...The Transformation of Gilgamesh in the Epic of Gilgamesh In many literary works we see significant transitions in the hero's character as the story is developed. This is also true in the Epic of Gilgamesh with its hero, Gilgamesh. In this narrative poem, we get glimpses of who Gilgamesh is and what his purposes and goals are. We see Gilgamesh act in many different ways -- as an overbearing ruler resented by his people, a courageous and strong fighter, a deflated, depressed man, and finally as a man who seems content with what he's accomplished. Through all of these transitions, we see Gilgamesh's attitude toward life change. The goals he has for his own life alter dramatically, and it is in these goals that we see Gilgamesh's transition from being a shallow, ruthless ruler to being an introspective, content man. The epic begins with the men of Uruk describing Gilgamesh as an overly aggressive ruler. "'Gilgamesh leaves no son to his father; day and night his outrageousness continues unrestrained; And he is the shepherd of Uruk, the enclosure; He is their shepherd, and yet he oppresses them. Strong, handsome, and wise. . . Gilgamesh leaves no virgin to her lover.'"(p.18, Line 23-27) The citizens respect him, but they resent his sexual and physical aggression, so they plead to the gods to alleviate some of their burden. The gods resolve to create an equal for Gilgamesh to tame him and keep him in line. This equal, Enkidu, has an immediate impact on Gilgamesh. When they first...
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...Essay: Gilgamesh and Enkidu by Omar Ahmed The relationship between Enkidu and Gilgamesh is a complex bond of true friendship. Enkidu not only serves as a friend, but also a loving brother, a soul mate and a mirror of Gilgamesh. However; this relationship is more than just a bond between friends. Enkidu's life and death serve a great purpose as a catalyst for Gilgamesh. Gilgamesh is deeply affected by Enkidu and this is primarily because of the strength of their relationship. Anne Kelly cites Aristotle when defining this bond as a true friendship. Aristotle believed in four types of friendships. First, a friendship of utility. This is based on what the friends can gain from each other. Second, a friendship of pleasure, which is based on the pleasure gained from each other. The third type of friendship is of inequality, where both parties gain something different than what they give. And finally, the fourth type is a true friendship, which grows slowly over time. This type involves love and trust between equals. (Kelly, 1) The relationship between Gilgamesh and Enkidu is a good example of the fourth type of friendship. At first, they are not friends at all. Enkidu was created as a test for Gilgamesh. Once this trial is overcome, their bond slowly starts to build. Although Enkidu is uncivilized when they first meet, Gilgamesh takes him under his wing and humanizes him. By doing this, Gilgamesh treats Enkidu as an equal and a friend. Kelly goes on to state that Aristotle also...
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...Tablet I Summary The story begins with a prologue introducing us to the main character, Gilgamesh, the Priest-King of Uruk. Gilgamesh’s mother is Ninsun, sometimes referred to as the Lady Wildcow Ninsun. She was a goddess, endowing Gilgamesh with a semi-divine nature. Lugulbanda, a priest, was his father. Gilgamesh constructed the great city of Uruk along the Euphrates River in Mesopotamia, and surrounded it intricately decorated walls. He also built a temple for the goddess Ishtar, the goddess of love, and her fatherAnu, the father of the gods. Gilgamesh is credited with opening passages through the mountains. He traveled to the Nether World and beyond it, where he met Utnapishtim, the sole survivor of the great flood that almost ended the world, the one who had been given immortality. When he returned to Uruk, he wrote everything down on a tablet of lapis lazuli and locked it in a copper chest. As the story begins, Gilgamesh is a tyrannical leader who shows little regard for his people. He takes what he wants from them and works them to death constructing the walls of Uruk. He sleeps with brides on their wedding night, before their husbands. It is said that no one can resist his power. The old men of Uruk complain and appeal to the gods for help. The gods hear their cries and instruct Aruru, the goddess of creation, to make someone strong enough to act as a counterforce to Gilgamesh. Aruru takes some clay, moistens it with her spit, and forms another man, namedEnkidu. Enkidu...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Frankenstein by Mary Shelley Key facts full title · Frankenstein: or, The Modern Prometheus author · Mary Wollstonecraft Shelley type of work · Novel genre · Gothic science fiction language · English time and place written · Switzerland, 1816, and London, 1816–1817 date of first publication · January 1, 1818 publisher · Lackington, Hughes, Harding, Mavor, & Jones narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout...
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...U MYTHOLOGY U GODS AND GODDESSES IN GREEK MYTHOLOGY Michelle M. Houle Copyright © 2001 by Michelle M. Houle All rights reserved. No part of this book may be reproduced by any means without the written permission of the publisher. Library of Congress Cataloging-in-Publication Data Houle, Michelle M. Gods and Goddesses in Greek Mythology / Michelle M. Houle. p. cm. — (Mythology) Includes bibliographical references and index. Summary: Discusses various Greek myths, including creation stories and tales of principal gods and goddesses. ISBN 0-7660-1408-8 1. Mythology, Greek—Juvenile literature. [1. Mythology, Greek.] I. Title. II. Mythology (Berkeley Heights, N.J.) BL782 .H68 2000 398.2’0938’01—dc21 00-028782 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 To Our Readers: All Internet Addresses in this book were active and appropriate when we went to press. Any comments or suggestions can be sent by e-mail to Comments@enslow.com or to the address on the back cover. Cover and illustrations by William Sauts Bock CONTENTS Chart of Major Gods and Goddesses . . . . . . . . . . . . . . . . . . . . Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 6 8 1 2 3 4 5 6 7 8 9 Creation . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The War Between the Titans and the Olympians . . . . . . . . . . . . . . . . . 26 Prometheus and Earth’s First Inhabitants . . . . . . . . . . . ....
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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