Iago as the Hero of Shakespeares Othello Essay -- GCSE Coursework Sha

Iago as the Hero of Othello      Ã‚  Ã‚   A Shakespearean play always includes a typical villain character. He is boisterous, egotistical, sometimes witty, and all too eager to seek revenge. In William Shakespeare Othello, Iago is the well-liked, trusted, and brave ensign of the great Venetian general Othello, or so it appears. Iago actually possesses all of the typical villainous qualities, however Iago conducts himself with great composure, and by manipulating his counterparts, he makes people believe he is on their side. I find this characteristic to be a very intriguing one that is not easy to perform. It is perhaps Iago's villainous actions throughout this play that lead me to believe that he is the hero rather than the typical villain. In the first scene of the play, we learn that Iago is jealous of Cassio because he has just received the rank of lieutenant, which Iago was expecting to receive. It is also obvious to the reader that Iago is contemptous of Othello who granted Cassio such a high ranking. From this point on Iago is able to It is from this scene on that Iago uses his brilliance to capture the attention of the people, both onstage and off. In order to do this Iago begins by informing the Moor that his new father-in-law has found out about his new relationship to Othello, and in turn he is very angry. However, a scene earlier Iago is the one who skillfully informs Barbantio that his daughter has run off with the Moor, but he did not actually do the telling. Instead Iago used more convincing words in order to get Roderigo to think he would win the new brides heart, if only he attempted to break up the marriage first by telling the father. When Iago finally tells the Moor that Barbantio is coming for him, we ... ...ns, he does not have to be a nice man, he just has to be able to act like one. A man who can change his entire demeanor with the wind, does not have to be viewed as a role model, but he is a hero in my mind. Works Cited and Consulted Bloom, Harold, ed. Modern Critical Interpretations: William Shakespeare's Othello. New York: Chelsea House Publishers, 1987. Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55) Shakespeare, William.   â€Å"The Tragedy of Othello the Moor of Venice.†Ã‚   The Norton Anthology of World Masterpieces.   Ed. Sarah Lawall.   New York and London:   W. W. Norton & Company, 1999.   2115 – 2192. Vaughan, Virginia Mason, and Kent Cartwright, eds. Othello: New Perspectives. Cranbury, NJ: Associated University Press, 1991.    Iago as the Hero of Shakespeare's Othello Essay -- GCSE Coursework Sha Iago as the Hero of Othello      Ã‚  Ã‚   A Shakespearean play always includes a typical villain character. He is boisterous, egotistical, sometimes witty, and all too eager to seek revenge. In William Shakespeare Othello, Iago is the well-liked, trusted, and brave ensign of the great Venetian general Othello, or so it appears. Iago actually possesses all of the typical villainous qualities, however Iago conducts himself with great composure, and by manipulating his counterparts, he makes people believe he is on their side. I find this characteristic to be a very intriguing one that is not easy to perform. It is perhaps Iago's villainous actions throughout this play that lead me to believe that he is the hero rather than the typical villain. In the first scene of the play, we learn that Iago is jealous of Cassio because he has just received the rank of lieutenant, which Iago was expecting to receive. It is also obvious to the reader that Iago is contemptous of Othello who granted Cassio such a high ranking. From this point on Iago is able to It is from this scene on that Iago uses his brilliance to capture the attention of the people, both onstage and off. In order to do this Iago begins by informing the Moor that his new father-in-law has found out about his new relationship to Othello, and in turn he is very angry. However, a scene earlier Iago is the one who skillfully informs Barbantio that his daughter has run off with the Moor, but he did not actually do the telling. Instead Iago used more convincing words in order to get Roderigo to think he would win the new brides heart, if only he attempted to break up the marriage first by telling the father. When Iago finally tells the Moor that Barbantio is coming for him, we ... ...ns, he does not have to be a nice man, he just has to be able to act like one. A man who can change his entire demeanor with the wind, does not have to be viewed as a role model, but he is a hero in my mind. Works Cited and Consulted Bloom, Harold, ed. Modern Critical Interpretations: William Shakespeare's Othello. New York: Chelsea House Publishers, 1987. Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55) Shakespeare, William.   â€Å"The Tragedy of Othello the Moor of Venice.†Ã‚   The Norton Anthology of World Masterpieces.   Ed. Sarah Lawall.   New York and London:   W. W. Norton & Company, 1999.   2115 – 2192. Vaughan, Virginia Mason, and Kent Cartwright, eds. Othello: New Perspectives. Cranbury, NJ: Associated University Press, 1991.   

The Socio-Cultural Impact on Love, Marriage, and Kinship

Carine Garcon ANT 3212 Wayne A. Abrahamson Spring 2013 The Socio-Cultural Impact on Love, Marriage, and Kinship One’s perspective of the world is consistently altered by our surroundings and influenced by the events that take place. In the past approximately 50 years divorce rates have risen a significant incredibly high. Many researchers have associated this phenomena the contemporary society marriage symbolizes and values. This idea and representation of love have conversely affected and impacted relationships. Thus, the topic that will be investigated is how society and cultural has affected our notion of love, marriage, and kinship.One of the ways society has impacted the notion of marriage is that fact that the government attempts to regulate marriages. â€Å"A few states realize the importance of marriage, and they have taken action to try to change our notion on marriage. Louisiana, Arizona, and Arkansas they believed in covenant marriages. According to the journal cov enant marriage required the following†¦ This movement set out to promote and strengthen marriages, reduce divorce rates, lessen the number of children born out of wedlock, discourages cohabitation, and frame marriage as an honorable and desirable institution. † (Hawkins et al. 002:166) Because of the fact that the contemporary culture has lost sight of the significance of marriage, the government attempted to regulate the marriages within certain states. Furthermore, the state of Florida has made it harder for couples to get married and also get a divorce. The state has now implemented a 3- day waiting period for marriage licenses if couples do not seek premarital education, hoping to reduce impulsive, ill-advised unions. (Hawkins et al. 2002:166) It is clear why the government has attempted to regulate and restrict the amount of marriages that potentially can happen.Years ago marriage was considered to be a divine, sacred union shared between two people before God. This union was intended to be a union that lasted a lifetime and previously the option to dissipate the marriage did not exist. In the current state of marriage, people get married they do not see it as something that is supposed to be forever, but instead as something temporarily. Divorce has become too easy and feasible for people to obtain. I personally believe this current generation people confuse lust for love. Most people would tell someone that they love them, but instead it is really lust.It seems that no one really knows the differences between lust and love, so the two words are commonly mistaken and used in the wrong way. Even in movies and mass entertainment, love and relationships are portrayed negatively with glamour. The typical story begins with a man who convinces a girl with the idea and possibility of love. Once she is vulnerable the couple would most likely indulge in sexual intercourse. When this happens the man then leaves, the woman regrets the decision. These thi ngs are glamourized and popularized by the mass media and a result, the youth is then influenced to mimic the same.The psychological effects of the mass media are subtle, but long-term. (Galician 2004) As a child coming from a Christian background I read the bible very often. The bible is a great source to view and analyze the changes that have happened throughout the last 5 decades, because much of the ideals were based upon its contents. In the book of Matthew chapter 22:36-44 it states, â€Å"Teacher, which is the greatest commandment in the Law? † Jesus replied: â€Å"Love the Lord your God with all your heart and with all your soul and with your mind.This is the first and greatest commandment. And the second command is similar stating, â€Å"Love your neighbor as yourself. All the Law and the Prophets hang on these two commandments. † (Matthew 22:36-44) Out of all the Ten Commandments these two were considered to be the most coveted and highly regarded. This emph asis on the idea that love should be a highly heralded and powerful word in is uses and approach. The order in which these commandments are given, also place emphasis and attention towards how one who is reading the text should perceive it.In the journal, On A Paradox Of Christian Love Liu exclaimed that these two commandments direct ones love to distinct objects. (Liu 2007:681) The commandments were placed in a certain order as â€Å"first† and â€Å"second† to illustrate importance and respect. By putting these commandments in an order it is assumed that the one must achieve a spiritual love with everything in your body and mind, and only after can you love can love someone else (neighbor). The bible has influenced a large amount of the Western society and culture. From a biblical stand point you cannot love anyone else unless your love is rooted with a divine spirit.I believe that if it has to do with our culture then inversely it pertains to love, thus as a society we are blinded by what we want to see. It is critical that one see’s the need to learn to take time and careful thought into deciding whether or not we’re in love. Love is patient, so it’s okay to take your time to fall for someone because if it is true love than it will reveal itself in its own right. Also, the stress placed upon by people on love results in the spending of time and hours wondering if there is true love in their relationship.The impact that culture has had on the social relations of love have led to the belief that love is based off of what one can do for the other, while in its essence and purity love isn’t based on that logic and reasoning but emotion and feeling. In the textbook it explains how a man spent most of his time away from his home, so the child grew up under the influence of their mothers and matrilineal relatives. If praise or shame failed to control the behavior of children, the withdrawal of maternal affection had a pow erful effect. King 2003) In today’s culture and society the result adverse conditions and occurrences are happening. By contemporary society, men are supposed to be considered as the primary provider for their families. Women are widely considered to be the ones that bear the responsibility of child bearing and maintaining the stability and homeostasis of the home. Though the effect is not the extent and extreme of a mother taking away her affection from a child, but the equivalent in terms of linearity would be a mother in this day and age placing the child in time out as a form of punishment.This idea also delves a deeper in the explanation of adolescent girls who become â€Å"quickly incorporated into the highly organized female kinship group, and boys [who] sought out special friendships with each other to provide mutual support in adulthood. † (King 2003) In analyzation how love is specially affected by the socio-cultural factors of today, the analysis of the term ‘kinship’ can be addressed to further the discussion. Kinship isn’t just considered to be relationship through blood, but it also means relation by marriage, or adoption.Again television and mass has led us to believe that most families are generally tight knit and very close, but in reality most families are seriously dysfunctional. (Galician 2004) Throughout all of this dysfunction, families still manage to find some form of stability amongst them. Overall kin generally stick together, and maintain a decent relationship with each other. In the textbook King explains how marriages takes place in the Ancient areas towards the east (Massachusett, Iroquois, Cherokee). He explained that if a man had a bride in mind he would have two options.Ask a family to propose a match to the other family, or to attract the girl himself. If the guy proved himself to be worthy the family would accept the couples sexual relationship, and if it eventually at the end of the process a wedding would take place. (King 2003) The family tests the couple’s relationship based upon the sex and essentially, if the sex was proven adequate, then the couple would then get married. King further explained that an ordinary man would take extra wives to help around with their community duties or ambitions.Furthermore, in this time period bride service was very common. A new husband would go live with his in-laws to perform these duties. (King 2003) These days, a new husband would not go live with his in- laws and he most certainly wouldn’t be performing bride services. This is one example of the extreme changes that have occurred socially and culturally in regards to marriage. Conclusively, culture and media has had an impact on how we view marriage, love, and kinship. Most people no longer view marriage as being permanent, but instead as being temporary.They no longer believe in fighting to make their relationship work, they’d much rather divorce or sepa rate and prevent and reconciliation in their differences. It is worldwide postulation that love is difficult, but our culture has misled us to believe that love is effortlessly attainable. Even in regards to kinship, part of love and relationships with anyone is to maintain ties with your family. Overall, because of the socio-cultural conditions the ideas of relationships are ever changing and thus complex in its nature.References Cited Galician, M. (2004). Sex, love & romance in the mass media analysis & criticism of unrealistic portrayals & their influence. Mahwah, N. J. : Lawrence Erlbaum Associates. King, Glenn. Traditional Cultures: A Survey of Nonwestern Experience and Achievement. (2003). Waveland Press, Long Grove, IL. Hawkins, Alan J. , Steven L. Nock, Julia C. Wilson, Laura Sanchez, and James D. Wright. â€Å"Attitudes About Covenant Marriage and Divorce: Policy Implications From a Three-State Comparison*. † Family Relations 51. (2002): 166-175. Web. Huston, Ted L. â€Å"The Social Ecology of Marriage and Other Intimate Unions. † Journal of Marriage and Family 62. 2 (2000): 298-320. Web. 05 Feb. 2013. Liu, Qingping. â€Å"On A Paradox Of Christian Love. † Journal of Religious Ethics 35. 4 (2007): 681-94. Print. â€Å"Matthew 22:36-44. † The Holy Bible: Containing the Old and New Testaments Translated out of the Original Tongues and with the Former Translations Diligently Compared and Revised by His Majesty's Special Command. Nashville: Thomas Nelson, 1979. N. Print.

Discover Trompe lOeil Art in Painting and Architecture

French for fool the eye,  trompe loeil art creates the illusion of reality. Through skillful use of color, shading, and perspective, painted objects appear three-dimensional.  Faux finishes like marbling and wood graining add to the trompe loeil effect. Applied to furniture, paintings, walls, ceilings, decorative items, set designs, or building facades, trompe l’oeil art inspires a gasp of surprise and wonder. Although tromper means to deceive, viewers are often willing participants, delighting in the visual trickery. Trompe l'Oeil Art Shading and perspectiveFaux finishes3-D effects Pronounced tromp loi, trompe-l’oeil may be spelled with or without a hyphen. In French, the  Ã…“  ligature is used:  trompe l’œil. Realistic artworks were not described as trompe-loeil until the late 1800s, but the desire to capture reality dates back to ancient times. Early Frescoes Fresco from the House of Meleagro, Pompeii,1st Century.   Photo  ©DEA / G. NIMATALLAH/ Getty   In ancient Greece and Rome, artisans applied pigments to wet plaster to create life-like details. Flat surfaces appeared three dimensional when painters added false columns, corbels, and other architectural ornaments. The Greek artist Zeuxis (5th century B.C.) is said to have painted grapes so convincing, even birds were deceived. Frescoes (plaster wall paintings) found in Pompeii and other archaeological sites contain trompe loeil elements. For many centuries, artists continued to use the wet plaster method to transform interior spaces. In villas, palaces, churches, and cathedrals, trompe loeil images gave the illusion of vast space and distant vistas. Through the magic of perspective and skillful use of light and shadow, domes became sky and windowless spaces opened to imaginary vistas. Renaissance artist Michelangelo (1475 -1564) used wet plaster when he filled the vast ceiling of the Sistine Chapel with cascading angels, Biblical figures, and an enormous bearded God surrounded by trompe loeil columns and beams. Secret Formulas Dresden Triptych, Oil on Oak, 1437, by Jan van Eyck. Dresden State Art Collections, Gemà ¤ldegalerie Alte Meisterm.   DEA / E. LESSING / Getty Images By painting with wet plaster, artists could give walls and ceilings rich color and a sense of depth. However, plaster dries quickly. Even the greatest fresco painters could not achieve subtle blending or precise details. For smaller paintings, European artists commonly used egg-based tempera applied to wood panels. This medium was easier to work with, but it also dried quickly. During the Middle Ages and the Renaissance, artists searched for new, more flexible paint formulas. The Northern European painter Jan Van Eyck (c.1395-c.1441) popularized the idea of adding boiled oil to pigments. Thin, nearly transparent glazes applied over wood panels gave objects a life-like gleam. Measuring less than thirteen inches long, Van Eycks Dresen Triptych is a tour de force with ultra real  images of Romanesque columns and arches. Viewers can imagine they are looking through a window into a Biblical scene. Faux carvings and tapestries enhance the illusion. Other Renaissance painters invented their own recipes, combining the traditional egg-based tempera formula with a variety of ingredients, from powdered bone to lead and walnut oil. Leonardo da Vinci (1452-1519) used his own experimental oil and tempera formula when he painted his famous mural, The Last Supper. Tragically, da Vinci’s methods were flawed and the breathtakingly realistic details began to flake within a few years. Dutch Deceivers Tromp-loeil Still-Life, 1664, by Samuel Dirksz, vanHoogstraten. Dordrechts Museum Collection.   Fine Art Images/Heritage Images/Getty Images During the 17th century, Flemish still life painters became known for optical illusions. Three-dimensional objects seemed to project from the frame. Open cabinets and archways suggested deep recesses. Stamps, letters, and news bulletins were depicted so convincingly, passersby might be tempted to pluck them from the painting. Sometimes images of brushes and palettes were included to call attention to the deception. There’s an air of delight in the artistic trickery, and it’s possible that the Dutch masters competed in their efforts to conjure reality. Many developed new oil-and wax-based formulas, each claiming that their own offered superior properties. Artists like Gerard Houckgeest (1600-1661), Gerrit Dou (1613-1675), Samuel Dirksz  Hoogstraten  (1627-1678), and Evert Collier (c.1640-1710) could not have painted their magical deceptions if not for the versatility of the new mediums. Eventually, advanced technologies and mass-production made the painting formulas of the Dutch masters obsolete. Popular tastes moved toward expressionist and abstract styles. Nevertheless, a fascination for trompe loeil realism persisted through the nineteenth and twentieth centuries. American artists De Scott Evans (1847-1898),  William Harnett (1848–1892), John Peto (1854–1907), and John Haberle (1856-1933) painted meticulous still lifes in the tradition of the Dutch illusionists. French-born painter and scholar Jacques Maroger (1884-1962) analyzed the properties of early paint mediums. His classic text,The Secret Formulas and Techniques of the Masters, included recipes he claimed to have rediscovered. His theories reawakened interest in classical styles, stirred controversy, and inspired writers. Modern Magic Artist Tjalf Sparnaay with one of his megarealistic paintings. cc Tjalf Sparnaay   Merogers return to classical techniques was one of many realistic styles that emerged during the second half of the 20th century. Realism gave modern-day artists a way to explore and reinterpret the world with scientific precision and ironic detachment. Photorealists painstakingly reproduced photographic images. Hyperrealists toyed with realistic elements, exaggerating details, distorting scale, or juxtaposing figures and objects in unexpected ways.  Dutch painter Tjalf Sparnaay (shown above) calls himself a â€Å"megarealist† because he paints â€Å"mega-sized† versions of commercial products. My intention is to give these objects a soul and a renewed presence,† Sparnaay explains on his website. 3-D Street Art Mural for Fontainebleau Hotel, Richard Haas, Designer, Created 1985-86, Demolished 2002. Corbis Documentary / Getty Images Trompe l’oeil by contemporary artists  can be whimsical, satirical, disturbing, or surreal. Incorporated into paintings, murals, advertising posters, and sculpture, the deceptive images often defy the laws of physics and toy with our perception of the world. Artist Richard Haas made deft use of trompe l’oeil magic when he designed a six-story mural for the Fontainebleau Hotel in Miami. False finishes transformed a blank wall into a triumphal arch made of mortared stone blocks (shown above). The enormous fluted column, the twin caryatids, and the bass relief flamingos were tricks of light, shadow, and perspective.The sky and waterfall were also optical illusions, teasing passersby into believing they might stroll through the arch to the beach. The Fontainebleau mural entertained Miami visitors from 1986 until 2002, when the wall was demolished to make way for real, rather than trompe l’oeil, views of the waterside resort. Commercial wall art like the Fontainebleau mural is often transitory. Weather takes a toll, tastes change, and new construction replaces the old. Nevertheless, 3-D street art plays an important role in reshaping our urban landscapes. Time-bending murals by French artist Pierre Delavie conjure historic vistas. German artist Edgar Mueller turns street pavement into heart-thumping views of cliffs and caves. American artist John Pugh opens walls with eye-deceiving images of impossible scenes. In cities around the world, trompe loeil mural artists force us to ask: What is real? What is artifice? What is important? Sources Deceptions and Illusions: Five Centuries of Trompe LOeil Painting, by Sybille Ebert-Schifferer with essays by Sybille Ebert-Schifferer ... [et al.]; Catalog of an exhibition held at the National Gallery of Art, Washington, D.C., Oct. 13, 2002-Mar. 2, 2003.Historical Painting Techniques, Materials, and Studio Practice, by The J. Paul Getty Trust, 1995 [PDF, accessed April 22, 2017] ; https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/historical_paintings.pdfMusee du Trompe lOeil, http://www.museedutrompeloeil.com/en/trompe-loeil/The Secret Formulas and Techniques of the Masters by Jacques Maroger (trans.  Eleanor Beckham), New York: Studio Publications, 1948.

An Assault On The Body And Mind - 1495 Words

An Assault on the Body and Mind â€Å"In the United States, rape is the most frequently committed but least reported violent crime† (Newman 205). According to the FBI, rape is defined as â€Å"unlawful carnal knowledge of a woman forcibly and against her will† (Futter, Mebane V). Seeing as though the legal definition of rape is limited, it makes it difficult for victims to prove that there was in fact a crime committed. In turn, this causes an influx of victims, as well as attackers. Society has distorted the true image of rape and made it into a social construct, per say. The issues of rape that need to be addressed are victim blaming, the frequency of the crime, and the way that America has made rape humorous. In the article titled, â€Å"Rape Is†¦show more content†¦If comedians used their talent in the opposite manner, such as raising awareness to the rape culture rather than making it seem comical and â€Å"no big deal† to their viewers, it could come together for the good of all people. The issue with bringing humor into rape culture is that it can reinforce it. In other words, it can make victims feel as though they will not be taken seriously, and ultimately silence them (Strain, Martens, Saucier). Confiding in an individual about having been sexually assaulted is intimidating enough by itself, but on top of that, the victim may not be believed. For instance, â€Å"in rape cases, unlike any other crime, victims typically must prove their innocence rather than the state having to prove the guilt of the defendant† (Newman 207). All of these factors are going against the victim, rather than making the victim feel safe and at ease. But, if that isn’t enough, most people say that the victim is somewhat to blame if they have put themselves in a situation in which rape could occur. So if provocative clothing is worn, drugs or alcohol are involved, or the victim is acting in a seductive manner, then they â€Å"mus t† take some of the blame (Newman 207). Blaming the victim for being raped due to their clothing is like blaming

The Unhcr Geneva Placement Is The Perfect Internship For Me

I believe that the UNHCR Geneva Placement is the perfect internship for me to develop a deeper understanding of how international policies and organizations influence our response to the needs of the global refugee population. The UNHCR’s Community-Based Protection Unit (CBP) is attractive for several reasons. Obviously, interning at one of the world’s most influential humanitarian organizations is exciting in itself. But more importantly, the UNHCR is my top choice for of its impactful services, capacity to challenge my macro skills to the fullest, and because I would have the opportunity to collaborate in two areas of interest; improving outcomes of community-based initiatives such as cash-based interventions; and further developing gender equality advocacy. Furthermore, I am interested in the UNHCR Placement because it seeks to serve refugees and other stateless persons, populations that I have dedicated my studies and direct practice to over the past four years. In the past, I have lived and volunteered in different settings around the world, from a large city in Australia to a small agricultural town in Eastern Europe. During these experiences I have grown accustom to the demands brought upon by an unfamiliar environment as it pushes you to develop new relationships, learn the local language and become increasingly reliant on yourself as you navigate through its culture. I have faced the need to adapt and mature a few times in my life, the most recent being my timeShow MoreRelatedObtaining An International Placement Interests Me2243 Words   |  9 Pagesinternational placement interests me because it would present me with an invaluable opportunity to cultivate unique skills needed for a future career in international social work. The United Nations High Commissioner of Refugees’ Community-Based Protection Unit (UNHCR CBP) Geneva placement is the perfect internship for me to develop more insight into how international policies and org anizations influence our response to the needs of our global refugee population. The UNHCR CBP Geneva placement is my topRead MoreThe Unhcr Genevas Community Based Protection Unit ( Cbp ) Placement2139 Words   |  9 Pagesam interested in acquiring an international placement because it would present me with an invaluable opportunity to cultivate unique skills needed for a future career in international social work. The UNHCR Geneva’s Community-Based Protection Unit (CBP) placement is the perfect internship for me to develop a deeper understanding of how international policies and organizations influence our response to the needs of the global refugee population. The UNHCR is my top choice for several reasons: its

Frankenstein Essay free essay sample

Gothic horror story that captures reader’s attention leaving them with questions of their own morals and of the main characters. The novel arouses questions like, who should be allowed to create life? Is it right to kill for a greater good? Are some secrets best untold? These are all questions of morality and individuals will come up with their own opinions and answers based on their upbringing. In Frankenstein, main characters Victor Frankenstein and ‘The Monster’ are morally put to the test with decisions that will greatly affect their lives. In the end many readers find themselves wondering who are the antagonist and protagonist of the novel; Did Victor do wrong by creating The Monster, or did the Monster do wrong by killing innocent people? In this case both made morally bad decisions but in the end one decision had more of a lasting impact. The Monster’s quest of killing is only justified due to the fact that he was hunting his creator. Both Frankenstein and Blade Runner portray how the ambition to redefine human limitations is bound to result in failure, and accordingly spawn monstrosity. Frankenstein’s Creature is the very embodiment of the monstrosity that humans are capable of creating. The symbolism of light in, â€Å"until from the midst of this darkness a sudden light broke in upon me† conveys Victor’s instinctive awakening to the possibility of creating a perfect being impervious to diseases. Such a taboo act of trespassing the domain of the divine providence signifies the beginning of Frankenstein’s blindness. He is quick to realise that he has created a monster, as shown by the regretful tone in, â€Å"I beheld the wretch – the miserable monster whom I had created†. This depicts that untamed human ambition can lead to the inadvertent creation of the ‘grotesque’. Similarly in Blade Runner, the human ambition to create a better society has apparently ended in utter failure. If Frankenstein is a forewarning of the dangers of human ambition, Blade Runner portrays the aftermath of the over-ambitious quest for knowledge whereby the dystopian world of the future demonstrates that the damage has already been done. The opening scene of the film employs a long shot that provides a panorama of the cityscape in which a myriad of buildings crowd the mise-en-scene. Such technological subjugation signifies that the human enterprise has gone too far, resulting in complete annihilation of nature. Appropriately, the human beings in this alternate future seem artificial and lacking humanity. Both Frankenstein and Blade Runner warn the audience about the danger of human ambition which holds the capacity for not only devastating the environment but also humanity itself. The transition from Romanticism to Post-modernism is explicitly illustrated through the comparison of Frankenstein and Blade Runner. Written in the Romantic era, the Creature of Frankenstein demonstrates the return of Romanticism which comes into conflict with the human enterprise of science. The Creature’s appreciation of nature through the joyful tone in, â€Å"The blessed sun bestowed such joy upon me† conveys the irony of how he is more attuned to nature than his human counterparts who have been blinded by their scientific endeavours. Similarly in Blade Runner, Roy’s nostalgic tone in, â€Å"†¦shoulder of Orion. I watched sea beams glitter in the dark† parallels the Creature’s appreciation of nature. Humans, in contrast, have become incapable of acknowledging the wonders of the natural world. The quixotic relationship between the creations and the natural world is illustrated as a nurturing and nourishing aspect of life that has been completely overlooked by humanity. Even as the Creature voices his hatred towards human race, â€Å"I bore a hell within me; and, finding myself unsympathised with†¦Ã¢â‚¬  he finds salvation in the warm embrace of Mother Nature, as signified by his vivacious tone in, â€Å"The pleasant sunshine†¦restored me to some degree of tranquillity†. This sense of Romanticism is juxtaposed with the post-modern setting of Blade Runner, as depicted by the establishing shot of the artificial lights throughout the cityscape and the dominance of technology. The obsession with science renders human beings more mechanical, more isolated and more morbid, as exemplified by Deckard, Tyrell and Sebastian; for example, the long shot of J. F Sebastian’s apartment with his toys highlights his detachment from human contact and thus conveys the notion that friendship is substituted by ‘soulless’ products of consumerism. The Creature and the Replicants are exemplars of the return of Romanticism which contrasts with the post-modernist propensity of the human protagonists. The folly of moral corruption is similarly exemplified in Frankenstein and Blade Runner, as both the creations try to integrate into the society but is viciously rejected by the humans. The beginning of Frankenstein’s abhorrence towards his creation accounted by the disgusted tone, â€Å"A mummy again endued with animation could not be as hideous as that wretch† highlights the forfeiture of humanity and how the creator’s denial of his creation signifies the immoral abandonment of his parental duty. Similarly in Blade Runner, the aftermath of this rejection is evinced through Roy’s emphatic tone in, â€Å"That’s what it is to be a slave† which effectively communicates the Replicants’ despair and misery that has overwhelmed them to the point where they no longer desire to exact their vengeance upon the human race. Just like the Creature in Frankenstein, Roy also demonstrates an innate placidity of character. The master/slave dichotomy is effectively conveyed through the comparison of the creations and the humans who have so cruelly rejected them. The Creature’s disconsolate tone in, â€Å"Cursed, cursed creator! Why did I live? † effectively evinces the inner psychological turmoil he experiences; however, this is slowly transitioned into a forgiving tone in, â€Å"I could not help believing that I have been too hasty in my conclusions† which illustrates that it is the Creature’s nature to forgive while it is the humans who demonstrate monstrosity. This irony lies in the fact that the creations are more ‘human’ than their creators, which is further evidenced by Tyrell’s motto, â€Å"More human than human†. In the pursuit of knowledge and evolution, human beings lost sight of the fundamental conditions of humanity. Both Shelley and Scott draws upon the societal concerns of their times; the central characters warn us of the consequences of overstepping our boundaries and unbridled technological advancement. The two texts critically inquire into the human capacity to commit heinous atrocities in the name of ‘progress. ’ It becomes evident that despite their contextual differences, both texts are linked through their common concerns about our inherent readiness to abandon that which distinguishes humans from all other species: the will to suppress our primal impulses of immorality.

Orion Essays - Orion, Betelgeuse, Rigel, Oenopion, Canis Major

Orion Orion "Down fell the red skin of the lion Into the river at his feet. His mighty club no longer beat The forehead of the bull; but he Reeled as of yore beside the sea, When blinded by Oenopion He sought the blacksmith at his forge, And climbing up the narrow gorge, Fixed his blank eyes upon the sun." ~The "Occultation of Orion" by Mr. Longfellow~ This poem was written about the Greek myth of Orion. The story says that Orion, the son of Neptune, was a handsome giant and a mighty hunter. His father gave him the power of wading through the depths of the sea, or, as others would say, walking on its surface. Orion loved Merope, the daughter of Oenopion, king of Chios, and sought her in marriage. He cleared the island of wild beasts, and brought the spoils of the chase as presents to his beloved; but as Oenopion constantly deferred his consent, Orion attempted to gain possession of the maiden by violence. Her father, incensed at this conduct, having made Orion drunk, deprived him of his si ght and cast him out on the seashore. The blinded hero followed the sound, of a Cyclops' hammer till he reached Lemnos, and came to the forge of Vulcan(Hephaestus), who, taking pity on him, gave him Kedalion, one of his men to be his guide to the abode of the sun. Placing Kedalion on his shoulders, Orion proceeded to the east, and there meeting the sun-god(Helios) was restored to sight by his beam. After this he dwelt as a hunter with Diana(Artemis), with whom he was a favorite, and it was even said she was about to marry him. Her brother was highly displeased and often chid with her, but for no purpose. One day, observing Orion wading through the sea with his head just above the water, Apollo pointed it out to his sister and maintained that she could not hit that black thing on the sea. The archer-goddess discharged a shaft with fatal aim. The waves rolled the dead body of Orion to the land, and bewailing her fatal error with many tears, Diana placed him among the stars, where he a ppears as a giant, with a girdle, sword, lion's skin, and club. Sirius, his dog, follows him, and the Pleiads fly before him. Orion, the brightest constellation in the sky, is easy to find if you look for the three bright stars that make up Orion's belt. Once you have found this distinctive pattern, two other very bright stars will help you define the rest of the constellation. The first star, Betelgeuse, is located at Orion's right shoulder. The second, Rigel, is at his lower left. Orion is the great hunter, aiming his arrow and holding his club over his head. His sword hangs from his belt. In the area of this sword are found a number of very exciting star formation regions, including the Great Nebula of Orion. The nebula is visible with the unaided eye, as a smudge about halfway down his sword. The Great Nebula of Orion(star M42) is one of the most photographed objects in the sky. This area is a collection of gas and dust where stars are being born. The central bright star that is illuminating the gaseous cloud is actually four stars known as the Trapezium. The nebula itself is one of the nearest star formations at only about 1,500 light years away. It has formed stars recently, only 300,000 years ago. In Orion many of the stars have different colors, colors tell us about a star's temperature, composition, age, size, and distance from us. Red stars are generally older, cooler stars that have used up much of their hydrogen fuel. Blue stars are generally younger and hotter. Most of these stars are blue, with the exception of the very red star, Betelgeuse. Betelgeuse is a red supergiant, Rigel is a blue supergiant. The red streak in the sword area is the Orion Nebula. Orion is located in the celestial equator and Orion's outstretched upper arm is located in the Milky Way. Orion is followed by two hunting dogs at his right. One of these, Canis Major, contains the brightest