Gilgamesh Is Gay Essay -- essays research papers

Gilgamesh is an epic that has been passed down for thousands of years. The epic narrates the legendary deeds of the main character Gilgamesh. Gilgamesh is two-thirds immortal and one-third mortal; however, he cannot accept his fate that one day he too will die. The entire epic tells the story of Gilgamesh’s life and searche for immortality. Through his many trials and tribulations, Gilgamesh proves that he has great physical strength. However, throughout the epic Gilgamesh also shows he is emotionally unstable and immature. The author created Gilgamesh with this flaw of immaturity so that he would be a more believable character. The depth of Gilgamesh's physical strength first appears to the reader in the prologue. Gilgamesh is said to be "the man to whom all things are known". The gods created him with great care giving him beauty and courage. "The great gods made his beauty perfect, surpassing all others, terrifying like a great wild bull". Furthermore, h is beauty and power were like that of no other man. The story begins by stating that Gilgamesh is an overbearing king. He never sleeps due to his over indulgence in life. Gilgamesh keeps the city in disruption involving anyone he pleases in his corrupt demands. He sleeps with all the virgins before they are married, therefore, making them impure before their husbands have a chance to sleep with them. If Gilgamesh were a mature king, he would see no reason to show he is the most powerful. He would lead ...

Ah Xian

Ah Xian (1960-) Throughout April 1989, large numbers of students gathered in Tian'anmen Square, in front of the Forbidden Palace in the centre of Beijing in China. They were demonstrating against political corruption and economic instability. As the crowds continued to grow, so did the displeasure of the government of the People's Republic of China. By the beginning of June, armed soldiers were sent in to suppress the protest. This they did, violently, leaving between 400 and 7000 people dead (because of the lack of freedom of the press in China at the time figures are very unreliable).Ah Xian (pronounced `ar see-arn') had friends who were jailed because of their involvement in the protests. The following year he sought political asylum in Australia. He has lived in Sydney since then, working in both Australia and China. His work can be seen as an attempt to reconcile his past and present lives; it is a visual bridge between the east (his homeland of China) and the west (Australia, w here he lives). His sculptures present a contrast between the three-dimensional busts that belong to the western portrait tradition and the two-dimensional surface which is painted with traditional, symbolic and decorative Chinese patterns.In 1997, in his backyard studio, Ah Xian began to make porcelain busts on plaster casts he made over the figures of friends and family. He then glazed these busts with traditional hand-painted Chinese designs. Since 1999 he has collaborated with Chinese artisans in Jingdezhen (the historical centre of China's fine porcelain production), who paint the traditional designs that he selects after research in pattern books. He used their expertise to decorate the three-dimensional works of the human figure in his series called China China.Ah Xian China China Bust 1999 The eyes of Ah Xian's figures are always closed. The faces are still and silent and wear no expression. In many ways figures such as Dr John Yu AC (right) remind us of the western traditio n of portrait busts begun by the Romans. We see the same head and shoulder view in the two portrait busts in the first century CE Roman sculpture in Figure 1. 48. Dr John Yu is a Sydney paediatrician (doctor who treats children). He was born in China but has lived in Australia since he was 3 years old.The inclusion of colourful children climbing on the sculpture follows the Chinese tradition of placing small children's figures around images of the Laughing Buddha and Guanyin (the god of compassion and mercy) and creates a contrast to the simple undecorated figure. They also symbolise John Yu's work with sick children. Ah Xian creating the mould on Dr Yu’s face In the works of Ah Xian's China China-Bust series, such as China China-Bust (Right), the bust is covered in oriental decorative motifs such as those used for centuries on traditional Chinese vases, plates and bowls.Each bust uses a different pattern, most of which are symbolic. They are all intricate and include real an d mythical creatures, such as the dragon and the phoenix, flowers such as the peony and the lotus, and traditional landscapes. These patterns cover the whole background of the face and figure and, like a tattoo, can be seen as a permanent mark left by culture and tradition. Sometimes the designs follow the contours of the head, sometimes they contradict them. Since 2000 Ah Xian has also worked in other traditional Chinese craft techniques such as cloisonne (pronounced `klwa zo nay'), lacquer work and jade carving.Human human-lotus, cloisonne figure 1 (Fig. 4. 72) is a life-size figure of a woman made from sections of copper sheet that have been panelbeaten by hand and covered in intricate cloisonne patterns of lotus flowers and lily pads. In 2001, in a workshop in Hebei province outside Beijing, Ah Man worked in the 700-year-old technique of cloisonne, which was applied to a full body cast. The lotus pattern covering the form symbolises peace, happiness and spiritual unfolding. Ah Xian Ah Xian (1960-) Throughout April 1989, large numbers of students gathered in Tian'anmen Square, in front of the Forbidden Palace in the centre of Beijing in China. They were demonstrating against political corruption and economic instability. As the crowds continued to grow, so did the displeasure of the government of the People's Republic of China. By the beginning of June, armed soldiers were sent in to suppress the protest. This they did, violently, leaving between 400 and 7000 people dead (because of the lack of freedom of the press in China at the time figures are very unreliable).Ah Xian (pronounced `ar see-arn') had friends who were jailed because of their involvement in the protests. The following year he sought political asylum in Australia. He has lived in Sydney since then, working in both Australia and China. His work can be seen as an attempt to reconcile his past and present lives; it is a visual bridge between the east (his homeland of China) and the west (Australia, w here he lives). His sculptures present a contrast between the three-dimensional busts that belong to the western portrait tradition and the two-dimensional surface which is painted with traditional, symbolic and decorative Chinese patterns.In 1997, in his backyard studio, Ah Xian began to make porcelain busts on plaster casts he made over the figures of friends and family. He then glazed these busts with traditional hand-painted Chinese designs. Since 1999 he has collaborated with Chinese artisans in Jingdezhen (the historical centre of China's fine porcelain production), who paint the traditional designs that he selects after research in pattern books. He used their expertise to decorate the three-dimensional works of the human figure in his series called China China.Ah Xian China China Bust 1999 The eyes of Ah Xian's figures are always closed. The faces are still and silent and wear no expression. In many ways figures such as Dr John Yu AC (right) remind us of the western traditio n of portrait busts begun by the Romans. We see the same head and shoulder view in the two portrait busts in the first century CE Roman sculpture in Figure 1. 48. Dr John Yu is a Sydney paediatrician (doctor who treats children). He was born in China but has lived in Australia since he was 3 years old.The inclusion of colourful children climbing on the sculpture follows the Chinese tradition of placing small children's figures around images of the Laughing Buddha and Guanyin (the god of compassion and mercy) and creates a contrast to the simple undecorated figure. They also symbolise John Yu's work with sick children. Ah Xian creating the mould on Dr Yu’s face In the works of Ah Xian's China China-Bust series, such as China China-Bust (Right), the bust is covered in oriental decorative motifs such as those used for centuries on traditional Chinese vases, plates and bowls.Each bust uses a different pattern, most of which are symbolic. They are all intricate and include real an d mythical creatures, such as the dragon and the phoenix, flowers such as the peony and the lotus, and traditional landscapes. These patterns cover the whole background of the face and figure and, like a tattoo, can be seen as a permanent mark left by culture and tradition. Sometimes the designs follow the contours of the head, sometimes they contradict them. Since 2000 Ah Xian has also worked in other traditional Chinese craft techniques such as cloisonne (pronounced `klwa zo nay'), lacquer work and jade carving.Human human-lotus, cloisonne figure 1 (Fig. 4. 72) is a life-size figure of a woman made from sections of copper sheet that have been panelbeaten by hand and covered in intricate cloisonne patterns of lotus flowers and lily pads. In 2001, in a workshop in Hebei province outside Beijing, Ah Man worked in the 700-year-old technique of cloisonne, which was applied to a full body cast. The lotus pattern covering the form symbolises peace, happiness and spiritual unfolding.

King Richard III by William Shakespeare Essay

T he plays depict the collapse of English control over parts of France and the bitter and fierce internal struggles between the Houses of Lancaster and York in the fight to gain the crown of England. King Richard III is regarded (Hume 202) as a piece of prop aganda support ing the Tudor monarchs who succeeded Richard after he was killed in battle . This essay examine s how the theme of conscience is evidenced in Shakespeare’s play, and how the issues addressed are reflected in my daily life. (100 words) One prominent theme in the drama is the theme of conscience. Throughout the drama, Richard,  Duke of Gloucester, murders and betrays to gain the English crown. His conscience , however, is evident. In Act I scene iii, Margaret, an exiled former queen , has a special curse for Richard , who kille d her husband and her son (lines 224 – 9) : The worm of conscience still begnaw thy soul. Thy friends suspect for traitors while thou liv’st, And take deep traitors for thy dearest friends. No sleep close up that deadly eye of thine, Unless it be while some tormenting dream Affrights thee with a hell of ugly devils. Most of Margaret’s curses are fulfilled during the play. Richard struggles  with his heavy conscience. In Act IV scene I Lady An ne , his wife is distressed to learn that she is to be crowned his queen, and speaks of her unhappiness and his guilty conscience: For never yet one hour in his bed Have I enjoy’d the golden dew of sleep, But have been waked by his timorous dreams. Spec tacularly, in the scene before the battle at Bosworth, King Richard is visited by the ghosts of h i s victims . His soliloquy in Act V scene iii suggests that he is overcome by a ‘coward conscience’ (lines 191 – 6) : O coward conscience, how dost thou afflict me! The lights burn blue. It is now dead midnight. Cold fearful drops stand on my trembling flesh. 2 The theme is developed . Co nscience can be a manipulative tool used by cowards , Richard declares: Let not our babbling dreams affright our souls: Conscience is but a word that cowards use, Devised at first to keep the strong in awe: Our strong arms be our conscience, swords our law. I shall now consider how conscience relates to my daily life. It has often been remarked (e. g. G ui 203; Palfreyman 80) that Richard’s assertiveness, his strength and determination command a respect of their own, his crimes aside. Every day, I read in the papers that someone has exercised ruthless power over other people in some way, and so made ‘swords [their] law’ to wi n a contest, whether it be in the form of school bullying, or rise to political power as in this play. I am still unclear as to how far we should assert ourselves to gain things that we want at others’ expense like this. It frightens me that I can understa nd such tyrants and see them as essentially very human. Such things are an integral part of life and ourselves and will never go away. I believe, though, that  there is such a thing as conscience, yet whether it is only something we have been taught is har d to establish. It is possible to see Shakespeare’s play as an elaborate wish fulfillment or fantasy, therefore. In sum, Shakespeare directs us to focus , non – simplistically, on tyranny and ruthlessness in our midst. In a sense , the portrayal of Richard as a man with a conscience and, at the same time, with astute manipulative powers gives the drama unresolved humanistic problems. We may need to ask ourselves how far we can go to attain our ends while still sleeping at night.

Edith Wharton’s “Souls Belated” Essay

Point of view always influences the way readers perceive events. In literature, the point of view the author chooses not only affects the way readers perceive and interpret events, but it also determines, to some extent, what the readers can actually see. That is, point of view guides the way readers interpret events and draw conclusions by limiting or illuminating the amount and nature of the information from which conclusions can be drawn. In â€Å"Souls Belated,† Edith Wharton uses point of view to illuminate the thoughts of each character individually, while concealing the thoughts of the other, and eventually to highlight the vastly different mindsets of both characters involved. Wharton first does this by revealing Lydia’s thoughts to the readers while hiding Gannett’s. At the exposition, the story is told in third person, from Lydia’s point of view. This technique allows readers to see directly into Lydia’s mind. To know what Gannet is thinking, however, they must accept Lydia’s version of his thoughts: â€Å"He was thinking of it now, just as she was; they had been thinking about it in unison ever since they had entered the train† (673). Since readers have no direct insight into Gannett’s brain, they have no way to know what he is really thinking, but neither do they have, as yet, any substantial reason to doubt Lydia’s interpretation of events. The third-person-limited point of view is particularly effective because it allows readers to view Lydia’s thoughts, opinions, and interpretations as facts. If Wharton had chosen to tell the story in first person, from Lydia’s point of view, the narrative would be clearly subjective. Readers would be aware of the limitations of a first person narrator. Consequently, they would have plenty of incentive to question the accuracy of Lydia’s perception. On the other hand, if the narrator were omniscient, it would describe Gannett’s thoughts as well as Lydia’s and thereby remove all questions in this matter. The actual third person narrator seems removed enough from the action to appear to be an impartial observer; this inclines readers to accept the narrator’s statements as facts. That the point of view is limited, however, also leaves in question whether Lydia’s view of Gannett is correct, whether readers should accept it at face value; th is is what  creates the subtle suspense of the story. Wharton builds on this suspense by suggesting that Lydia does know Gannett well enough to know his mind, or, at least, that Lydia thinks she knows Gannett well enough to know: â€Å"now that he and she were alone she knew exactly what was passing through his mind; she could almost hear him asking himself what he should say to her†¦Ã¢â‚¬  (673). This not only further inclines readers to accept Lydia’s interpretation of Gannett’s thoughts and emotions, but it also encourages them to be sympathetic to her. Lydia knows what Gannett is thinking, and she dreads it. Since readers know Lydia’s mind but not Gannett’s, they cannot help but see the situation through her eyes. In order to see properly through Lydia’s eyes, in order to know why she dreads Gannett inevitably speaking to her, readers need to have some sense of her personality. The point of view helps accomplish this as well; it allows readers to extract information about Lydia’s personality from her reactions to her own memories. For example, when Lydia remembers her ex-husband and her reasons for leaving him, â€Å"[she] had preferred to think that Tillotson had himself embodied all her reasons for leaving him†¦. Yet she had not left him till she met Gannett† (673). From this, readers know that Lydia, at the beginning at least, is not self-secure enough to have left her husband to be on her own. She could not turn from him without having someone else to turn to. However, â€Å"this discovery had not been agreeable to her self-esteem† (673), indicating that not only is Lydia aware of her own insecurity but also that it is something which bothers her. Lydia wan ts to think of herself as an independent woman but so far has not been as wholly independent as she would like to be. Once readers understand this part of Lydia’s personality, they are better prepared to understand why Lydia struggles against dependency. Specifically, she struggles against marrying Gannett because she views it as a particularly tempting form of dependency. Lydia fears that by marrying Gannett, she will lose whatever sense of self she has developed since leaving her husband; similarly, she worries that Gannett will lose his sense of self in marrying her. â€Å"To look upon him as the instrument of her  liberation; to resist herself in the least tendency to a wifely taking possession of his future; had seemed to Lydia the one way of maintaining the dignity of their relation† (675). At the same time, however, she realizes that this view of their relationship is becoming increasingly difficult to maintain: â€Å"she was aware of a growing inability to keep her thoughts fixed on the essential point – the point of parting with Gannett† (675). Through what the narrator says and does not say about their relationship, readers can infer that Lydia is growing dependent on Gannett but is still trying to fight against it. The insight Wharton gives readers into Lydia’s personality contrasts sharply with how little they know of Gannett. Because of the narrator’s limited point of view, readers know only as much about Gannett as Lydia knows. Readers know what Gannett says and what he does, as well as what Lydia presumes he thinks, but they have no way to observe Gannett’s thoughts for themselves. Even at one point where the narrative seems to shift to a more omniscient point of view, the narrator can only say, â€Å"He looked at her hopelessly. Nothing is more perplexing to man than the mental process of a woman who reasons her emotions† (678). The narrative still does not describe exactly what Gannett is thinking; it only describes Gannett’s action, then makes a general statement which may or may not apply to Gannett specifically. Readers have no way of knowing whether Gannett actually thinks this statement or not; for all they know, it could be what Lydia is thinking, what she presumes about Gannett’s state of mind. Not only does this point of view technique make the readers want to know what Gannett is thinking, but it also binds them emotionally to Lydia. They want to know what Gannett is thinking as badly as she does. After building up sufficient desire, Wharton finally satisfies the readers’ curiosity by shifting the point of view to allow them access to Gannett’s thoughts. This shift also corresponds with an important twist in the plot; it comes at the beginning of their last conversation in the hotel room, just before Lydia suggests to Gannett that the only was to resolve their relationship is for her to leave him. â€Å"Gannett threw away his cigarette; the sound of her voice made him want to see her face† (685).† Limited though it  is, this is the first time readers can witness Gannett’s thoughts directly. Throughout the conversation, the shift intensifies. â€Å"She sank again on the sofa, hiding her face in her hands†¦. Gannett stood above her perplexedly; he felt as though she were being swept away by some implacable current while he stood helpless on its bank† (688). Now, the roles are reversed: readers can know Gannett’s emotional st ate from what the narrator tells them, but they must divine Lydia’s from her words and actions. That this point of view shift comes before Lydia’s suggestion to leave Gannett is important because it brings with it a tone shift. When the readers can see Gannett’s desires and emotions, they begin to feel sympathy for him. Now they can see the events through his eyes, too. Conversely, when the narrative distances itself from Lydia’s thoughts, it distances the readers from Lydia as well. While this distance does not necessarily cancel out any sympathy the readers have for Lydia, their sympathy for her does not overpower their sympathy for Gannett. Indeed, it is because of this newfound sympathy that Lydia’s, â€Å"My leaving you,† (689) does not seem to the readers like a desirable outcome. Since they now sympathize with both characters, they do not like anything that would cause either one of them pain. An act that would cause both characters pain would be doubly bad. Wharton continues this sympathy for Gannett by telling the last section of the story, where Lydia actually tries to leave him, from his point of view. Wharton also uses this point of view to answer many of Lydia’s, and therefore the readers’, questions. For instance, the readers now get to see how Gannett views marriage, particularly marriage to Lydia. â€Å"Even had his love lessened, he was now bound to her by a hundred ties of pity and self-reproach; and she, poor child! must turn back to hum as Latude returned to his cell†¦Ã¢â‚¬  (690). Gannett feels responsible for Lydia as well as bound to her; he possibly even feels somewhat fatherly toward her, as if she was a child who he had an obligation to look after. These are all attitudes opposed to Lydia’s pride and desire for independence. As Gannett watches Lydia walk away from the hotel, his thoughts continue: If any thought emerged from the tumult of his sensations, it was that he must let her go if she wished it. He had spoken last night of his rights: what were they? At the last issue, he and she were two separate beings, not made one by the miracle of common forbearances, duties, abnegations, but bound together in a noyade of passion that left them resisting yet clinging as they went down. (690) From this statement, readers know Gannett’s true attitude toward marriage, that it is a spiritual joining that would give him some sort of right to Lydia. Not only is Gannett’s opinion of marriage contrary to Lydia’s opinion of it, but it also conflicts with what Lydia believes Gannett’s opinion to be. Their isolated points of view heighten the contrast between Gannett’s and Lydia’s feelings toward marriage. This separation reminds the readers that although they can see into both Lydia’s and Gannett’s minds, there is no way for either character to know what the other is thinking. Each character is completely cut off from the other; the only way they have to intuit thoughts is for them to interpret the words and actions of the other, just as readers must do, in turn, for each character. The isolation that lets the readers see this limitation is the same isolation that hides, ironically, the limitation from both characters. Lydia, for example, felt â€Å"she knew exactly what was passing through his mind† (673), even though it is her uncertainty that makes what Gannett is thinking so nervewracking for her. In the same way, Gannett later feels that Lydia is walking into a world where â€Å"no one would understand her – no one would pity her – and he, who did both, was powerless to come to her aid†¦Ã¢â‚¬  (690). If Gannett truly understood and pitied Lydia, he would have understood that she is too independent to want is pity. But perhaps the most telling point of view shift comes at the end of the story, where Wharton retreats into an omniscient, objectively descriptive narrator. As Gannett watches Lydia leave the boat and come back to the hotel, back to him, â€Å"[he] sat down beside a table; a Bradshaw lay at his elbow, and mechanically, without knowing what he did, he began looking out  the trains to Paris†¦Ã¢â‚¬  (691). The distance of the point of view echoes Gannett’s distance from his own emotions. He acts mechanically, not knowing what he is doing because he does not know what he is feeling. Indeed, the distance of the narrative reflects the net numbness of the conflicting emotions that Lydia and Gannett are both feeling. Each must resign himself to marrying the one he loves.

On U.S. Foreign Policies Towards the Third World Essay

On U.S. Foreign Policies Towards the Third World - Essay Example Another issue noted is the effect of the US interference on stable countries which include Libya and Egypt. For a long time these two Arabic dominated countries have had the best economies in Africa. However, due to some deemed selfish interference from the US the presidents were removed from power, Muammar Gaddafi was killed as the Egypt president was detained. At the moment the two are still in wrangles and the US is nowhere to be seen. According to Henry (1999), many third world countries rely on the US for aide to facilitate various projects in the respective countries. This has put them in awkward positions as they have to ensure that they do things that are in line with the US references. US has been accused of being biased in political issues and favoring certain candidates. On January, 2013 before the Kenyan presidential elections Johnnie Carson, the US Assistant Secretary of State for African Affairs warned Kenyan from voting the candidates with cases at the ICC. This was highly criticized as it showed partisan in the elections and it served to show how biased the US can be at

Scientific Support for Coaches Essay Example | Topics and Well Written Essays - 2500 words

Scientific Support for Coaches - Essay Example This is a simple indication of the research done to understand the coaching behavior practically undertaken within this schooling institution (Carling, Reilly, & Williams, 2009, p. 3). Therefore, the following paper will look into the significance, source and impact of a coach’s behavior towards the players, and the scientific approach taken and attained towards solving or improving the issue. The factors considered in the research video clips include the means by which the coach shows the drills, how he or she fines the players, the feelings of the coach, and how leading he or she is within and outside the team. Therefore, it is not that significant what the coach utters for every word. After watching both video clips, the coaching behavior and experience there are overall things not only about the film, but the scientific aspect of the study’s aim. Supporting the coach is a prosperous factor of scientific knowledge obtained on the basis of studies carried out with athletes. Data is accessible to maintain the coach and athlete in every zone of training and advancement as well as nutrition, biomechanics, physiology, mental and medication. There are several methodical techniques to measure and assess the athlete’s behavior. For example, computer-assisted evaluation of VO2 max, lactate amounts, running methodologies are a number of the methods. The art of coaching pulls in the moment the coach has to evaluate the methodical information and convert it into coaching and training schedules to assist the athlete. This evaluation depends entirely on the skills and behavior of the coach. The knowledge of the sport or event ought to be a concern of the player and the coach as well. By comprehending the science behind the coaching skills and experience is the foundation of training. It is also an elegant and exercise schedule that can be advanced and assist a

Responsible Tourism Essay Example | Topics and Well Written Essays - 5000 words

Responsible Tourism - Essay Example As a result, the situations is several destinations including Africa is characterized by deteriorating infra-structure, political and economic instability, increasing external control and weak backward and forward linkage with other economic sectors. Besides, tourism benefits do not filter down to poor communities (Booyens, 2010). With changes in consumer lifestyle and higher disposable incomes, more people desire to travel and experience pleasure. The World Travel Organization (WTO) predicts that by 2020 international arrivals would exceed 15 million (UNEP, 2005). Growth in tourism would take place across the world but it would be concentrated in the developing countries. In South Africa alone international arrivals are set to grow at an average of 5.5 per year. This can have profound impact on the local economies and the destination because human systems and the environment are strongly coupled and jointly determined systems. For sustainable development the social and the ecological systems cannot be analysed separately (Modvar & Gallopin, 2005). In fact, the perspectives and concerns of the major stakeholders need to be incorporated for an effective decision making. This is because there is a relationship between tourist behavior and their attitude towards the environment (Andereck, 2009). The purpose of this report is to evaluate the concepts of sustainable and responsible tourism, and the similarities and difference between these two concepts. Based on an understanding of responsible tourism, this report presents a responsible tourism strategy for Masai Mara game Reserve. The problems at Mara are identified and then objectives have been set followed by the strategy to achieve the SMART objectives. The concept of sustainability first came into discussions in1987 with the release of the Brundtland Commission’s â€Å"Our Common Future† sponsored by the UN