Greek civilization Essay Example for Free

Greek civilization Essay Eros is defined as the representation of the Greek god of love, Cupid, intimate and physical love, or sexual desire (Dictionary Website, 2010). Eros had been the one of the most popular themes used in literature and arts, particularly the works from the Renaissance period and the Era of Romanticism. So often was it used as a strong bond between two beings, whether it be a heterosexual or homosexual. It captivated the interests of not only poets but also philosophers from different time periods. Two of the most distinguished icons of Greek civilization had incorporated Eros in their works; Plato in his Symposium and Sappho with her poetry. Both interpretations for Eros clashed with each other. It was quite understandable seeing that both famous figures practiced different arts; Plato with Socratic philosophies while Sappho had her mythological-influenced poetry. Each may have an opposing definition of Eros; however, one could not deny that their Eros also carried risks. This essay would like to discuss what the risks behind varying definitions of Eros are and what the precautions in overcoming the problem are. Plato wrote on his Symposium the past events circling his predecessor, Socrates, and his debates with his followers before his execution. Eros, according to both Plato and Socrates, is a common desire that sought beauty through ideas. Love and wisdom should be treated in the same manner as the hunger for beauty and philosophical curiosity is endless. Eros is above physical intimacy. Sexual intercourse is considered by these philosophers as nothing more but giving in to animalistic instincts, hence considered as being on the same level with dogs and donkeys. Eros produced from rational discourse or exchange of ideas is the ultimate pursuit of beauty (Idea). It appears that Eros for Plato is often one-sided love; reciprocity is not a requirement for attaining it. The desire itself is sufficient for one philosopher. The risk in Plato’s Eros is that there is an imbalance of emotions. It seems that only one party had to do the labor while his significant other could just float away. This seems to contradict with the reciprocity requirement; how could two beings achieved the Ideal Beauty if there was no exchange of discourse? This was also inquired by Hippothales, who shared the same preference with Socrates for beautiful young boys in the Symposium. Socrates berated Hippothales’ spoiling of his ardent desire in the form of the boy Lysis. Quoted from the Symposium, Socrates stated, â€Å"the greater your praise of his beauty and goodness, the more you will seem to have lost and the more you will be ridiculed This is how you should talk to your boyfriends, Hippothales, making them humble and drawing in their sails, instead of swelling them up and spoiling them, as you do† (Reeve, 2007; Mosely, 2005) Sappho’s poetry, on the other hand, defined Eros differently. She considered her poems as a public medium between her and the audience. Gestures, dancing, and music are required on her poetry recital to enchant or persuade the listeners the message she was delivering. In her most noted poem the phainetai moi, Eros is defined as force of power or magic, to the point of describing its strength as godlike. Sappho interpreted Eros through the love shared and bonded by women, quite the irony to Plato’s Symposium. Personal encounter is the focal point in this poem. Sappho measured this encounter with passionate and erotic emotions. Eros is seen as ritualistic, almost pagan. Sappho seemed to celebrate Eros through a communal setting with the oral recital of this poem. Compared to Plato where Eros is seen as the ultimate stage to enlightenment through rational discussion, Sappho is quit more liberal, artistic, and more vocal on displaying the emotions on Eros. Eros is defined as a feeling of what is lacking and always seeking to fill this emptiness. The risk on Sappho’s Eros is that one foot is on reality while the other is on fantasy. Passion alone would not help a man to keep his sanity. This Eros could blind the men’s sight on intellect, similar to how Dionysus made his follower frenzy with lust and inebriated. To prevent of being overwhelmed by this Eros, one must keep his mind working and to think several times before allowing one’s self to be swallowed by emotions. Society’s norms would keep this insanity at bay as the people would rather follow their traditions and laws rather being ostracized (Greene, 1996; West, 2010). References: Reeve, C. D. C. , Plato on Friendship and Eros, The Stanford Encyclopedia of Philosophy (Fall 2008 Edition), Edward N. Zalta (ed. ), URL = http://plato. stanford. edu/archives/fall2008/entries/plato-friendship/. WEST, ELEONORA. Eros. May 4 2010 http://www. bookrags. com/research/eros-eorl-04/. Greene, Ellen. Reading Sappho: Contemporary Approaches. Berkeley: University of California Press, c1996 1996. http://ark. cdlib. org/ark:/130130/ft3199n81q

Nathaniel Mackeys Bedouin Hornbook Essay -- Nathaniel Mackey Bedouin

Nathaniel Mackey's Bedouin Hornbook A Bedouin is a nomad and a nomad a wanderer. Nathaniel Mackey seems to wander far and away in his Bedouin Hornbook, a series of fictional letters addressed to an â€Å"Angel of Dust† and signed by the ambiguous â€Å"N.† N. interprets passages of improvisation, analyzing others’ musical expression in surprising detail to the point that his unquestioning sincerity and self-assurance are almost laughable. That N. can glean meaning from music in such a direct and certain manner is problematic because his tone implies that there is only one correct interpretation of music. In addressing the issue of how music conveys meaning, Mackey seems to wander in two disparate directions. After asserting each seemingly contradictory view, first that music and speech are simply ends in themselves and second that they are means to a separate end, Mackey reconciles the question through his motivic discussion of absence and essence. In the first passage, Mackey draws out the nuances of this problem by directing two characters to argue over the meaning of a particular musical piece. He focuses on the style rather than the content of the dispute, suggesting that its value lies in the graceful unfolding of the argument itself. In the subsequent passage, N.’s lecture on â€Å"The Creaking of the Word† uses metaphor in such a way as to highlight the explosive possibility of words and music to transmit meaning. During the first episode, Mackey uses the same style of writing when N. repeats another character’s speech as when he reiterates another’s musical ideas, which confuses the boundary between music and speech. N. uses the same tone when retelling the verbal dispute between Lambert and Aunt Nancy as when interpreting La... ... Bottle’s] lecture/demonstration, as far as Djamilaa was concerned, would take the form of a serenade† (206). Here the forms of music and speech converge as one, signaling a convergence of their parallel roles throughout the novel. That the speech is an â€Å"after-the-fact† version, or a re-interpretation, is evidence of Mackey’s commitment to artistic evolution. The book ends in relative confusion: a phone rings repeatedly with no answer and Djamilaa wistfully dreams of a potentially shared blocked opera (208). Despite lacking a concrete conclusion, by raising and resolving numerous contradictions, the novel offers a complex and layered understanding of how meaning is conveyed through and in art. Mackey shows through words that music may be both a means and an end. Ultimately, Bedouin Hornbook pays homage to the wandering man and his wandering sport, improvisation.

Sample Business Plan for Cafeteria

CHARMAINE (The Battle of Good and Bad Toys) Charmaine is a 10-year old girl grew up with the care of her grandparents. She spends most of her time in her room playing with her toys since her lola doesn’t allow her to go outside and play with other children. It became a norm to her not to speak and just to burst all her emotions alone†¦with the toys. ***Opening paragraph introduces the main character (very briefly,) and the situation or point of change that starts the story. Her wish was granted one Christmas eve; that all her toys could have their lives.While asleep, her toys came to life but is divided – the good toys and the bad toys. The bad toys get Charmaine’s body for they believe that in their world, Charmaine would be happier. The good toys stand with the reason that no matter how the child is taken for granted, she still belongs in the real world. ***Here is the conflict—the battle of the good and bad toys began because of different beliefs. As the battle continues to rise, as the bad toys tried their best in convincing that they can give the unconditional love and attention that Charmaine is always wanted.The little child was confused for at some point she realizes that in her life, all that she has is herself, and her toys that never left her, that never got tired of being with her, that accepts her and always ready to listen. But the good toys never stop making them realize the truth, that only her family can love Charmaine and give her the feeling of contentment. Because of her good heart despite the pain she has been through, Charmaine chose to think of all the things she has and appreciate the effort of her grandparents for raising her up.She stood by the good toys with the thought that somehow, the bad toys will understand her and hope that her grandparents will realize that every child needs undivided attention, unconditional love, company and freedom to let them live every minute of their lives in its fullest. ***This paragraph serves several functions: we learn  Good toy’s selflessness for no matter how they want to be with Charmaine in their world, they still chose to bring back the girl to the reality and Charmaine’s understanding and good heart for still appreciating life and love despite things she is longing for – love, attention, care and freedom.

Bacteria On The Brain By Emily Eakin - 940 Words

In â€Å"Bacteria on the Brain† By Emily Eakin, she writes about the ethics surrounding a doctor who attempts to save the lives of patients with brain tumors by using his own alternative methods. In Mary Shelley’s Frankenstein, the author writes about Victor and his creature’s attempts to expand science, and answer moral questions concerning life and death. Regarding the substance of the article, Neurosurgeon Dr. Paul Muizelaar and his controversial treatment of three patients suffering from terminal brain cancer engenders serious ethical debate. On one hand, Muizelaar epitomizes a man of brilliance and ingenuity, driven by the desire to correct his patients’ otherwise hopeless situations. On the other hand, a man filled with hubris who discounted the risks in his pursuit of success. Given the evidence present in the text of Frankenstein, Mary Shelley would contend that Muizelaar’s actions were innovative and driven by his desire to save the lives o f his patients. Shelley values the dedication to expand the knowledge of humankind as well as life and the avoidance of death at all costs. She often references the sciences, and the idea of pushing science further, for example, when Victor creates life. He â€Å"had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body† (35) and succeeds. In doing so he attempts to expand the sciences with his discovery, and achieve the impossible. Shelley highlights this dedication to broaden science when framing