Dear beloved Fatima
Hi i just wanted to know what caused you to like me because i was just always wondering to know what caused you to love me. I know i love you because the second i looked at you i knew you were the right one .The second I laid my eyes upon you i fell in love with you.Please get back to me i love you.
My love Santiago
The reason i like you is because i think that you are needed in my life and when i saw you i knew that my life couldn't be the same without you.you taught me so much and i believe in you .I fell in love with you. I know that you are the right guy for me and you and me will always be together .I love you Santiago.
We see that Fatima loves Santiago she is even willing to wait for Santiago to find his treasure and fulfill his Personal Legend.
Wednesday, March 5, 2008
Wednesday, January 30, 2008
Greek Theater
1.
2.
Dionysus or Dionysos (in Greek, Διόνυσος or Διώνυσος; associated with Roman Liber), was the god of wine and inspired madness, and a major figure of Greek mythology. He represents not only the intoxicating power of wine, but also its social and beneficial influences. The geographical origins of his cult were unknown, but almost all myths depicted him as having "foreign" (i.e. non-Greek) origins[1].
He was also known as Bacchus[2] and the frenzy he induces, bakcheia. He is the patron deity of agriculture and the theatre. He was also known as the Liberator (Eleutherios), freeing one from one's normal self, by madness, ecstasy, or wine.[3] The divine mission of Dionysus was to mingle the music of the aulos and to bring an end to care and worry.[4] Scholars have discussed Dionysus' relationship to the "cult of the souls" and his ability to preside over communication between the living and the dead.[5]
In Greek mythology Dionysus is made to be a son of Zeus and Semele; other versions of the myth contend that he is a son of Zeus and Persephone. He is described as being womanly or "man-womanish".[6]
3.The Festival of Dionysus
Dramatic performances in Classical Athens were very different from what we see today.
For one thing, the theatre was a popular and not an elite form of entertainment.
In our modern society, only a minority of the population attend theatrical performances on a regular basis. In fact, unless one lives in a major city like London or New York, it is very difficult to have access to good quality theatrical performances in the first place. Many people never even attend major theatrical performances.
4.The dithyramb was originally an ancient Greek hymn sung to the god Dionysus. Its wild and ecstatic character was often contrasted with that of the paean: just as Paean was both a hymn to and a title of Apollo, Dithyrambos was also a title of Dionysus as well as a song in his honor. According to Aristotle, the dithyramb was the origin of the Ancient Greek theatre. Richard Bentley writes that the Dithyramb was an old Bacchic Hymn and too old to be dated.1
Dithyrambs were sung by a Greek chorus of up to 50 men or boys dancing in circular formation (there is no certain evidence that they may have originally been dressed as satyrs) and probably accompanied by the aulos. They would normally relate some incident in the life of Dionysus. The leader of the chorus later became the solo protagonist, with lyrical interchanges taking place between him and the rest of the chorus.
5.HE was a famous playwrite, or thought to beThespis (1965), bronze sculpture by Robert Cook, commissioned for the opening of the Canberra Theatre
Thespis of Icaria (present-day Dionysos, Greece) (6th century BC) is claimed to be the first person ever to appear on stage as an actor in a play, although the reality is undoubtedly more complex. In other sources, he is said to have introduced the first actor in addition to the chorus.[1]
According to Aristotle, writing nearly two centuries later, Thespis was a singer of dithyrambs (songs about stories from mythology with choric refrains). Thespis supposedly introduced a new style in which one singer or actor performed the words of individual characters in the stories, distinguishing between the characters with the aid of different masks.
This new style was called tragedy, and Thespis was the most popular exponent of it. Eventually, in 534 BC, competitions to find the best tragedy were instituted at the City Dionysia in Athens, and Thespis won the first documented competition.
6.Hypocrisy (or being a hypocrite) is the act of pretending to support a belief or behaviour while holding the opposite beliefs or behaviours at the same time.
Hypocrisy is frequently invoked as an accusation in debates, in politics, and in life in general. A few theorists have studied the utility of hypocrisy, and in some cases have suggested that the conflicts manifested as hypocrisy are a necessary or beneficial part of human behavior and society.[1]
Etymology
The word hypocrisy derives from the Greek ὑπόκρισις (hypokrisis), which means "play-acting", "acting out", "feigning, dissembling" or "an answer"[2]; the word hypocrite is from the Greek word ὑποκρίτης (hypokrites), the agentive noun associated with υποκρίνομαι (hypokrinomai), i.e. "I play a part." Both derive from the verb κρίνω, "judge" (»κρίση, "judgment" »κριτική (kritiki), "critics") presumably because the performance of a dramatic text by an actor was to involve a degree of interpretation, or assessment, of that text.
Nevertheless, whereas hypokrisis applied to any sort of public performance (including the art of rhetoric), hypokrites was a technical term for a stage actor and was not considered an appropriate role for a public figure. In Athens in the 4th Century BC, for example, the great orator Demosthenes ridiculed his rival Aeschines, who had been a successful actor before taking up politics, as a hypokrites whose skill at impersonating characters on stage made him an untrustworthy politician. This negative view of the hypokrites, perhaps combined with the Roman disdain for actors, later shaded into the originally neutral hypokrisis. It is this later sense of hypokrisis as "play-acting," i.e. the assumption of a counterfeit persona, that gives the modern word hypocrisy its negative connotation. In all this, we do not find the modern idea that the hypocrite is unaware that his performance or argument stands in contradiction with his self: on the contrary, a hypocrite in antiquity was someone who intentionally tried to deceive others.
The word can be further understood as an amalgam of the Greek prefix hypo-, meaning "under", and the verb "krinein", meaning "to sift or decide". Thus the original meaning is given as a deficiency in the ability to sift or decide. This deficiency, as it pertains to one's own beliefs and feelings, does well to inform the word's contemporary meaning[3].
[edit] Hypocrisy and morality
Hypocrisy has been described, alongside lack of sincerity, as a characteristic which attracts particular opprobrium in the modern age. [4]Many belief systems condemn behaviours related to hypocrisy. In some translations of the Book of Job, the Hebrew word chaneph is rendered as "hypocrite," though it usually means "godless" or "profane." In the Christian Bible, Jesus condemns the scribes and Pharisees as hypocrites in the passage known as the Woes of the Pharisees. [5] In the Buddhist text Dhammapada, Gautama Buddha condemns a man who takes the appearance of an ascetic but is full of passions within.[6] In Islam, the Qur'an rails against the munafiq - those who claim to be believers and peacemakers but are not. [7]
7.Sophocles or Sofokles (pronounced /ˈsɒfəkliːz/; ancient Greek Σοφοκλῆς, pronounced [sopʰoklɛ̂ːs]; circa. 496 BC - 406 BC) was the second of the three ancient Greek tragedians whose work has survived to the present day. His first plays were written later than those of Aeschylus, and earlier than those of Euripides. According to the Suda, a 10th century encyclopedia, Sophocles wrote 120 or more plays during the course of his life,[1] but only seven have survived in a complete form, namely Ajax, Antigone, Trachinian Women, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus. For almost 50 years, Sophocles was the most-awarded playwright in the dramatic competitions of ancient Athens that took place during the religious festivals of the Lenaea and the Dionysia. Sophocles competed in around thirty drama competitions; he won perhaps twenty four and never received lower than second place. Aeschylus won fourteen competitions and was defeated by Sophocles at times. Euripides won only four competitions (Encyclopaedia Britannica, Inc.).
The most famous of Sophocles's tragedies are those concerning Oedipus and Antigone: these are often known as the Theban plays or The Oedipus Cycle, although they were not originally written or performed as a single trilogy. Sophocles influenced the development of the drama, most importantly by adding a third actor and thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights such as Aeschylus
8.The phrase deus ex machina (Latin IPA: [ˈdeːus eks ˈmaːkʰina] (literally "god out of a machine") describes an artificial, or improbable character, device, or event introduced suddenly in a work of fiction or drama to resolve a situation or untangle a plot (such as an angel suddenly appearing to solve problems).
Linguistic considerations
The Latin phrase "deus ex machina" has its origins in the conventions of Greek tragedy. It refers to situations in which a mechane (crane) was used to lower actors playing a god or gods onto the stage. Though the phrase is accurately translated as "God from a machine," in literary criticism, it is often translated to "God on a machine."[citation needed] The machine referred to in the phrase is the crane employed in the task. It is a calque from the Greek 'απὸ μηχανῆς θεός' ápo mēchanēs theós, (pronounced in Ancient Greek IPA: [aˈpomɛːkʰaˈnɛːstʰeˈos]).
The Greek tragedian Euripides is notorious for using this plot device as a means to resolve a hopeless situation. For example, in Euripides' play Alcestis, the eponymous heroine agrees to give up her own life to Death in exchange for sparing the life of her husband, Admetus. In doing so, however, she imposes upon him a series of extreme promises. Admetus is torn between choosing death or choosing to obey these unreasonable restrictions. In the end, though, Heracles shows up and seizes Alcestis from Death, restoring her to life and freeing Admetus from the promises. The first person known to have criticized the device was Aristotle in his Poetics, where he argued that the resolution of a plot must arise internally, following from previous action of the play.[1]
[edit] Modern uses
The phrase has been extended to refer to any resolution to a story that does not pay due regard to the story's internal logic and is so unlikely that it challenges suspension of disbelief, allowing the author to conclude the story with an unlikely, though more palatable, ending.
In modern terms the deus ex machina has also come to describe a being, object or event that suddenly appears and solves a seemingly insoluble difficulty, where the author has "painted the characters into a corner" that they can't easily be extricated from (e.g. the cavalier unexpectedly coming to the rescue, or James Bond using a gadget that just so happens to be perfectly suited to the needs of the situation).
Other examples are seen in H.G. Wells' War of the Worlds where the Martians suddenly succumb to common viruses; and in Robert Jordan's 'A Crown of Swords' (Book 7 of The Wheel Of Time), when the mysterious stranger arrives just in time to pull Rand Al'Thor from the brink of the precipice in Shadar Logoth. In the Christmas movie, Olive, the Other Reindeer, a package appears in the mailtruck Olive is trapped in. The packing is addressed to her, and it is from "Deus Ex Machina". It was a nail-file that let her escape. The device is a type of twist ending. In the end of the film Dodgeball: A True Underdog Story a chest of money says "Deus Ex Machina" on the front; the protagonist Peter LaFleur then tells everyone that he had placed a $100,000 bet on his team winning the game and this money will allow him to save his gym. In The Matrix Revolutions, the protagonist Neo finds an entity known as the "Deus Ex Machina" which allows him to restore peace between the warring factions in the film under incredible odds.
Sometimes the unlikeliness of the deus ex machina plot device is employed deliberately. In Brecht's "The Threepenny Opera", a "riding messenger of the king" appears in the last moment, stops the execution of the story's criminal anti-hero Mack the Knife, and bestows an inheritable title of nobility on him. The very absurdity of this serves to underwrite the great lack of generosity and unselfishness in the capitalist reality that the story is mostly about.
The deus ex machina plot device is parodied in Mel Brooks' History of the World: Part 1. Near the end, the king's body double is about to be executed when a horse named Miracle (who originally came to the protagonists' aid in the Roman section) arrives and rescues the double and his friends. The horse is complete with the same Roman driver as before. When the double comments that the time gap is too big for one man to live through, the driver comments that the movie is only fiction so it does not matter.
The notion of deus ex machina can also be applied to a revelation within a story that causes seemingly unrelated sequences of events to be joined together. Thus the unexpected and timely intervention is aimed at the meaning of the story rather than a physical event in the plot. This may more accurately be described as a plot twist.
9.The Oedipus complex in Freudian psychoanalysis refers to a stage of psychosexual development in childhood where children of both sexes regard their father as an adversary and competitor for the exclusive love of their mother. The name derives from the Greek myth of Oedipus, who unknowingly kills his father, Laius, and marries his mother, Jocasta. Further, for girls Freud came to regard the relationship with the mother as of great importance in understanding her psychosexual development, which affects her entry into the Oedipus complex.
In Jungian thought, the Oedipus complex tends to refer only to the experience of male children, with female children experiencing an Electra complex in which they regard their mothers as competitor for the exclusive love of their fathers.
Freud considered the successful resolution of the Oedipus complex to be key to the development of gender roles and identity. He posited that boys and girls resolved the conflicts differently as a result of castration anxiety (for males) and penis envy (for females). Freud also held that the unsuccessful resolution of the Oedipus complex could result in neurosis, pedophilia, and homosexuality. Most Freud scholars today agree that Freud's views on the Oedipus complex went through a number of stages of development. This is well exemplified in the Simon and Blass (1991) publication, which documents no fewer than six stages of development of Freud's thinking on this subject:
Stage 1. 1897-1909. Following the death of his father in 1896, and his later seeing Oedipus Rex by Sophocles, Freud begins to use the term "Oedipus" but does not, at this stage, use the term "Oedipus complex".
Stage 2. 1909-1914. Freud refers to Oedipal wishes as being the "nuclear complex" of every neurosis, and later uses term "Oedipus complex" for the first time in 1910.
Stage 3. 1914-1918. Incestuous wishes in relation to the father as well as to the mother are now considered.
Stage 4. 1919-1926. Stage of complete Oedipus complex, in which considerations of identification and bisexuality become more evident in Freud's work. Freud now begins to use the term "complete Oedipus complex"..
Stage 5. 1926-1931. Applies the Oedipal theory to religious and cultural themes.
Stage 6. 1931-1938. Gives more attention to the Oedipus complex in females.
It can be seen from this model that Freud's writings on the Oedipus complex in females date primarily from his later writings, of the 1920s and 1930s. He believed that the Oedipal wishes in females are initially homosexual desires for the mother, and in 1925, raised the question of how females later abandon this desire for their mother, and shift their sexual desires to their fathers (Appignanesisi & Forrester, 1992). Freud believed that this stems from their disappointment in discovery that their mother lacks a penis. It is noteworthy that, as Slipp (1993) points out, "Nowhere in the Standard Edition of Freud's Collected Works does Freud discuss matricide" (Slipp, 1993, p95). Freud's final comments on female sexuality occurred in his "New Introductory Lectures on Psychoanalysis" in 1933 (Slipp, 1993) and deal with the different effects of penis envy and castration anxiety. While Freud argued that both sexes experience desire for their mothers and aggression towards their fathers, Carl Jung believed that females experienced desire for their fathers and aggression towards their mothers. He referred to this idea as the Electra complex, after Electra, the daughter of Agamemnon. Electra wanted to kill her mother, who had helped plan the murder of her father. The Electra complex is not considered to be a part of Freudian psychoanalytic theory.
Although common usage refers to 'suffering from an Oedipus complex', psychoanalysis does not consider the complex a pathology, but instead a perfectly normal stage that all children go through. Oedipal desires are thought to remain heavily repressed and unconscious in the minds of all functioning adults.
2.
Dionysus or Dionysos (in Greek, Διόνυσος or Διώνυσος; associated with Roman Liber), was the god of wine and inspired madness, and a major figure of Greek mythology. He represents not only the intoxicating power of wine, but also its social and beneficial influences. The geographical origins of his cult were unknown, but almost all myths depicted him as having "foreign" (i.e. non-Greek) origins[1].
He was also known as Bacchus[2] and the frenzy he induces, bakcheia. He is the patron deity of agriculture and the theatre. He was also known as the Liberator (Eleutherios), freeing one from one's normal self, by madness, ecstasy, or wine.[3] The divine mission of Dionysus was to mingle the music of the aulos and to bring an end to care and worry.[4] Scholars have discussed Dionysus' relationship to the "cult of the souls" and his ability to preside over communication between the living and the dead.[5]
In Greek mythology Dionysus is made to be a son of Zeus and Semele; other versions of the myth contend that he is a son of Zeus and Persephone. He is described as being womanly or "man-womanish".[6]
3.The Festival of Dionysus
Dramatic performances in Classical Athens were very different from what we see today.
For one thing, the theatre was a popular and not an elite form of entertainment.
In our modern society, only a minority of the population attend theatrical performances on a regular basis. In fact, unless one lives in a major city like London or New York, it is very difficult to have access to good quality theatrical performances in the first place. Many people never even attend major theatrical performances.
4.The dithyramb was originally an ancient Greek hymn sung to the god Dionysus. Its wild and ecstatic character was often contrasted with that of the paean: just as Paean was both a hymn to and a title of Apollo, Dithyrambos was also a title of Dionysus as well as a song in his honor. According to Aristotle, the dithyramb was the origin of the Ancient Greek theatre. Richard Bentley writes that the Dithyramb was an old Bacchic Hymn and too old to be dated.1
Dithyrambs were sung by a Greek chorus of up to 50 men or boys dancing in circular formation (there is no certain evidence that they may have originally been dressed as satyrs) and probably accompanied by the aulos. They would normally relate some incident in the life of Dionysus. The leader of the chorus later became the solo protagonist, with lyrical interchanges taking place between him and the rest of the chorus.
5.HE was a famous playwrite, or thought to beThespis (1965), bronze sculpture by Robert Cook, commissioned for the opening of the Canberra Theatre
Thespis of Icaria (present-day Dionysos, Greece) (6th century BC) is claimed to be the first person ever to appear on stage as an actor in a play, although the reality is undoubtedly more complex. In other sources, he is said to have introduced the first actor in addition to the chorus.[1]
According to Aristotle, writing nearly two centuries later, Thespis was a singer of dithyrambs (songs about stories from mythology with choric refrains). Thespis supposedly introduced a new style in which one singer or actor performed the words of individual characters in the stories, distinguishing between the characters with the aid of different masks.
This new style was called tragedy, and Thespis was the most popular exponent of it. Eventually, in 534 BC, competitions to find the best tragedy were instituted at the City Dionysia in Athens, and Thespis won the first documented competition.
6.Hypocrisy (or being a hypocrite) is the act of pretending to support a belief or behaviour while holding the opposite beliefs or behaviours at the same time.
Hypocrisy is frequently invoked as an accusation in debates, in politics, and in life in general. A few theorists have studied the utility of hypocrisy, and in some cases have suggested that the conflicts manifested as hypocrisy are a necessary or beneficial part of human behavior and society.[1]
Etymology
The word hypocrisy derives from the Greek ὑπόκρισις (hypokrisis), which means "play-acting", "acting out", "feigning, dissembling" or "an answer"[2]; the word hypocrite is from the Greek word ὑποκρίτης (hypokrites), the agentive noun associated with υποκρίνομαι (hypokrinomai), i.e. "I play a part." Both derive from the verb κρίνω, "judge" (»κρίση, "judgment" »κριτική (kritiki), "critics") presumably because the performance of a dramatic text by an actor was to involve a degree of interpretation, or assessment, of that text.
Nevertheless, whereas hypokrisis applied to any sort of public performance (including the art of rhetoric), hypokrites was a technical term for a stage actor and was not considered an appropriate role for a public figure. In Athens in the 4th Century BC, for example, the great orator Demosthenes ridiculed his rival Aeschines, who had been a successful actor before taking up politics, as a hypokrites whose skill at impersonating characters on stage made him an untrustworthy politician. This negative view of the hypokrites, perhaps combined with the Roman disdain for actors, later shaded into the originally neutral hypokrisis. It is this later sense of hypokrisis as "play-acting," i.e. the assumption of a counterfeit persona, that gives the modern word hypocrisy its negative connotation. In all this, we do not find the modern idea that the hypocrite is unaware that his performance or argument stands in contradiction with his self: on the contrary, a hypocrite in antiquity was someone who intentionally tried to deceive others.
The word can be further understood as an amalgam of the Greek prefix hypo-, meaning "under", and the verb "krinein", meaning "to sift or decide". Thus the original meaning is given as a deficiency in the ability to sift or decide. This deficiency, as it pertains to one's own beliefs and feelings, does well to inform the word's contemporary meaning[3].
[edit] Hypocrisy and morality
Hypocrisy has been described, alongside lack of sincerity, as a characteristic which attracts particular opprobrium in the modern age. [4]Many belief systems condemn behaviours related to hypocrisy. In some translations of the Book of Job, the Hebrew word chaneph is rendered as "hypocrite," though it usually means "godless" or "profane." In the Christian Bible, Jesus condemns the scribes and Pharisees as hypocrites in the passage known as the Woes of the Pharisees. [5] In the Buddhist text Dhammapada, Gautama Buddha condemns a man who takes the appearance of an ascetic but is full of passions within.[6] In Islam, the Qur'an rails against the munafiq - those who claim to be believers and peacemakers but are not. [7]
7.Sophocles or Sofokles (pronounced /ˈsɒfəkliːz/; ancient Greek Σοφοκλῆς, pronounced [sopʰoklɛ̂ːs]; circa. 496 BC - 406 BC) was the second of the three ancient Greek tragedians whose work has survived to the present day. His first plays were written later than those of Aeschylus, and earlier than those of Euripides. According to the Suda, a 10th century encyclopedia, Sophocles wrote 120 or more plays during the course of his life,[1] but only seven have survived in a complete form, namely Ajax, Antigone, Trachinian Women, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus. For almost 50 years, Sophocles was the most-awarded playwright in the dramatic competitions of ancient Athens that took place during the religious festivals of the Lenaea and the Dionysia. Sophocles competed in around thirty drama competitions; he won perhaps twenty four and never received lower than second place. Aeschylus won fourteen competitions and was defeated by Sophocles at times. Euripides won only four competitions (Encyclopaedia Britannica, Inc.).
The most famous of Sophocles's tragedies are those concerning Oedipus and Antigone: these are often known as the Theban plays or The Oedipus Cycle, although they were not originally written or performed as a single trilogy. Sophocles influenced the development of the drama, most importantly by adding a third actor and thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights such as Aeschylus
8.The phrase deus ex machina (Latin IPA: [ˈdeːus eks ˈmaːkʰina] (literally "god out of a machine") describes an artificial, or improbable character, device, or event introduced suddenly in a work of fiction or drama to resolve a situation or untangle a plot (such as an angel suddenly appearing to solve problems).
Linguistic considerations
The Latin phrase "deus ex machina" has its origins in the conventions of Greek tragedy. It refers to situations in which a mechane (crane) was used to lower actors playing a god or gods onto the stage. Though the phrase is accurately translated as "God from a machine," in literary criticism, it is often translated to "God on a machine."[citation needed] The machine referred to in the phrase is the crane employed in the task. It is a calque from the Greek 'απὸ μηχανῆς θεός' ápo mēchanēs theós, (pronounced in Ancient Greek IPA: [aˈpomɛːkʰaˈnɛːstʰeˈos]).
The Greek tragedian Euripides is notorious for using this plot device as a means to resolve a hopeless situation. For example, in Euripides' play Alcestis, the eponymous heroine agrees to give up her own life to Death in exchange for sparing the life of her husband, Admetus. In doing so, however, she imposes upon him a series of extreme promises. Admetus is torn between choosing death or choosing to obey these unreasonable restrictions. In the end, though, Heracles shows up and seizes Alcestis from Death, restoring her to life and freeing Admetus from the promises. The first person known to have criticized the device was Aristotle in his Poetics, where he argued that the resolution of a plot must arise internally, following from previous action of the play.[1]
[edit] Modern uses
The phrase has been extended to refer to any resolution to a story that does not pay due regard to the story's internal logic and is so unlikely that it challenges suspension of disbelief, allowing the author to conclude the story with an unlikely, though more palatable, ending.
In modern terms the deus ex machina has also come to describe a being, object or event that suddenly appears and solves a seemingly insoluble difficulty, where the author has "painted the characters into a corner" that they can't easily be extricated from (e.g. the cavalier unexpectedly coming to the rescue, or James Bond using a gadget that just so happens to be perfectly suited to the needs of the situation).
Other examples are seen in H.G. Wells' War of the Worlds where the Martians suddenly succumb to common viruses; and in Robert Jordan's 'A Crown of Swords' (Book 7 of The Wheel Of Time), when the mysterious stranger arrives just in time to pull Rand Al'Thor from the brink of the precipice in Shadar Logoth. In the Christmas movie, Olive, the Other Reindeer, a package appears in the mailtruck Olive is trapped in. The packing is addressed to her, and it is from "Deus Ex Machina". It was a nail-file that let her escape. The device is a type of twist ending. In the end of the film Dodgeball: A True Underdog Story a chest of money says "Deus Ex Machina" on the front; the protagonist Peter LaFleur then tells everyone that he had placed a $100,000 bet on his team winning the game and this money will allow him to save his gym. In The Matrix Revolutions, the protagonist Neo finds an entity known as the "Deus Ex Machina" which allows him to restore peace between the warring factions in the film under incredible odds.
Sometimes the unlikeliness of the deus ex machina plot device is employed deliberately. In Brecht's "The Threepenny Opera", a "riding messenger of the king" appears in the last moment, stops the execution of the story's criminal anti-hero Mack the Knife, and bestows an inheritable title of nobility on him. The very absurdity of this serves to underwrite the great lack of generosity and unselfishness in the capitalist reality that the story is mostly about.
The deus ex machina plot device is parodied in Mel Brooks' History of the World: Part 1. Near the end, the king's body double is about to be executed when a horse named Miracle (who originally came to the protagonists' aid in the Roman section) arrives and rescues the double and his friends. The horse is complete with the same Roman driver as before. When the double comments that the time gap is too big for one man to live through, the driver comments that the movie is only fiction so it does not matter.
The notion of deus ex machina can also be applied to a revelation within a story that causes seemingly unrelated sequences of events to be joined together. Thus the unexpected and timely intervention is aimed at the meaning of the story rather than a physical event in the plot. This may more accurately be described as a plot twist.
9.The Oedipus complex in Freudian psychoanalysis refers to a stage of psychosexual development in childhood where children of both sexes regard their father as an adversary and competitor for the exclusive love of their mother. The name derives from the Greek myth of Oedipus, who unknowingly kills his father, Laius, and marries his mother, Jocasta. Further, for girls Freud came to regard the relationship with the mother as of great importance in understanding her psychosexual development, which affects her entry into the Oedipus complex.
In Jungian thought, the Oedipus complex tends to refer only to the experience of male children, with female children experiencing an Electra complex in which they regard their mothers as competitor for the exclusive love of their fathers.
Freud considered the successful resolution of the Oedipus complex to be key to the development of gender roles and identity. He posited that boys and girls resolved the conflicts differently as a result of castration anxiety (for males) and penis envy (for females). Freud also held that the unsuccessful resolution of the Oedipus complex could result in neurosis, pedophilia, and homosexuality. Most Freud scholars today agree that Freud's views on the Oedipus complex went through a number of stages of development. This is well exemplified in the Simon and Blass (1991) publication, which documents no fewer than six stages of development of Freud's thinking on this subject:
Stage 1. 1897-1909. Following the death of his father in 1896, and his later seeing Oedipus Rex by Sophocles, Freud begins to use the term "Oedipus" but does not, at this stage, use the term "Oedipus complex".
Stage 2. 1909-1914. Freud refers to Oedipal wishes as being the "nuclear complex" of every neurosis, and later uses term "Oedipus complex" for the first time in 1910.
Stage 3. 1914-1918. Incestuous wishes in relation to the father as well as to the mother are now considered.
Stage 4. 1919-1926. Stage of complete Oedipus complex, in which considerations of identification and bisexuality become more evident in Freud's work. Freud now begins to use the term "complete Oedipus complex"..
Stage 5. 1926-1931. Applies the Oedipal theory to religious and cultural themes.
Stage 6. 1931-1938. Gives more attention to the Oedipus complex in females.
It can be seen from this model that Freud's writings on the Oedipus complex in females date primarily from his later writings, of the 1920s and 1930s. He believed that the Oedipal wishes in females are initially homosexual desires for the mother, and in 1925, raised the question of how females later abandon this desire for their mother, and shift their sexual desires to their fathers (Appignanesisi & Forrester, 1992). Freud believed that this stems from their disappointment in discovery that their mother lacks a penis. It is noteworthy that, as Slipp (1993) points out, "Nowhere in the Standard Edition of Freud's Collected Works does Freud discuss matricide" (Slipp, 1993, p95). Freud's final comments on female sexuality occurred in his "New Introductory Lectures on Psychoanalysis" in 1933 (Slipp, 1993) and deal with the different effects of penis envy and castration anxiety. While Freud argued that both sexes experience desire for their mothers and aggression towards their fathers, Carl Jung believed that females experienced desire for their fathers and aggression towards their mothers. He referred to this idea as the Electra complex, after Electra, the daughter of Agamemnon. Electra wanted to kill her mother, who had helped plan the murder of her father. The Electra complex is not considered to be a part of Freudian psychoanalytic theory.
Although common usage refers to 'suffering from an Oedipus complex', psychoanalysis does not consider the complex a pathology, but instead a perfectly normal stage that all children go through. Oedipal desires are thought to remain heavily repressed and unconscious in the minds of all functioning adults.
Monday, December 31, 2007
"Two examples that portray why i think The Great Gatsby should be taught"
Yes i do think that The Great Gatsby should be taught.
The two examples why I think it should be taught is because of :
1.The SY community - which is that people are confined in like bubble and not knowing whats out of the box rathe ronly what inside
2.Love and money- this concept is about Gatsby and Daisy he wants to buy her love.However you cannot buy love . Its a feeling you have to just have
The two examples why I think it should be taught is because of :
1.The SY community - which is that people are confined in like bubble and not knowing whats out of the box rathe ronly what inside
2.Love and money- this concept is about Gatsby and Daisy he wants to buy her love.However you cannot buy love . Its a feeling you have to just have
Wednesday, December 5, 2007
whats the purpose of learning literature in a yeashiva?
The reason I think their should be learning literature in a yeashiva is many varied resons. The first is that every jew should be aware of literature.The second is that people learn literature to advance their vocabulary.itis very important to know about literature
Wednesday, November 28, 2007
The Great Gatsby
1. His full name Francis Scott Key, and he was lawyer and a author was the son of John Ross Key, a Revolutionary officerand poet who wrote the words to the United States national anthem, "The Star-Spangled Banner".
2.I would say he isnt any of them because his life sounds like he is not "old money" or nouveau riche" . However if i had to pick one i would and i would say "old money".
3.The prohibition was a way for the country to get rid of the use of alchol. this did not work .Speakeasies were place were alchol was sold.In the novel the great gatsby the characters went to those places and drank alchol.
4.The term American Dream has had many shades of meaning throughout American history. Today, it generally refers to the idea that one's prosperity depends upon one's own abilities and hard work, not on a rigid class structure. For some, it is the opportunity to achieve more prosperity than they could in their countries of origin; for others, it is the opportunity for their children to grow up with an education and career opportunities; for still others, it is the opportunity to be an individual without the constraints imposed by class, caste, race, or ethnicity. It sometimes includes the idea of owning a home.
5.That all men are created equal and in my opnion i do think this is part of the american dream.
2.I would say he isnt any of them because his life sounds like he is not "old money" or nouveau riche" . However if i had to pick one i would and i would say "old money".
3.The prohibition was a way for the country to get rid of the use of alchol. this did not work .Speakeasies were place were alchol was sold.In the novel the great gatsby the characters went to those places and drank alchol.
4.The term American Dream has had many shades of meaning throughout American history. Today, it generally refers to the idea that one's prosperity depends upon one's own abilities and hard work, not on a rigid class structure. For some, it is the opportunity to achieve more prosperity than they could in their countries of origin; for others, it is the opportunity for their children to grow up with an education and career opportunities; for still others, it is the opportunity to be an individual without the constraints imposed by class, caste, race, or ethnicity. It sometimes includes the idea of owning a home.
5.That all men are created equal and in my opnion i do think this is part of the american dream.
Wednesday, November 21, 2007
Quote
1. I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew what pretense Salem was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men! And now you bid me tear the light out of my eyes? I will not, I cannot! You loved me, John Proctor, and whatever sin it is, you love me yet!
Abigail Williams said this to show us her past relationship with John Proctor .As we see John Proctor may still be attracted to her, he is desperately trying to put this incident behind him. Abigail, on the other hand, has no such sense of closure, as this quote makesher point clear.
This shows how John Proctor back stabs Elizebeth in love.
Tuesday, November 13, 2007
Act 1 - Abigail
Act 1 - Abigail
3.Religion plays an important role in my daily life. It is everything to me. It affects everything I do, I think, eat or I base my decisions on. Religion is a very big part of my life; it gives me spiritual peace of mind and guides me through. It identifies me where I come from and where I am going to. In school, I learn more about Judaism and get to understand it better. I ask God's help in everything that I do, especially this year, which is really going to be rough one.
4.I always wanted to be a part of a community and a world that is larger than me, so that I can contribute and have some influence on my surrounding environment. It gives me a sense of belonging and I think it well worth the time spent. Personal relationships develop easier and often grow deeper when I participate in activities of local community.
3.Religion plays an important role in my daily life. It is everything to me. It affects everything I do, I think, eat or I base my decisions on. Religion is a very big part of my life; it gives me spiritual peace of mind and guides me through. It identifies me where I come from and where I am going to. In school, I learn more about Judaism and get to understand it better. I ask God's help in everything that I do, especially this year, which is really going to be rough one.
4.I always wanted to be a part of a community and a world that is larger than me, so that I can contribute and have some influence on my surrounding environment. It gives me a sense of belonging and I think it well worth the time spent. Personal relationships develop easier and often grow deeper when I participate in activities of local community.
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