...The impact of Dente’s Inferno on European Society and History, a reflective essay “Abandon all hope, ye who enter here” resonates across the centuries. For over 650 years, from the time it was written until today, critics have analyzed and reinterpreted The Devine Comedy and especially Inferno, written by Dente Alighieri (1265–1321) while he was in exile from Florence, Italy . The fact that it has tremendous impact on art and literature is evident by the centuries of continuous study and the number of notable authors and artists whose works clearly reflect an influence from the theological, political or poetic value of the piece. T. S. Eliot (1888-1965) wrote in a 1929 essay that “Dante and Shakespeare divide the modern world between them; there is no third,”1 Certainly the word pictures in Inferno are vivid and memorable. But did Inferno actually influence society? Did it shape history? Did thought leaders of Dante’s time and over the centuries following find inspiration in its pages such that the Western world today is different than it might have been without Inferno? There are few works of literature to emerge from the Middle Ages with a lasting legacy to the modern world. Historically, Inferno was the first great literary work available in the vernacular, or common dialect, of a region. As such, it had an impact on the formation of the Italian language. More compelling, Dante’s work seems to be a dividing line between the epic poems of antiquity and the modern, humanistic...
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...The Inferno Essay Dante's The Inferno, is an epic poem that has thrilled and informed the common man for centuries. He portrays a vivid description of one man's journey through hell and back with the past poet Virgil at his side. This epic has lead many through the depths of Medieval Christianity, displaying its importance on every society since then. With this description, man is awakened to the ethical, political, social, and philosophical aspects of Dante's time, later introducing the Renaissance era. Society in the Middle Ages consisted of two focuses; survival and God. These focuses lead many to forget the developed areas of knowledge and reason before their time. This society's people were believed to be laborers, or otherwise known as the hands of God, as displayed in their art work and literature. All actions were taken not for themselves but for God alone. This was described clearly, by Dante's witnessing of the thirteenth circle of hell containing the suicides. Those within this circle committed an act completely self centered, altering their intentions from God to themselves, leading them to a circle lower then murder. God and the church were not only a primary religious focus, but a structured hierarchy system for all society to follow. With God at the absolute highest position, his principles created an ethical map structuring nine circles of hell along with a social structure in the Middle Ages. This social structure was a fixed hierarchy where individuals never...
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...August 20, 2015 3.2.13 Practice: Revision Strategies The tempest one of the most difficult Shakespearean works in my opion to stage, from its stormy, chaotic first scene to its sureality to its ambiguous resolution, with Prospero facing his silent, treacherous brother and renouncing the power that has made every action in the story possible. Potent language remains the central force and mystery of this fathomless play. Prospero speaks almost a third of the lines in The Tempest, and controls the amount of speech every other character on the island has through manipulation and magic. Prospero’s narrative of how he came to the island, what he did once there, and what he is owed for this history, goes largely unchallenged in the text. Yet the play offers innumerable readings and opportunities for alternate staging, particularly in light of postcolonial discourse about Prospero’s relationship with Ariel and Caliban, the legitimacy of his authority, and the nature of his magic and command over language. Though Prospero can be played many ways, there is no doubt he is The Tempest’s show runner. The metatheatrical nature of the play sometimes detracts from its action on the page, but it also offers the chance to explore exactly why Prospero needs an audience for his revenge, and whether or not it satisfies him, onstage. Prospero restricts the sight and knowledge of the other characters, putting them to sleep or manipulating them with invisible forces, but he often lets us, the audience...
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...Name Instructor Subject Date Critical Essay Annotation Assignment Halperin, David. “Man’s Fate in the Aeneid.” The Virgin Quarterly Review 53. 1 (1977). Web. March 5, 2015. This article examines the way the Aeneid portrays the powerlessness of human beings in their confrontations with the forces of nature and fate. It suggests that human destiny is preordained, and there is nothing that one can do to change their circumstances or destiny. Thesis The author advances the thesis that the Aeneid captures the condition of human existence, as it portrays human beings to be powerless before higher forces (nature, fate and the gods). It is a moral lesson for individuals to accept their station and obligations in life. The author employs textual evidence to show how the main character (Aeneas) was acting on the orders of a higher power. He tells Dido, his lover, that “it was not my idea” to leave Carthage and set on a mission to found a new city (4.361). This statement emphasizes the idea that human beings are puppets in the hands of the gods/nature, which dictate the circumstances under which they live. This article is useful in understanding the Aeneid as it emphasizes the importance of the make-believe element of literary works. As an epic poem, the Aeneid employs the elements of superstition, which helps to create fantasy in literary works. In this regard, the article helps readers to appreciate literature as a representation of possible...
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... Sharon Fulton Literature Humanities/Essay 1 27 February 2014 Violence in Dante’s Inferno and Ovid’s Metamorphoses Scenes of great violence, as the prompt says, are often written into dynamic narratives of great literary merit. From Dante Alighieri’s Inferno to Ovid’s Metamorphoses, the inclusion of violence as a literary technique is used to propel the narrative forward, all while adding action, intrigue, and engaging the reader. Despite it’s validity as a literary technique, the inclusion of violent scenes in literature serve much more than the simple purpose of pushing a plot along a set of structured points. Scenes of violence provoke thought in areas ranging from human nature to the nature of sin, thoughts that often can’t be provoked my images of calm, sublime, or tranquility. Extreme violence, juxtaposed with other scenes, provides insight into the amazing nature of human capability and human nature. In Dante Alighieri’s Inferno there is an abundance of violence that is illustrated in varying ways. Despite the copious inclusion of violence scenes throughout the text, violence does not appear throughout the literary work for its own sake. As one reads on through the Inferno, it provides it’s own clarity. As the levels of Hell increase, the severity of violence does so as well. The violence that appears occurs in different fashions, sometimes mentally, sometimes physically and many times both simultaneously. The scenes violence included in Dante’s Inferno contributes to the theme and darker overtone of the poem...
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...The Beasts and Monsters in Dante's Inferno The Inferno is the first section of Dante's three-part poem, The Divine Comedy. Throughout Dante's epic journey into the depths of Inferno he encounters thirty monsters and five hybrid creatures. The most significant of these monsters are of central importance to his journey and to the narrative, as they not only challenge Dante's presence in Inferno, but are custodians of Hell, keeping in order or guarding the "perduta gente". In this essay I am concentrating on these prominent beasts, namely Minos, Cerberus, Plutus and Geryon, establishing why they feature in Dante's eschatological vision and discussing the sources which influenced his inclusion of these particular creatures. These four monsters all fulfil important functions as well as representing important themes in Inferno, establishing them as symbols which reinforce Dante's allegory. Minos, as the infernal judge and agent of God's justice, represents our own conscience and morality. When the sinners come before him "tutta si confessa", which causes the reader to reflect on their own sins.His terrifying treatment of the souls is significant as after Charon, he is one of the first figures who they encounter on their passage into Hell, and his unique method of demonstrating which area of Hell that the souls should be sent to increases the horror and adds to the alarming atmosphere. His warning to Dante, is similar to several of the infernal custodians, who continually remind...
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...fraught with conflicts, doubts, and anger. This discussion engenders no harmonious Christmas feeling of family togetherness. Rather, the growing boy learns that politics is often such a charged subject that it can cause huge rifts even within a single home. Dante's tumultuous departure from the dinner table is the first in a pattern of incidents in which characters declare independence and break away from a group for political and ideological reasons. Indeed, the political landscape of Ireland is deeply divided when the action of the novel occurs. Secularists like Mr. Dedalus and Mr. Casey feel that religion is keeping Ireland from progress and independence, while the orthodox, like Dante, feel that religion should take precedence in Irish culture. The secularists consider Parnell the savior of Ireland, but Parnell's shame at being caught in an extramarital affair tarnishes his political luster and earns him the church's condemnation. This condemnation on the part of the church mirrors Stephen's shame over expressing a desire to marry Eileen Vance, who is Protestant. On the whole, however, Stephen's reaction to his family's dispute is sheer bafflement. These chapters also explore the frequently arbitrary nature of crime and punishment. The fact that the boys in Stephen's class at Clongowes know that they will all be punished for the transgressions of the two caught "smugging" indicates that they are accustomed to unfair retribution. Furthermore, none of the instances of wrongdoing mentioned...
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...A Portrait of the Artist as a Young Man Context James Joyce was born on February 2, 1882, in the town of Rathgar, near Dublin, Ireland. He was the oldest of ten children born to a well-meaning but financially inept father and a solemn, pious mother. Joyce's parents managed to scrape together enough money to send their talented son to the Clongowes Wood College, a prestigious boarding school, and then to Belvedere College, where Joyce excelled as an actor and writer. Later, he attended University College in Dublin, where he became increasingly committed to language and literature as a champion of Modernism. In 1902, Joyce left the university and moved to Paris, but briefly returned to Ireland in 1903 upon the death of his mother. Shortly after his mother's death, Joyce began work on the story that would later become A Portrait of the Artist as a Young Man. Published in serial form in 1914–1915, A Portrait of the Artist as a Young Mandraws on many details from Joyce's early life. The novel's protagonist, Stephen Dedalus, is in many ways Joyce's fictional double—Joyce had even published stories under the pseudonym "Stephen Daedalus" before writing the novel. Like Joyce himself, Stephen is the son of an impoverished father and a highly devout Catholic mother. Also like Joyce, he attends Clongowes Wood, Belvedere, and University Colleges, struggling with questions of faith and nationality before leaving Ireland to make his...
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...VOLUME EDITOR S. WALLER is an Associate Professor of Philosophy at Montana State University Bozeman. Her areas of research are philosophy of neurology, philosophy of cognitive ethology (especially dolphins, wolves, and coyotes), and philosophy of mind, specifically the parts of the mind we disavow. SERIES EDITOR FRITZ ALLHOFF is an Assistant Professor in the Philosophy Department at Western Michigan University, as well as a Senior Research Fellow at the Australian National University’s Centre for Applied Philosophy and Public Ethics. In addition to editing the Philosophy for Everyone series, Allhoff is the volume editor or co-editor for several titles, including Wine & Philosophy (Wiley-Blackwell, 2007), Whiskey & Philosophy (with Marcus P. Adams, Wiley, 2009), and Food & Philosophy (with Dave Monroe,Wiley-Blackwell, 2007). P H I L O S O P H Y F O R E V E RYO N E Series editor: Fritz Allhoff Not so much a subject matter, philosophy is a way of thinking.Thinking not just about the Big Questions, but about little ones too.This series invites everyone to ponder things they care about, big or small, significant, serious … or just curious. Running & Philosophy: A Marathon for the Mind Edited by Michael W. Austin Wine & Philosophy: A Symposium on Thinking and Drinking Edited by Fritz Allhoff Food & Philosophy: Eat,Think and Be Merry Edited by Fritz Allhoff and Dave Monroe Beer & Philosophy: The Unexamined Beer Isn’t Worth Drinking Edited by Steven D. Hales Whiskey & Philosophy:...
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...3673 THE ‘UNCANNY’ (1919) Freud - Complete Works. Ivan Smith 2000. All Rights Reserved. 3675 THE ‘UNCANNY’ I It is only rarely that a psycho-analyst feels impelled to investigate the subject of aesthetics, even when aesthetics is understood to mean not merely the theory of beauty but the theory of the qualities of feeling. He works in other strata of mental life and has little to do with the subdued emotional impulses which, inhibited in their aims and dependent on a host of concurrent factors, usually furnish the material for the study of aesthetics. But it does occasionally happen that he has to interest himself in some particular province of that subject; and this province usually proves to be a rather remote one, and one which has been neglected in the specialist literature of aesthetics. The subject of the ‘uncanny’ is a province of this kind. It is undoubtedly related to what is frightening - to what arouses dread and horror; equally certainly, too, the word is not always used in a clearly definable sense, so that it tends to coincide with what excites fear in general. Yet we may expect that a special core of feeling is present which justifies the use of a special conceptual term. One is curious to know what this common core is which allows us to distinguish as ‘uncanny’ certain things which lie within the field of what is frightening. As good as nothing is to be found upon this subject in comprehensive treatises on aesthetics, which in general prefer to concern...
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...had almost passed him when his downcast eyes caught sight of one of her slippers — a slipper that hesitated just in front of him. His heart beat a furious tattoo as he waited, breathless. A soft and gentle voice broke into his remembrances as she spoke to him kindly. His startled eyes flew to hers. For years and years he’d longed for this moment, dreamed of it even, but never had he imagined encountering her in such a serendipitous fashion. And never had he dared hope he would be greeted so sweetly. Caught off balance, he mumbled his pleasantries and allowed himself the indulgence of a smile — a smile that was returned to him tenfold by his muse. His heart swelled within him as the love he held for her multiplied and burned like an inferno in his chest. Alas, their conversation was all too brief before she declared that she must depart. He bowed before her as she swept by, and then straightened to stare at her retreating form. His joy at their reunion was tempered by an emergent...
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...A The 1000 Most Common SAT Words abase (v.) to humiliate, degrade (After being overthrown and abased, the deposed leader offered to bow down to his conqueror.) abate (v.) to reduce, lessen (The rain poured down for a while, then abated.) abdicate (v.) to give up a position, usually one of leadership (When he realized that the revolutionaries would surely win, the king abdicated his throne.) abduct (v.) to kidnap, take by force (The evildoers abducted the fairy princess from her happy home.) aberration (n.) something that differs from the norm (In 1918, the Boston Red Sox won the World Series, but the success turned out to be an aberration, and the Red Sox have not won a World Series since.) abet (v.) to aid, help, encourage (The spy succeeded only because he had a friend on the inside to abet him.) SAT Vocabulary SAT Vocabulary A abhor (v.) to hate, detest (Because he always wound up kicking himself in the head when he tried to play soccer, Oswald began to abhor the sport.) abide 1. (v.) to put up with (Though he did not agree with the decision, Chuck decided to abide by it.) 2. (v.) to remain (Despite the beating they’ve taken from the weather throughout the millennia, the mountains abide.) abject (adj.) wretched, pitiful (After losing all her money, falling into a puddle, and breaking her ankle, Eloise was abject.) abjure (v.) to reject, renounce (To prove his honesty, the President abjured the evil policies of his wicked predecessor.) abnegation (n.)...
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...SAT Vocabulary A abase (v.) to humiliate, degrade (After being overthrown and abased, the deposed leader offered to bow down to his conqueror.) abate (v.) to reduce, lessen (The rain poured down for a while, then abated.) abdicate (v.) to give up a position, usually one of leadership (When he realized that the revolutionaries would surely win, the king abdicated his throne.) abduct (v.) to kidnap, take by force (The evildoers abducted the fairy princess from her happy home.) aberration (n.) something that differs from the norm (In 1918, the Boston Red Sox won the World Series, but the success turned out to be an aberration, and the Red Sox have not won a World Series since.) abet (v.) to aid, help, encourage (The spy succeeded only because he had a friend on the inside to abet him.) SAT Vocabulary A abhor (v.) to hate, detest (Because he always wound up kicking himself in the head when he tried to play soccer, Oswald began to abhor the sport.) abide 1. (v.) to put up with (Though he did not agree with the decision, Chuck decided to abide by it.) 2. (v.) to remain (Despite the beating they’ve taken from the weather throughout the millennia, the mountains abide.) abject (adj.) wretched, pitiful (After losing all her money, falling into a puddle, and breaking her ankle, Eloise was abject.) abjure (v.) to reject, renounce (To prove his honesty, the President abjured the evil policies of his wicked predecessor.) abnegation ...
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...'Vhat'Ve Can't A Guide J. Budzisze wski WHAT WE CAN’T NOT KNOW J. BUDZISZEWSKI WHAT WE CAN’T NOT KNOW A Guide Revised and Expanded Edition IGNATIUS PRESS SAN FRANCISCO First edition published by Spence Publishing Company, Dallas, Texas ©2003 by J. Budziszewski All rights reserved Cover illustration: Comstock/Fotosearch.com Cover design by Sam Torode ©2004 Spence Publishing Company Used by permission Published in 2011 by Ignatius Press, San Francisco ©2003, 2011 J. Budziszewski All rights reserved ISBN 978-1-58617-481-1 Library of Congress Control Number 2010927673 Printed in the United States of America To my grandparents Julian and Janina Budziszewski, long departed, not forgotten The mind of man is the product of live Law; it thinks by law, it dwells in the midst of law, it gathers from law its growth; with law, therefore, can it alone work to any result. —George MacDonald CONTENTS PREFACE TO THE SECOND EDITION A New Phase of an Old Tradition ix PREFACE TO THE FIRST EDITION Whom This Book Is For xix ACKNOWLEDGMENTS xxiii INTRODUCTION The Moral Common Ground 3 I THE LOST WORLD Things We Can’t Not Know 1 2 What It Is That We Can’t Not Know 3 Could We Get By Knowing Less? II EXPLAINING THE LOST WORLD 4 The First and Second Witnesses 5 The Third and Fourth Witnesses 6 Some Objections vii 19 29 54 83 93 116 viii WHAT WE CAN’T NOT KNOW III HOW THE LOST WORLD WAS LOST 7...
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.... ReseaRching and WRiting a disseRtation a guidebook foR business students Colin Fisher second edition . Researching and Writing a Dissertation: A Guidebook for Business Students . We work with leading authors to develop the strongest educational materials in management, bringing cutting-edge thinking and best learning practice to a global market. Under a range of well-known imprints, including Financial Times Prentice Hall, we craft high-quality print and electronic publications which help readers to understand and apply their content, whether studying or at work. To find out more about the complete range of our publishing, please visit us on the World Wide Web at: www.pearsoned.co.uk . Researching and Writing a Dissertation: A Guidebook for Business Students Second edition Colin Fisher with John Buglear Diannah Lowry Alistair Mutch Carole Tansley . Pearson Education Limited Edinburgh Gate Harlow Essex CM20 2JE England and Associated Companies throughout the world Visit us on the World Wide Web at: www.pearsoned.co.uk First published 2004 Second edition 2007 © Pearson Education Limited 2004 © Pearson Education Limited 2007 The right of Colin Fisher to be identified as author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical...
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