development. How this magnificence advancement starts begins in adolescence. One of the main recollections that kids have is the perusing of fantasies. These accounts set an establishment with regards to what we see as excellence. â€Å"Children’s media has been seen as effectively receptive to social change and not just such that mirrors society (Baker-Sperry and Grauerholz 714). With this early introduction to what is depicted as excellence, it is built up right off the bat in the formative long periods of adolescence of how a lady should look just as act. â€Å"Children’s fantasies can give knowledge into the dynamic connection between sexual orientation, force, and culture just as the social and social criticalness of magnificence to women’s lives (Baker-Sperry and Gr auerholz 712). The social and social essentialness can be viewed as â€Å"girls and young men are trained explicit messages concerning the significance of women’s bodies and women’s engaging quality (Baker-Sperry and Grauerholz 724). † These fantasies were made to suit the social qualities and clashes of the time, and set up the estimations of what our general public considers as proper and what is adequate for our small kids to develop into just as building up a standard for excellence. As our kids develop, they convey these qualities and beliefs with them. These fantasies depict ladies as tame and frail, who are maidens in trouble needing a knight in sparkling defensive layer. With development a portion of these qualities and standards change; nonetheless, Baker-Sperry and Grauerholz express that â€Å"The female magnificence perfect is the socially built idea that physical appeal is one of woman’s most significant resources, and something all ladies ought to endeavor to accomplish and keep up (711). This conviction is as yet common in today’s society. This doesn't imply that â€Å"there is an immediate connection between social qualities concerning ladylike excellence and women’s conduct and characters, however the female magnificence perfect may work by implication as a methods for social control to the extent that women’s worry with physical appearance (excellence), retains assets (cash, vitality, time) that could somehow be spent u pgrading their societal position (Baker-Sperry and Grauerholz 723). The effects of this perfect female excellence influence our kids, yet it likewise influences how they see themselves and how the people in the future will see us. â€Å"The ladylike excellence perfect can be viewed as a standardizing methods for social control, where by social control is cultivated through the disguise of qualities and standards that serve to confine women’s lives (Baker-Sperry and Grauerholz 712). This eventually implies young ladies who are presented to these fantasies build up a conviction that there are sure desires that should be maintained and on the off chance that these desires are not met, at that point they will do not have the ability to succeed. â€Å"Workers of better than expected excellence procure around 10 to 15 percent more than laborers of beneath normal magnificence. The size of this magnificence premium is monetarily critical and practically identical to the race and se xual orientation holes in the U. S. work advertise (Mobius and Rosenblat 222). As indicated by Naomi Wolf â€Å"More ladies have more force and scope and lawful acknowledgment that we have ever had previously; however as far as how we feel about ourselves truly, we may really be more terrible off (Wolf 16)† She additionally proceeds to state â€Å"There is no real authentic or organic avocation for the magnificence legend; what it is doing to ladies today is an aftereffect of nothing more lifted up than the need of today’s power structure, economy and culture to mount a counteroffensive against ladies (Wolf 19). † Due to this, magnificence is currently connected with power as in the more lovely you are the more remarkable you are. This thought excellence is power turned out to be increasingly perceptible during the woman’s development as indicated by Wolf (19). She expresses that â€Å"By the time the women’s development had made advances into the work showcase, the two ladies and men were acclimated with having magnificence assessed as riches (Wolf 26). † This inundation of ladies in the work power changed how little youngsters identified with the fantasies they once read. They no longer needed to depict the jobs of the maiden in trouble, however needed to utilize their magnificence to pick up force and consideration. This advancement from the maiden has prompted an increasingly autonomous lady who utilizes her excellence to get what she needs. â€Å"Before ladies entered the work power in enormous numbers, there was an unmistakably characterized class of those expressly paid for their â€Å"beauty†: laborers in the showcase callings design mannequins, entertainer, artists, and more generously compensated sex laborers, for example, accompanies. Until women’s liberation, proficient marvels were typically unknown, low in status, un-good (Wolf 33). † Now our little youngsters need to resemble all the entertainers, performers, models etc†¦ that they see on TV, motion pictures and in magazines. I think these progressions happened once the fantasies were no longer in composed media, where we utilized what was recorded and our creative mind to make our optimal of magnificence. When these fantasies turned into a visual (motion pictures, TV. what's more, magazines) our little youngsters needed to duplicate what they saw. In 1969 Vogue offered another search for women’s magazines (Wolf 73). â€Å"Vogue started to concentrate on the body as much as the garments, to a limited extent on the grounds that there was little they could direct with the anarchic styles (Wolf 73). † â€Å"The number of diet related articles rose 70 percent from 1968 to 1972. Articles on eating less junk food in the mainstream press took off from 60 in the year 1979 to 66 in the period of January 1980 alone. By 1984, 300 eating regimen books were on the racks (Wolf 73-74). † The planning of this flood of abstaining from excessive food intake articles is because of the ubiquity of a model named Lesley Lawson also called Twiggy. She hit the tallness of her vocation in 1966 where she was on the front of Vogue magazine. She was the perfect magnificence of that period where being innocently slender was in. While 10 years before having womanly bends was what excellence was for instance the pin-up young lady Betty Grable. She was what was viewed as the perfect of that period. The pictures of both of these ladies show the essentialness of how models, on-screen character and celebrities influence the ladies and youth of our general public. Both of these ladies were depicted in women’s magazines or films. â€Å"A lady perusing Glamor is holding ladies arranged mass culture between her two hands (Wolf 76). † With the broad communications developing and ready to mass produce the media snappier than at any other time, the new beliefs of what our young ladies see as magnificence changes at a much increasingly fast pace. With the presentation of the web broad communications is currently moment, and on request. Excitement, magnificence and the ideal body: these are the qualities maintained inside our way of life as important to the satisfaction of alluring gentility (Wark 41). † With this magnificence development reliably transforming it additionally mirrors the adjustments in the qualities that we as a general public hold. The broad communications will consistently be an indispensable piece of our Beauty development as it reflects society’s values. Works Cited Baker-Sperry, Lori, and Liz Grauerholz. â€Å"The Pervasiveness and Persistance of the Feminine Beauty Ideal in Children’s Fairy Tales. † Gender and Society 17. 5 (Oct 2003): 711-726. http://www. jstor. organization/stable/3594706. Web. 19 November 2012. Fox, Greer Litton. Pleasant Girl: Social control of ladies through a worth develop. † Signs: Journal of Women in Culture and Society 2 (1977): 805-817. Print. Mobius, Markus M. , and Tanya S. Rosenblat. â€Å"Why Beauty Matters. † American Economic Review 96. 1 (2006): 222-235. http://www. jstor. organization/stable/30034362. Web. 19 November 2012. Wark, Jayne. â€Å"Wendy Geller’s 48 hour Beauty Blitz: Gender, Class and the Pleasures of mainstream society. † Art Journal 56. 4 (1997): 41-47. http://www. jstor. org anization/stable/777719. Web. 19 November 2012. Wolf, Naomi. The Beauty Myth: How pictures of Beauty are utilized against Women. New York: HarperCollins, 2002. PDF File. The most effective method to refer to Beauty: the Evolution of Perception, Essay models

DEATH AND THE POWERS The Robots Opera

DEATH AND THE POWERS The Robots Opera [by Ken Haggerty 11] Death and the Powers: The Robots Opera has stunning visuals and technology, but it is Prof. Machovers haunting melodies that send a chill up your nerves. Nicholas Wiltsie G (MIT Technique) It is far too easy to be taken by the materialone of the many fitting themes of Prof. Tod Machovers masterpiece Death and the Powers: The Robots Operabut judging by MIT Techniques and ARTalks sneak preview of the production, technology, quite literally, only serves as the mechanism by which the story is told. Like the OperaBots that introduce us to the story of Simon Powers, a wealthy entrepreneur and inventor who resolves to download himself into the System after mortality approaches, the technology is unfeeling and utterly unable to comprehend the sinews that make us human. What is this death? Is it a form waste? one OperaBot asks. Or is it a form of entropy? Of data rearranged? another OperaBot asks. How can I perceive what I cannot feel? Lines from Death and the Powers (Libretto available here) And yet, its the technology which completes the metamorphosis from beautiful art to beautiful production. Opera has a rich history of elaborate, extravagant, and sometimes downright gaudy sets, but the compositional simplicity of Machovers set is brilliant without doubt. Three triangular bookcases, at once industrial, contemporary, and abstract (anything but natural in feel) loom over the drama, while OperaBots attend to the Powers like robots in a Japanese hospital. And then there is the chandelier, in all of its hypar glory, which I had for many years passed by in the Media Lab and wondered exactly how it would be integrated into the Opera. Good design gives you everything you need and nothing that you dont, and likewise, the use of technology in Death and the Powers strikes that perfect balance of providing the phantasmagoric visual splendor of the opera but not distracting from the story, the themes, or most of all The voice! My goodness, can these people sing! Although I have been fortunate to have seen previous operas, including Carmen at the Metropolitan Opera in New York with my family and La Bohme at the Boston Opera House as part of FASAP, the freshman advising program in the arts, I have not been so moved to the core as I was last night. Perhaps it was the circumstances of how I, along with two of my photographers from Technique, managed to get a sneak preview of a sold-out opera ten years in the making; but it was undoubtedly the human voice, especially the melliferous Evvy Powers (played by Emily Albrink, who joins the cast along with Sara Heaton as Miranda), which proves that the fun but Auto-Tuned crap that calls itself Ke$ha could never compare to true talent. Slideshow of Nick, Carolina, and my adventure getting to Death and the Powers. (Created with Admarkets flickrSLiDR) So how did we manage to get so lucky? The answer: Email. Or rather, email-ing. I am the Managing Editor of Technique, the yearbook of MIT, and knowing that the premier of Death and the Powers was quickly approaching, I resolved last Friday to email Tod Machover directly to see if there was any way we could photograph it. Tod and I had met at least once my freshman year when I was a part of the Media Labs Freshman-Year Program, and I think I had attended a few meetings with him when I was Coordinator for ARTalk and part of the Arts Communication Council at MIT. Nevertheless, I fully expected that, with the show coming up, Tod would be utterly flooded with emails and unable to respond to our request. Exactly 1.5hrs later: Great to hear from you, and I love the idea of having a yearbook photographer at the dress rehearsal. And this is why MIT is absolutely incredible. I even received permission to use one or two photos from the dress rehearsal for this blog! The incredible photo at the beginning of this blog was taken by Nicholas Wiltsie, Techniques Technology Manager, Orders Tsar, and all-around most awesome member. Nick was an undergrad here is course 2 (mechanical engineering) and is now a graduate student here pursuing his Masters, also in course 2. The fantastic photo at the end of this blog was taken by Carolina Kaelin 14, one of our newest members who jumped at the opportunity to photograph the show. The Flickr slideshow above shows our journey from MIT, missing the 1 Bus, then getting stuck on the T between Hynes and Copley for ten minutes, and finally arriving at Emerson Colleges stunning Cutler Majestic Theater, right in the heart of Bostons theater district and where the American Repertory Theater (A.R.T. for short) is producing the opera. We waited patiently until finally the doors opened (an hour and a half lateI swear they do this to make us more excited) and finally made our way onto the mezzanine level where everyone would sit for the dress rehearsal. I took a seat at the dead center (#106) while Nick set up on the left corner and Carolina set up on the right corner. But as the show was about to start A woman from A.R.T. approaches Carolina! I rush over, and we speak in the hallway to clarify permissions regarding photo usage. A few minutes later, I get her email address, send her email, and get back into the theater just in time to see Simon Powers having a stroke. Some time later (15 minutes?), I am approached again. This time the woman, whispering, asks us if we would like to go down and take photographs on the orchestra level. The photographers they had asked to come were missing. So of course, we grabbed our gear and made our way down to the first floor. We were so excited that we left our jackets on the mezzanine. Needless to say, the experience was mindblowing, and we are all incredibly fortunate and lucky, not only to attend MIT but to have ridiculously awesome and friendly professors like Tod. Whomever thinks MIT is Hell obviously isnt doing it right. And so I leave you with a particularly poignant line, uttered by Simon Powers from the depths of the System, to his wife Evvy. SIMON: Forever doesnt matter. Enough isnt good enough. What matters is more. Forever is not the point. Death and the Powers, Scene 4 (Libretto available here) From L to R: James Maddalena (Simon Powers), Tod Machover (Composer Creator), and Sara Heaton (Miranda Powers) practice their curtain call for what will undoubtedly be a very long ovation come Friday. Carolina Kaelin 14 (MIT Technique) - DEATH AND THE POWERS: The Robots Opera By Tod Machover (Opera of the Future Group, MIT Media Lab) Libretto by Robert Pinsky (Boston University) Premiering this Friday, March 18, at the Emerson Cutler Majestic Theater, in Boston, MA. World premiere in October 2010 in Monaco TICKET INFO: BOSTON: March 18, 20, 22, 25 (2011) by The American Repertory Theater, at the Cutler Majestic Theater Buy tickets CHICAGO: April 2, 6, 8, 10 (2011) by Chicago Opera Theater, at the Harris Theater Buy tickets

Scenes Portraying Characters Altering Their Consciousness - 275 Words

Literature LCS 356: Scenes Portraying Characters Altering Their Consciousness (Coursework Sample) Content: (Your Name)(Professor)Literature LCS 35627 April 2013Portrayal of Characters Altering Their Consciousness through Alcohol or Drugs, Shifting Cultural Ideas about the Dangers and Possibilities of Changing Ones Perceptions: Scenes from Selected Texts While reading the various recommended texts for this unit this semester, I realized that many of them portray characters altering their consciousness in one way or another through alcohol or drugs. These works demonstrate shifting cultural ideas about the dangers and possibilities of changing ones perceptions, or losing control of ones faculties. The purpose of this paper is to explore some of the scenes illustrating the above view, discussing the kinds of things these works have to say about the cultures that produced them. The texts selected in this case are Thomas Hardys The Mayor of Casterbridge and Edith Whartons House of Mirth. In order to achieve this purpose, I have organized the paper into three main sections. The first section will explore some of the scenes from the texts, while the second section will discuss the kinds of things these works have to say about the cultures that produced them. The third section is the conclusion and it wraps up what I have said in the entire paper. But before this, it is important to have a brief introduction of the two texts as follows.The Mayor of Casterbridge: This is a novel written by British author, Thomas Hardy in 1886.Subtitled The Life and Death of a Man of Character, the novel is a tragic story of a poor hay-trusser-turned a prominent grain business magnate and mayor of an agricultural town known as Casterbridge.Unfortunately, he ends up in a tragic way owing to being haunted by the evil deeds he had done as a young man, mainly that of auctioning his wife and daughter.House of Mirth: This is a 1905 novel written by American Edith Wharton. The novel is a story of a young woman, Lily Bart, who is torn between the desire for a relationship based on tru e love and a desire for a luxurious life.Unfortunately,she squanders all the good chances that come her way for a marriage that could guarantee a luxurious life.Eventually,she becomes a social pariah, and dies young.SCENES PORTRAYING CHARACTERS ALTERING THEIR CONSCIOUSNESSIn The Mayor of Casterbridge, Thomas Hardy presents a scene in chapter one where, Michael Henchard is journeying in the English country with his wife, Susan and their little daughter, Elizabeth-Jane.Understandably; they are in search of hay-trussing job as that is his trade. Tired and hungry for walking throughout the day, they come at a Fair-field and stop over for supper. Looking at the vast array of inviting refreshment tents around the town,Henchard settles at one with an inviting placard reading: Good Home-Brewed Beer,Ale,and Cyder(Hardy 3).However, they wont take supper there as his wife objects arguing that they enter at the second tent that sells furmity,a drink she and their daughter like since it is nour ishing after a long hard day(Hardy 3).As they are partaking their supper,Henchard tells the furmity woman to spike his bowl with rum-a form of liquor. He similarly convinces his wife to have even her serving spiked, something she obliges on condition that its only spiked mildly. We are told that Michael, as his wife calls him, continues asking for more bowls of liquor-laced furmity which makes him high. Not even the wifes fervent pleas to him to stop further consumption on account of the fact that they might have trouble getting lodging tames the poor man who is now dangerously getting wild. The author paints a picture of a now drunken man howling all over the place creating a spectacle in the tent. To show how drunken he is, he talks loudly about his past life choices and the miserly it has brought on him. I did for myself that way thoroughly (4) I married at eighteen, like the fool that I was; and this is the consequence ot (4).We are told that as he says this, he is pointing at h imself and his family much to the chagrin of the scandalized revelers who rightly diagnose his problems to be a malaise typical of men who marry young. What follows is scandalous as Michael Henchard in his drunken state starts saying he would like to auction his wife and daughter to any willing buyer. His wife is unmoved as she reveals he always jokes like that while drunk.However, this time it seems he is serious as he insists he wants nothing less than five guineas. It ceases being a joke when a sailor comes along and hands him five guineas and he in return takes away the woman and the baby which shocks everyone in the tent. After he has taken the money, he passes out right there at the table. When he comes round and realizes the folly of his action as his wife and baby are gone for real, he dashes to a church where he makes a solemn vow at the altar that he will never touch alcohol again for the next twenty years, a promise he lives by. Even though his fortunes later change for t he best, the guilt arising from his alcohol-inspired decision moment makes his later life hellish and full of torment. The other scenes where alcohol inspires Henchard is in chapter 33 where while drinking at King of Prussia Inn after the expiry of his self-imposed alcohol abstinence period of twenty years, he bullies the choir to sing for him a psalm about revenge to Farfare and Lucetta.In this scene, he talks a lot of gibberish, besmirching the kindly Farfare. Similarly, it is alcohol that drives Joshua Jopp, a man who wanted to be Henchards employee want to exact revenge on both Henchard and his former girlfried, Lucetta, whom he views as a snob, by acting maliciously and carelessly when he is given by Henchard the old letters Lucetta had written to Henchard to take to her. He stops at a pub where he proceeds to take alcohol before proceeding for the errand he hand been sent for which is to deliver the parcel to Lucetta.On account of his drunkenness at the pub, he ends up openin g the parcel and reading out the letters with the rustic patrons who go ahead to do a skimmy-ride targeting Lucetta and Farfare in town now that they are privy about her hidden past. This pillory-like activity hatched by alcohol inspired minds eventually leads to a fatal end as Lucetta, being pregnant, succumbs to the miscarriage arising from the shock of being parodied (41). Still, it is due to alcohol that Henchards shameful past is brought to the attention of the townspeople where he has managed to retain an aura of a dignified man for a long time. This happens in the scene where Henchard as the Justice of Peace is called by police to solve a problem of a woman found drunken and swearing next to church and it turns out that the woman in question is the same furmity seller at Weydon Inn where Henchard sold his wife and daughter. The drunken state of the woman leads to her revealing the skeletons in Henchards closets. Turning to the second text, House of Mirth, Wharton presents a scene where Lily Barton results to taking chloral, a type of narcotic that aids her to sleep. Further, we are told that taking chloral had become her habit as a form of escape from reality as it lulled her tired nerves. The fact that there is a hint of the drug developing resistance suggests that she has been on these drugs for long despite the fact that the chemist had warned her against raising the dose (309).The particular scene that portrays the fact that characters alter their consciousness in one way or another through alcohol or drugs is seen where while leaving Seldens house one evening, Lily Bart goes to rest at a park (308).Its evening and everyone is hurrying to go home, but not with her. She appears a lonely figure lost in her own thoughts that she does not even notice the curious stares of the lone passers-by. She stays like this, lost in her stupor since she knows there is nothing to look forward for at her silent and cheerless house. She is startled from her reverie by a stranger-a young woman called Nettie Crane whom she once assisted to go for treatment when she (Lily) once donated to Gertys charitable work. Noting that Lily is sick, she asks her that they go to her home where she at least warms up in the kitchen. We are later told that once she retreats to her home feeling still low and tired over lack of sleep, she acts out rather unconsciously when she starts to sort out her possessions for no particular reason. It is only the altered consciousness that can drive a person to start looking at every possession they have in life with extra keenness and even wearing ones old dresses one by one as if in a ritual; and where each of the articles of clothing brings in a flood of mixed feelings- nostalgia, and horror-filled sentimentalism to an individual as is the case with Lily Bart (315). When a check of the money bequeathed to her by the late Mrs.Penistons estate finally arrives, she irrationally writes checks to clear her debts to people like Trenor leaving her penniless and teetering at the edge of a fiscal cliff or descending into what her late mother would call dinginess or penury. The fear that she stares at a bleak future with a life of dinginess makes her more troubled. She overdoses herself with Chloral in order to sleep longer, never to wake up again, but as fate would have it, she dies in her sleep.Certainly, one can argue that the drugs Lily takes have altered her consciousness to an extent that she cannot see any hope of raising from the grass she is currently in to grace or pseudo-grace state as she has always looked forward to once she got married into wealth.WHAT THE TEXTS SAY ABOUT THE CULT...