Phaedra vs Hippolytus free essay sample

In the Hippolytus, Phaedras husband is serving a year of voluntary exile for murdering the Pallantids. Where as in Phaedra, he is a very wealthy and free man. A majority of Hippolytus revolves around the goddess Aphrodite. Where as in Phaedra there is no gods or goddess’s. Euripides’ play Hippolytus was written in 428 B. C. , and ever since it has been regarded as one of the great classical works. In his treatment of the Phaedra myth, Euripides presents Phaedra in a state of mental anguish and exhaustion brought about by her love for Hippolytus, which she strives to conceal. Euripides frames the events of the human characters with the presence of the gods Aphrodite and Artemis. Euripides’ Athenian audience was therefore provided with prior knowledge about Phaedra’s guilty secret, for her ‘passion’ is described as being imposed by the god Aphrodite. Euripides portrays Aphrodite as a terrifying and vindictive deity, unlike the voluptuous woman often depicted in visual art. We will write a custom essay sample on Phaedra vs Hippolytus or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Her opening monologue conveys an imperious attitude, and she sees the world and its people as her domain. Because Aphrodite is the goddess of love, her perception of the world seems reasonable, since her power extends to the everyday lives of the mortals over whom she rules. This is not, however, the benign emotion that today we might associate with the word â€Å"love. † Rather, Euripides depicts erotic love as a consuming and destructive force. As Aphrodite states, those who fail to accord the proper respect to her will face obliteration. The terrifying power of love is essential to understanding Aphrodite’s anger at Hippolytus and the development of the play. Aphrodite directs her fury at Hippolytus because he refuses to worship her. He is, as he explains in Scene I, not interested in erotic love and consequently reveres the goddess of love â€Å"from a long way off. † He instead remains chaste and worships Artemis exclusively. This, of course, infuriates Aphrodite who vows to punish him for his blasphemy. Because he will not honor erotic love, she decides that its power will destroy him, thereby proving her supremacy over humanity to all those who hear of Hippolytus’ destruction. Her vehicle for punishing him is Phaedra, his stepmother, who thus becomes a victim of love. Phaedra’s position in the play as the agent through whom Aphrodite exacts her revenge creates an ethical problem. According to Aphrodite’s scheme, Phaedra must die, but unlike Hippolytus, she has not committed any offenses against the goddess of love. Phaedra therefore becomes a victim of love’s power, a pawn bewitched into loving her stepson who then commits suicide out of shame. Yet as Aphrodite explains, â€Å"Her suffering does not weight in the scale so much that I should let my enemies go untouched. Reconciling Aphrodite’s need for revenge and Phaedra’s innocence is an interpretive challenge of the play, and Euripides does not provide an easy answer. Out of this tension arises a central conflict of the play, specifically concerning the relationship between men and gods during the period in which Euripides wrote. This relationship seems tenuous at best and bears little resemblance to modern perspectives on religion. As such, an essential question to consider is what responsibilities gods had to people and people to gods. Euripides’s tragedy offers a few insights into this relationship. As evidenced by Aphrodite’s reaction to Hippolytus’ exclusive devotion to Artemis, humans were to worship all of the gods. This relationship, however, does not seem reciprocal. Rather, Aphrodite’s manipulation of Phaedra indicates that the gods had few obligations to humans. Free from the burdens of protecting men, the gods used men as their playthings while humans had to worship the gods to placate them and avoid incurring their wrath. Dassin’s Phaedra is the forty-something, second wife of shipping magnate Thanos Kyrilis, who wishes to reconcile with his estranged son Alexis, an art student living in London. The athletic and handsome Thanos is a cunning businessman involved in international commerce, but he is likable and adores his wife. He gives Phaedra expensive gifts and names his new prize ship in her honor. Phaedra is not ignored or abused by an unattractive or deceitful husband. Dassin adds political punch to the film by exploring the luxurious lives enjoyed by elite shipping families. This is not done in a heavy-handed manner. The lavish villas, yachts, and fashionable attire of the super rich are simply allowed to speak for themselves without any editorial grumbling by Greek commoners. Dassin takes a further jab at the Greek shippers by setting up marital relationships between his characters that parallel real-life marriages involving the Onassis and Niarchos shipping clans. The tragedy takes form when Thanos cajoles a reluctant Phaedra to deliver a message to Alexis in London that his father wants his twenty-four-year-old son to be at his side. From their first encounter, Phaedra and Alexis engage in a playful flirtation inappropriate to their relationship. Alexis invites Phaedra to meet his â€Å"girl,† which turns out to be a pricey sports car in a dealership window. Their empathy, however, leads to Alexis meeting with his father in Paris. When business needs require Thanos to leave for New York City, Phaedra, persuades Alexis to remain. The supposedly mounting passion between Mercouri and Perkins lacks chemistry. All the sexual energy comes from the sultry Phaedra and her attraction to the bland Alexis is inexplicable. Nor is Dassin’s camera effective in addressing this sexual void. The film’s big sex scene is an unimaginative sequence of blurred shots of the embracing couple punctuated by shots of a rain storm at the window, a blazing fireplace, and glowing candles. After living together in Paris for more than a week, Alexis asks Phaedra to declare her love openly and return with him to London. Phaedra, however, feels compelled to rejoin her husband on the island of Hydra. Fearful of her lack of self control, she tells Alexis, â€Å"Don’t come. † Greece brings no respite to Phaedra’s emotions. Although still yearning for Alexis, she is tormented by her sense of shame and deceit. Her only confidant is Anna (Olympia Papoudaka), her aging personal maid, who is distraught by Phaedra’s anguish. Anna’s emotions have homoerotic aspects that feel far more genuine than the emotions Alexis has projected. The women take siestas together, but their sexual intimacy remains limited to the adoring Anna’s caresses. Thanos informs Alexis that the car he so admires is waiting for him in Hydra. Alexis demands to know what Phaedra desires him to do. The increasingly unstable Phaedra reverses what she had said earlier and implores Alexis to come as soon as possible, but her plans go awry when Alexis hews ever closer to his father while becoming ever more wary of her. The sexual dynamics intensify when Ercy, Alexis’s beautiful second cousin, a woman his own age, falls in love with him. Thanos and his circle are delighted at the prospect of a marriage that would further unite the shipping families. A now sullen and possessive Phaedra stands between Alexis and all that is â€Å"normal. Alexis reacts by playing the role of a carefree party boy at the local seaside tavern. He goes off with the first available woman, an act designed to cool Ercy’s ardor and belittle Phaedra. The film reaches its climax when the luxury ship named Phaedra, seen launched in the film’s opening scenes, sinks, killing most of its crew. Phaedra, obsessed by her own agenda, arrives at Thanos’s offices in the midst of the crisis. Ir onically clad in white, she pushes her way through black-clad women anxious to know the fate of their men. Oblivious to the grief around her, Phaedra-in-white reveals her secret love to Thanos. An enraged Thanos manages to restrain himself from striking her, but beats Alexis viciously, ordering him, as he did Phaedra, to leave his sight forever. The blood-soaked Alexis returns to the family villa for a last embrace of his â€Å"girl. † Phaedra appears at the garage door and tells him they can now live openly as lovers; he replies that he wishes Phaedra dead. The rejected Phaedra returns to the main house where she takes an overdose of sleeping pills while the now frenzied Alexis, listening to music by Bach, drives his â€Å"girl† over a cliff.

Anne Sullivan essays

Anne Sullivan essays She was a lost cause. No one could help her because she was unable to communicate. Why did Anne Sullivan believe she could help her? Sullivan undertook a task that many thought to be impossible: to establish some means of communication with Helen Keller and to bring this blind, deaf, and mute girl into a world that she could never before have imagined. Of all the influential people throughout time, Anne Sullivan is one I admire. Because of her determination, her ability to connect with a deeply troubled child, and her defiance of the odds against her, she set an important example for Physically, Anne Sullivan was much like the other women of the nineteenth century. She was an everyday person on the outside; however, her character reveals that her ordinary appearance was misleading. Her greatest qualities lie within. Anne was an intelligent woman who could deal with all that life threw her way. In 1887, life gave her the opportunity to meet her greatest challenge, Helen Keller. To be able to cope with all that came with this job, she relied on her patient temperament as well as her loving and optimistic nature. Regardless of how grim the situation appeared to others, Anne saw the tiny increments of progress in Helen, and no matter how long it took, she refused to give up her hope that some day Helen would be able to function like other children. To truly touch and brighten the life of a child is one of the most incredible achievements that one could ever hope to reach. I personally hold a great admiration for Anne Sullivan because she connected with a child, and made her life better. Helen Keller had lived a life of complete frustration, absolutely cut off from the world around her. Anne Sullivan changed that. She taught a girl who knew nothing of relationships and love to communicate with a world she could neither see, ...

Mini CVs and pen portraits for management consultants - Emphasis

Mini CVs and pen portraits for management consultants Mini CVs and pen portraits for management consultants When inviting a bid, clients sometimes ask you to include mini biographies, also known as pen portraits, of the potential team. Here, we show you   how to treat this as an opportunity to sell your company.   Focusing on the client’s needs and objectives is just as important in this section as it is in every other part of a bid. Most people read shorter, more easily digested chunks of information first. Mini CVs tend to (or at least should) fit this brief, so clients will often read these during their first flick through the bid document. It may even be the first section they read – and therefore your first opportunity to sell your team and your company. On the other hand, the client may read them once they have pretty much made up their minds to use you – in which case you want to confirm in their minds that you have assembled the right team for the job. Consider whether you want to include every potential team member, or just the senior figures. Do you know exactly who will be on the team, or will that be decided later? To keep it concise, perhaps write full portraits for the key members of the team and give just a brief outline of other potential team members. Your CV summaries need to be as targeted as the rest of the bid. So be sure to:   keep them short   give only relevant information   use specific examples   tie all information back to the project in hand   avoid clichà ©s (such as ‘client-centred advice’ and ‘proactive’). Dont do this David Stevens qualified as a management consultant in 1986 while at Smith Watson. He joined our Barking office when it was still owned by Stanford Prentice, a local management consultancy that had been established in the region for more than 80 years. David has worked for a wide and varying range of clients, and has experience of working with retail, law, agriculture, manufacturing and voluntary-sector organisations. He is also the author of a number of management consultancy guides, including The Stevens Method, which was first printed in 1995 and has been reprinted twice since. He is married to Clara and has two children – James and Isobel. He is also an avid football fan and sits on the board at Lincoln City FC. Instead, do this David Stevens – Senior Consultant Davids role will be to:   Keep you up to date through regular project meetings.   Control and authorise the project’s progress and be accountable for achieving its objectives. David has focused on work with retail businesses in the past five years, before which he specialised in voluntary-sector organisations. He is therefore particularly adept at designing and building new operating processes in businesses such as this, as well as delivering robust communication plans to ensure that all employees are engaged with the objectives of the project. He is also a leading member of our Employee Solutions team, and has a particular interest in employee share schemes and capital tax planning. Keep it relevant Remember to tie all the information back to the project in question – if you can’t, then it’s not relevant; and if it’s not relevant, it’s not helping your bid. Want more advice on writing bids? Read about our in-company   High-impact tender and sales proposal writing course. Or, if you want to train only one or two people, check out our open course sessions. Alternatively, give us a call on   +44 (0)1273 732 888. All businesses referred to in this article are fictional. To learn more about making  report writing a much easier and less painful task, check out our free webinar  recording How to turn your expert analysis into exceptional reports.  Its ideal if you have to write reports to colleagues and clients as part of your day-to-day job – whether thats as a traditional written report or as a slide deck.

Closing argument (persuasive) Essay Example | Topics and Well Written Essays - 750 words

Closing argument (persuasive) - Essay Example George Milton’s action was necessary. He has no other choice but to take away the life of Lennie. George should not be accused of any crime or he should not be considered guilty. George knows Lennie quite obviously. He is acquainted with Lennie so much that he knows that Lennie is always ready to harm himself with his activities. Lennie is not fully mentally fit and performs acts that are disadvantageous for him and he is not aware of this fact. Such as Lennie has hidden a dead mouse in his pocket, which can be epidemically harmful for him. George took it away from him but he again put it into his pocket. â€Å"George stood up and threw the mouse as far as he could into the darkening brush, and then he stepped to the pool and washed his hands. "You crazy fool. Dont you think I could see your feet was wet where you went acrost the river to get it?" He heard Lennies whimpering cry and wheeled about. "Blubberin like a baby! Jesus Christ! A big guy like you." Lennies lip quivered and tears started in his eyes. "Aw, Lennie!" George put his hand on Lennies shoulder. "I aint takin it away jus for meanness. That mouse aint fresh, Lennie; and besides, youve broke it pettin it." (Steinbeck 5) Lennie wants to pet a dead mouse without considering that it can cause a disease. George takes it away and throws it away twice. George wants to correct Lennie at each and every incidence by guiding him to do the rightful. He knows that his friend mishandles every creature whether it is an animal or a human being. Such as when Curley’s wife allows him to play with her hair, he mishandles them and at last, kills the woman by mistake. He is unable to feel that he becomes a reason for killing creatures by his mishandling. â€Å"She struggled violently under his hands. Her feet battered on the hay and she writhed to be free; and from under Lennies hand came a muffled screaming. Lennie began to cry with fright. "Oh! Please dont do none of that," he begged.

Obese Americans and the Return of Lifestyle Nazis :: Health Nutrition Essays

Obese Americans and the Return of Lifestyle Nazis "We are not doing the same kind of things with obesity that we have done with smoking and alcohol as far as the government isconcerned. It's got to be like smoking, a constant drumbeat." That's former Surgeon General C. Everett Koop, appearing on CNN, January 11, 2000, calling for the nation's lifestyle Nazis to attack fat people as they attacked smokers. Lifestyle Nazis aren't settling on just obesity, they're targeting meat consumption. Dr. Neal Barnard, president of Physicians Committee for Responsible Medicine says, "It's time we looked at holding the meat producers and fast-food outlets legally responsible. Meat consumption is just as dangerous to public health as tobacco use." Doing their part to ban meat consumption, professors at law schools such as Harvard, Rutgersand Georgetown are teaching "animal law" courses. Animals are seen as plaintiffs. Law professors are gearing up by studying old slavery statutes that authorized legal nonpersons to bring lawsuits. Possibly, before long, we might see chickens, cows, pigs and other critters appearing as plaintiffs in court suing for crimes against animals. Morgan Leyh, a member of People for the Ethical Treatment of Animals (PETA) says, "Eating meat is a rich versus poor issue. The rich get fat on meat, while the poor are starving because all the grain is fed to cattle. It's selfish to eat meat - there is no excuse for eating meat." So far as America's poor, that claim reflects unadulterated stupidity. American obesity is mostly a health problem of poor people. But stupidity and callousness is par for the course for PETA. It was PETA president, Ingrid Newkirk, who said slaughter of millions of chickens is a greater tragedy than the Nazi holocaust. She also said that a boy is no more valuable than a clam. PETA has fellow travelers. Guest Choice (www.guestchoice.com) cites fellow traveler, Paul Shapiro, a member of Compassion Over Killing, as saying, "Animals are the most oppressed group on the face of the planet. Eating meat is unethical - it is not your right to say an animal's life is worth a pleasant taste sensation in your mouth." Suppose we didn't slaughter cows for their meat but, instead, just drank their milk? We wouldn't be off the hook; there are anti-milk Nazis. Robert Cohen, a.k.a. "Notmilk Man", director of the Anti-Dairy Coalition, says that there is "no nutritional value to drinking milk.

Discuss and/or compare the role of women in society in`Trifles`and `Death of salesman`

An American woman’s life in the early 1900s when one-act play â€Å"Trifles† was written by Susan Glaspell was a whole lot different than what it is today. During that time, women were expected to stay at home while their husbands go to work and earn a living for their families, a noble task which society deemed fit for men in as much as cleaning house, hanging clothes, cooking food, washing dishes, and taking care of children were noble tasks meant for women. Women were educated, but the education or semblance of which merely served as a superficial credential to make them more attractive potential mates.Society was undoubtedly patriarchal, with wives’ submission to heir respective husbands’ taken both as the norm and the biblical good. (Mitchell 23) It was during this time that Glaspell wrote the play about a murder and that crime’s subsequent solution through a series of trifles. Even at the start of her play, Glaspell showed the disparity of soc ial class between men and women. One example is the scene at the start of the play where the three male main characters enter the warm farmhouse first before the two women do despite the fact that it was freezing cold outside.This signifies the priority that men assert of their needs over the needs of their women. It also signifies a sense of women being beholden to their men, the wives did not complain about the shabby treatment of their husbands of them in the scene, they considered it quite normal to wait until your husband enters a house before you yourself can do so. Another was one of the male characters constant mockeries of female concerns. That character, Mr. Hale, trivialized the many details of the tasks that women in that era were responsible for by using the words â€Å"women are used to worrying about trifles†. By trifles, Mr.Hale meant the small, seemingly nonessential details that his wife and all other wives as can be concluded from his disposition are always fussing over. He complains that his and Mr. Peters’ wives worries about unkempt state, pots, bread, and other kitchen items scattered about, about Mrs. Wright’s preserves being frozen and cracked are of no significance to the problem at hand, which was the murder of Mr. Wright. Here we see that not only were women being expected to be obedient, to stay at home and do the chores, but they were being ridiculed by men for being careful and mindful of the very things that husbands expect their wives to do.Mr. Hale never takes into consideration that it is his wife’s worries over the things that he considers as â€Å"Triffles† that lets him go home to a warm meal and a clean bed every single day, that gives him fresh, neatly ironed clothes every morning and not to mention a home cooked lunch. This mockery and ignorance show how little of a value society at that time actually placed on the tasks of a woman that it has expected of her. Another important detail that could be observed in the play was how women were indeed smarter than men gave them credit for.The wives of the two main characters eventually solve the mystery of the murder where their husbands failed. The women do so through investigating the very same â€Å"trifles† that the men ridicule them for. Mrs. Peters and Mrs. Hale found the quilting that Mrs. Wright was working on, and takes note that the sudden change in the quality of the stitching may connote that something had happened that upset Mrs. Wright. They found a broken bird cage and wondered if there was a bird, and then finally they found a small box upon looking for sewing supplies to take back to Mrs. Wright.The small box contained a bird with its neck wrung. The women put the clues together and decide not to tell their respective husbands, this last part somewhat connoting their preference to deny their husbands solid proof regarding the murder of Mr. Wright to which Mrs. Wright stood accused. The play portr ayed the men as blind to the clues that the women were able to find, this stressed the inequality between men and women even more, showing that although women could be just as smart as or even smarter than their male counterparts, their roles in society were still below those of their husbands’.The final aspect of the play that is connected with women at that time was the portrayal of Mrs. Wright. From the discussions among the other characters it was apparent that Mrs. Wright lived a stressful existence under the rule of her husband. Her husband was described as a difficult man, and the character of Mrs. Wright was implied to have endured years of abuse because of it. This last portrayal concretizes the marginalization of women during those times.It leaves to the viewers to connect the irony of how a woman who had  been subjected to years of degradation from a man who supposedly vowed to love and cherish her is in danger of suffering one last injustice, to be held intrial for the murder of the very man who had drained the life out of her. Decades later since the first showing of â€Å"Trifles† in 1916, Arthur Miler wrote what would be later known as a classic of American Theater. â€Å"Death Of A Salesman† which was first shown in 1949 was not primarily about women, but about how one man’s delusion and desperation caused the degradation of his family and his dignity.However, this man’s wife who was the main female character in the play showed very vivid portrayals of whether the concept of woman had evolved. Linda’s characterization in the play fares women no better than the women characters in â€Å"Triffles†. Linda Loman from â€Å"Death Of A Salesman† was yet another disheartened housewife who still kept fulfilling the usual tasks due to an American housewife. She is loving, caring, understanding and ever obedient to her husband, Willy Loman who never fails to tell her to â€Å"shut up† whene ver she puts a word out of line.Linda’s insights and intelligence are a lot more that Willy is characterized as having, but her unfaltering devotion towards him prevented her from using her wits to save her family because she knew that such an act would rob her husband of the glory that in that era made men, men. The scenes that involve private conversations with her sons showed Linda’s brilliance and common sense, a common sense that diminishes in scenes of Linda speaking with her husband wherein she plays stupid with her responses usually limited to â€Å"Yes Dear. † or â€Å"what, Dear? †. In conclusion, we say that both plays had feminist ideals embedded in them.Both plays portrayed the injustice being done to women and how these women of the past coped with such injustice. The time between the releases of these two plays connotes the period when these literature were written as struggling times for women. These years marked the birthing of a generati on of women who would finally wise up and begin to take their rightful place in society as men’s equals. The plays were evidence that some women already knew what was happening, and that these women were eager to spread the word of female liberalism which would later be known as feminism.These plays exposed that the treatment of women as housebound cleaners, babysitters, and cooks while at the same time failing to give proper recognition for these tasks and the women who did them was unacceptable. (Mitchell 85) The play showcased a woman’s abilities and strengths despite living in a man’s world. It showed that a woman can and will exceed a man if she chooses to. It scolds the women who have not yet awakened by portraying characters that resemble them. The battered and abused who are the Mrs. Wrights, and the smart, loving and caring yet neglected, unappreciated and frustrated Linda Lohans.These women represent those who cannot fight back, or those who think that what is being done to them is proper. These characters call out to those women and show them how pathetic they’ve become in an attempt to jolt them out of it and make them take a stand. American women have come a long way since these two pieces of literature; they have made countless others and are continuing to make them to date. They have gained much ground in their battle for rights and would do all that they can to push ever harder, reach ever higher, and make it ever clearer that no man has a right to make any woman feel that she is below him.

Role Of Fractal Geometry Of Indian Hindu Temple Architecture

Role of Fractal Geometry in Indian Hindu Temple Architecture Dhrubajyoti Sardar M.Arch Scholar, Architecture Planning Department Indian Institute of Technology, Roorkee Roorkee, Uttarakhand, India E-mail: ar.dhrubajyotisardar@gmail.com S. Y. Kulkarni Professor Former Head Architecture Planning Department, IIT Roorkee Roorkee, Uttarakhand, India E-mail: syk_iitr@yahoo.com Abstract— The self-similar recursive geometry is known as Fractal. Hindu Philosophy describes the cosmos as holonomic and self-similar in nature. In the connection of this context, fractal theory is being followed in Indian Hindu Temple Architecture much before the discovery of Fractal Theory. This paper is an attempt to find out the role of fractals in different elements of Indian Hindu temples. The study has extended from the site plan level to the minute detailing level. The discussion covers the elementary idea about the fractal theory and the basic structure of Hindu temples with supportive and self-explanatory visuals and analysis of the topic. It also focuses on the behavioural actions of fractals in Hindu temples and on the reasons behind its successful occurrence. Keywords— Fractal geometry; Hindu cosmology; Hindu temple architecture; Iteration; Self-similar; Repetition Introduction Ancient Indian mathematicians were very skilful in geometry. They used the knowledge of geometry in other disciplines also. They derived many of the comprehensive conclusions with the help of geometry.