Cross-Cultural Management Skills in a Business Environment Research Paper

Cross-Cultural Management Skills in a Business Environment - Research Paper Example Culture changes or evolves over time, defined and altered by interactions amongst those who make up human society Culture is not monolithic because the human agents or actors who are imbued with intelligence and freedom give culture its dynamism through interaction and co-operation, giving rise to sub-cultures that add to societal diversity (Charon 2004, pp. 158-160). Culture is, therefore, a feature of a human society shaped by the behaviour of everyone in that society who learn and share that culture with future generations, affecting behaviour and outlook on life and determining how they think, feel, and act. Culture can be analysed using several perspectives and frameworks since it is visible to observers. Schein (2004, pp. 25-27) argued, in the context of business organisations, that these cultural manifestations range from the very tangible and over that one can see and feel: artefacts like organisational structures and processes, products and symbols of rituals, or architectur e and art, to the deeply embedded, unconscious, basic assumptions such as beliefs, perceptions, thoughts and feelings that form its essence. In between are espoused beliefs, values, norms, and rules of behaviour that members of the society use to depict the culture to themselves and to others. To understand the culture of any group and/or to change it, one has to get at its underlying assumptions and understand how such basic assumptions came to be. The best way to change a culture is to change the basic assumptions, but this is difficult, time-consuming, and highly anxiety-provoking.

Sophocles Antigone Essay Example | Topics and Well Written Essays - 250 words

Sophocles Antigone - Essay Example Like for example stop signs in places that do not warrant them. I have to admit that there may perhaps be occurrences where I have overlooked them. Be no mistake that I recognize the need for safety but there are just those that seem superfluous and unnecessary. The general thought that comes to my mind is the ardent belief that I am doing the right thing and that I was not blinded by personal misconceptions and that fundamentally no one will be hurt. I imagine that people will actually benefit from my acts and others may perhaps be enlightened. I consider that I may not always be right but there are moments when I have to be in the right. In this regard, I identify more with Antigone who has sacrificed herself to uphold what she believes in and refuses to be subjected to any law from the oppressive Creon. Her refusal to be subdued by restrictive orders is admirable in the sense that she honors her independence more than anything, even her life. To be able to live by one’s own virtues properly guided by ethical standards of morality is the greatest law anyone could

New Testament Essay Example for Free

New Testament Essay â€Å"This weakness is displayed in the special terms that are employed by the theory —innocent, combatant, aggression, authority and so on. These terms are subject to the slipping and sliding of deconstructive analysis and forever need further, technical definition. For example, what constitutes an act of ‘aggression’? Is it Ð ° physical assault on one’s territory? An insult to the national pride? Ð  trade embargo, an attack on one’s ally? Osama bin Laden justifies his attack on 9/11 as an act of self-defense against American ‘aggression’, which has destroyed the ‘religion and life’ of his people. For over seven years the United States has been occupying the lands of Islam in the holiest of places, the Arabian Peninsula, plundering its riches, dictating to its rulers, humiliating its people, terrorizing its neighbors, and turning its bases in the Peninsula into Ð ° spearhead through which to fight the neighboring Muslim peoples. If some people have in the past argued about the fact of the occupation, all the people of the Peninsula have now acknowledged it. The best proof of this is the Americans’ continuing aggression against the Iraqi people using the Peninsula as Ð ° staging post, even though all its rulers are against their territories being used to that end, but are helpless†¦ All these crimes and sins committed by the Americans are Ð ° clear declaration of war on Allah, his messenger, and Muslims. And ulema [religious leaders] have throughout Islamic history unanimously agreed that the jihad is an individual duty if the enemy destroys the Muslim countries. This was revealed by Imam Bin-Qadamah in ‘Al-Mughni’, Imam al-Kisa’i in ‘Al-Bada’I’, al-Qurtubi in his interpretation, and the shaykh of al-Islam in his books, where he said: ‘As for the fighting to repulse [an enemy], it is aimed at defending sanctity and religion, and it is Ð ° duty as agreed [by the ulema]. Nothing is more sacred than belief except repulsing an enemy who is attacking religion and life’. In fact, this same justification is not so remote from what we hear in our own country, where the left-wing often blames American imperialism and the international system of capitalism for raping the cultures of third world countries, exploiting the people, producing poverty, and sowing the seeds for Ð ° violent response. The criteria do not seem to help the special problem at hand. Most scholars seem to think that just war theory allows for pre-emptive strikes, but the conditions and details are not so clear. The Bush administration and the ‘National Security Strategy’ contend that pre-emptive strikes against Iraq are consonant with just war theory, international law, and Article 51 of the United Nations Charter. Legal scholars and international jurists are said to sanction the right of Ð ° pre-emptive strike based on the condition of an imminent threat. † (Gabriel 2006 27-33) â€Å"However, the Vatican seems to interpret its own codes as Ð ° justification for fighting Ð ° defensive war against Ð ° particular act of aggression, and most scholars seem to agree with its interpretation of the tradition. Jeff McMahan, Ð ° professor at the University of Illinois, says that the theory has Ð ° strong aversion to pre-emptive war. Normally we prefer to punish Ð ° crime already committed, rather than speculate over future possibilities. Just war theory does not like to exchange its certitude for Ð ° more problematic or sordid enterprise. 18 William Gaston, professor at the University of Maryland, finds it necessary to create more criteria to justify his opposition to the administration’s policy, he concedes that ‘anticipatory self-defense has Ð ° place in international law and just war theory’, but he does not concur with the current application of this most difficult step. His criteria would involve Ð ° consideration of the enormity, probability and imminence of the threat, as well as the cost of delay, According to these criteria, the Bush policy is unnecessary in the present circumstance—at least for the time being. Saddam Hussein is not Ð ° present danger (imminence); other options for Ð ° number of months could prove fruitful (cost of delay); and it is unlikely that Saddam would hand WMD to terrorists based on his past actions and present interest. The conclusion is that ‘the case for Ð ° pre-emptive strike has not been made’. Those who list criteria often cast Ð ° negative vote toward an action. Just war treatises often demand fulfillment of all of its conditions. Thomas Aquinas, when he composed his conditions for just war (proper authority, just cause and right intention), insisted that all three conditions must be met as Ð ° necessary apologia for war. The scholastics went on to develop the maxim bonum ex integra causa, malum ex quocumque defectu. â€Å"However, with the United States issuing Ð ° â€Å"with us or against us ultimatum after September 11 and simultaneously dangling the carrot of long-term economic and military assistance in return for logistic support for Americas war effort, each Central Asian state rushed to strike unilateral deals with the United States based on its own self-interest, thereby allowing the United States to establish Ð ° strategic foothold in Central Asia with little or no thought for Chinas concerns. For Central Asians, it was Ð ° golden opportunity to lessen the overbearing influence of their neighboring giants (Russia and China). They view the expanded U. S. military presence in the region as an insurance policy against any future bid by Russia and China to reassert control. However, the lack of strategic policy coordination post-September 11 among the SCO member states left the multilateral forum seriously weakened, undercut the groups solidarity, and represented Ð ° â€Å"major failure for the fledgling group† established to provide Ð ° regional response to terrorism in the region. 65 It also highlighted the tenuous nature of Chinas â€Å"strategic influence† in Central Asia where local ethnic and religious rivalries and conflicting interests present formidable obstacles to Beijings desire to knit the regions governments into Ð ° solid security partnership to further Chinas grand strategic objectives. â€Å" (Mohan 2002) This meant that an action cannot have any moral defect if it is to find justification before God. Ð  war must involve the perfection of God, or it cannot proceed under his blessing. The conditions of war is wholly good, universal and absolute. They do not serve as simple rules of thumb, which may have tensions and become subject to compromise between them. However, this preference for absolute, deontological ethics does not allow the tradition to meet the changing needs of the human condition. It becomes Ð ° pretext for doing nothing because it is based upon past concerns and does not relate to modern times. Its view of the world comes from the Greek philosophical notion of kosmos, not the biblical concept of history, Its world is Ð ° closed shell of eternal laws that contain no openness to the changes of history or the historical nature of humankind. It often strait-jackets its proponents into following rules and failing to take the best course of action in the present circumstance. It limits itself to Ð ° past set of rules that are composed without the prescience of future, historical constellations. The absolute dogmatic claims of the system are somewhat surprising since so much of the analysis depends upon the power of human reason. Its basis of authority does not reside in scripture so much—maybe because the questions it asks are removed from the basic message of the New Testament. † (Elizabeth 2004 6)

An Analysis Of Dantes Inferno English Literature Essay

An Analysis Of Dantes Inferno English Literature Essay Dantes Inferno represents a microcosm of society; that is, laymen, clergy, lovers, wagers of war, politicians, and scholars are all collected into one place and punished for their worst and most human attributes. Hell, despite its otherworldly appearance and brutal, ugly nature, is somewhat humanized by the fact that those who are punished come from every country (Dante 3.123) and every walk of life, regardless of age, race, sex, or creed. While Dante Alighieri did not invent the idea of Hell as a place of punishment for the wayward and sinful souls in the afterlife, he did create the most powerful and enduring (Raffa 1) imagining of a concept which has received significant attention in biblical, classical, and medieval works. Dantes Divine Comedy was written sometime between 1308 and 1321 and is considered the supreme work of Italian literature (Norwich 27). It is an epic poem divided into three separate sections: Inferno, Purgatorio, and Paradiso Hell, Purgatory, and Heaven, respec tively. The personal element of the journey through Hell in Dantes Inferno literally explores the descent of one man into sin; through the use of poetic justice, both contemporary and historical figures, and mythological figures, Dante crafts an immediate and enthralling work dealing with the nature of sin and its place in society. The concept of poetic justice is famously explored in Inferno, where it is put to dramatic effect devising appropriate torments for each particular sin (Raffa 3). From Limbo to Treachery, Dante catalogues and documents the punishment of sinners both infamous and beloved, famous and unknown. In every case, the punishment fits the crime in a twisted and malignant fashion after all, the poem does discuss the realm of Satan, the Christian embodiment of evil. The nine circles of Hell described in Inferno are as follows: Limbo, Lust, Gluttony, Avarice and Prodigality, Wrath and Sullenness, Heresy, Violence, Fraud, and Treachery. These nine circles are based off of the idea of the Seven Deadly Sins, with some additions such as Limbo created by Dante. The poem begins with Dante lost in a dark wood, assailed by three beasts he cannot evade, and unable to move straight along (Dante 1.18) the road to salvation, represented by a mountain. A lion, a leopard, and a she-wolf symbolizing pride, envy, and avarice, respectively block Dantes path to the top of the mountain, forcing him to descend into the depths of Hell with Virgil. The entire journey documented in the Divine Comedy is an allegory for mans fall into sin before achieving redemption (represented by Purgatorio) and eventually salvation (represented by Paradiso). Before Dante even enters the gates of Hell, he is introduced to his guide for the first two realms of the afterlife, Inferno and Paradiso. For this role, Dante chose Virgil (70-19 BCE), who lived under the rule of Julius Caesar and later Augustus during Romes transition from a republic into an empire, and is most famous for the Aeneid. Two episodes in Virgils work were of particular interest to Dante. Book IV tells the tale of Aeneas and Dido, the queen of Carthage, who kills herself when Aeneas abandons her to continue his journey and [found] a new civilization in Italy (Raffa 8). Book VI recounts Aeneas journey into Hades to meet the shade of his father and learn of future events in his journey. Many elements in the Aeneid are present in heavily modified form in Dantes Inferno. Many of Dantes mythological elements are based on Book VI of Virgils Aeneid, which recounts Aeneas visit to the underworld. Virgil imbued his version of the underworld with a fluid, dreamlike atmosphere (5), while Dante instead strives for greater realism, providing sharply drawn and tangible figures. After passing through the gateway to hell, marked ominously with the words ABANDON EVERY HOPE, WHO ENTER HERE (Dante 3.9), Dante and Virgil witness a realm of miserable people who lived without disgrace and without praise (3.17-35) on the periphery of the Inferno. In this realm, the two poets encounter the souls of those who lived such undistinguished and cowardly lives that they have been cast out by Heaven and refused entry by Hell. These souls are forced to race after a banner which never comes to a stop, and are stung repeatedly by flies and wasps, their blood and tears nourishing the sickening worms (3.69) at their feet. The punishment for these cowardly souls is clear; just as in life they refused to be decisive and act, they now are barred from both eternal paradise and eternal damnation, and chase down a waving banner which they will never be able to reach. Next, Dante and Virgil meet Charon, Hells boatman. In the Aeneid, Charon is the pilot of the vessel that transports shades of the dead across the waters into the underworld. In both works, he is an irritable old man with hair white with years (3.83) who objects to taking a living man (Aeneas, Dante) into the realm of the dead. In each case, the protagonists guide (the Sybil, Virgil) provides Charon the proper credentials, and their journey continues. In Limbo, the guiltless damned, noble non-Christian souls, and those who lived before the time of Christianity are punished. The idea of a place for souls who did not sin; and yet lacked baptism (4.34-35) existed in Christian theology prior to Dante, but his vision is more generous than most. Dante includes unbaptized babies, as well as notable non-Christian adults in his version of Limbo, which bears a resemblance to the Asphodel Meadows, a section of the Greek underworld where indifferent and ordinary souls were sent to live after death. Dante suggests that those in Limbo are being punished for their ignorance of God by being forced to spend the afterlife in a deficient form of Heaven; while certainly not as hellish as the other circles, Limbo is by no means a paradise. Dante encounters the classical poets Homer (eighth or ninth century BCE), Horace (65-8 BCE), Ovid (43 BCE -17 CE), and Lucan (39-65 CE), who welcome back their comrade Virgil and honour Dante and one of their own (Dante 4.79-102). Philosophers Socrates and Aristotle also make appearances in Limbo as the shades of men renowned for their outstanding intellectual achievements. Socrates (born ca. 470 BCE in Athens) was a legendary teacher known for the rigorous method of questioning that characterizes the dialogues of Plato (ca. 428-ca. 347 BCE), who also appears. In addition, one notable non-Christian soul finds himself in Limbo, separated from the rest: Saladin, the distinguished military leader and Egyptian sultan who fought against the crusading armies of Europe yet was admired even by his enemies for his chivalry and magnanimity. Dantes implication is that all virtuous non-Christians find themselves in Limbo. The Lustful are punished in the second circle by being blown about by a hellish hurricane, which never rests wheeling and pounding (5.31-33). Lust, for many of the inhabitants of this circle, led to the sin of adultery and in the cases of Dido, Cleopatra, Helen of Troy, and others a violent death. The violent winds are symbolic of lust, and represent the power it holds in affairs of blind passion and physical love. Lust contains the shades of many famous lovers: Semiramis, Dido, Paris, Achilles, and Tristan, among others. Semiramis was a powerful Assyrian queen alleged to ave been so perverse that she even made incest a legal practice (Raffa 27); Dido, queen of Carthage and widow of Sychaeus, committed suicide after her lover Aeneas abandoned her (Virgil IV); Paris later died during the Trojan war; Achilles was the most formidable (Raffa 27) Greek hero in the war against the Trojans, who was killed by Paris (according to medieval accounts); finally, Tristan was the nephew of king Mark of Cornwall who fell in love in Iseult (Marks fiancee) and was killed by Marks poisoned arrow. Minos, the one who judges and assigns (Dante 5.6) the souls during their descent into Hell, is an amalgam of figures from classical sources, completed with several personal touches from Dante. He is a combination of two figures of the same name, one the grandfather of the other, both rulers of Crete. The elder Minos was admired for his wisdom and the laws of his kingdom. The second Minos imposed a harsh penalty on the Athenians (who had killed his son Androgeos), demanding an annual tribute of fourteen youths (seven boys and seven girls), who were sacrificed to the Minotaur, which appears later in Inferno. Minos long tail which he wraps around himself, that marks the sinners level (Dante 5.11-12) is Dantes invention. Gluttony is punished in the third circle. The souls of the damned lie in a vile, grimy slush brought about by cold, unending, heavy, and accursed rain (6.7-8). These former gluttons lie sightless and heedless of their neighbours, symbolizing their cold, selfish, and empty pursuit of hedonism and empty sensuality. The slush, representative of overindulgence and sensuality, serves to cut one off from both the outside world and from Gods deliverance. Gluttonous individuals of note include a Florentine contemporary of Dantes, identified as Ciacco ( pig in Italian). Ciacco speaks to Dante regarding the political conflict in the city of Florence between two rival parties, the White and Black Guelphs, and predicts the defeat of the White Guelphs, Dantes party. This event did indeed occur, and would lead to Dantes own exile in 1302. As the poem is set in the year 1300, before Dantes exile, he uses the events of his own life to illustrate the unique ability of shades in Inferno to predict the future, a theme which is returned to later in the poem. Cerberus, guardian of Gluttony, is similar to the beast of Greek mythology. In the Aeneid, Virgil describes Cerberus the three-headed dog which guards the entrance to the classical underworld as loud, huge, and terrifying. Dantes Cerberus displays similar canine qualities: his three throats produce a deafening bark, and he eagerly devours the fistful of dirt Virgil throws into his mouths like a dog intent on its meal. Cerberus bloodred (6.16) eyes, greasy, black (6.16) beard, and large gut link him to the gluttonous spirits whom he tears, flays, and rends (6.18) with his clawed hands. The Avaricious and the Prodigal are punished together in the fourth circle. Avarice, or greed, is one of the inequities that most incurs Dantes scorn and wrath (Raffa 37). Prodigality is defined as the opposite of Avarice; that is, the trait of excessive spending. Both groups are forced to eternally joust with one another, using cumbersome stone weights as weapons. They call out to each other: Why do you hoard? Why do you squander? (Dante 7.30). Here Dante describes the punishment of both extremes, criticizing excessive desire for and against the possession of material goods using the classical principle of moderation. In the fifth circle, the Wrathful and the Sullen are punished. The wrathful fight each other eternally on the surface of the river Styx, which runs darker than deep purple (7.103), while the sullen lie gurgling beneath the water. Dante describes how the Wrathful combat one another: [They] struck each other not with hands alone, but with their heads and chests and with their feet, and tore each other piecemeal with their teeth (7.112-114). The wrathful are damned to eternally struggle and fight without direction or purpose, while the sullen have withdrawn into a black sulkiness from which they can find joy in neither God nor life. In the fifth circle, Filippo Argenti, a prominent Florentine and a Black Guelph, calls to Dante. A hotheaded character (Raffa 40), little is known regarding Filippo except what transpires in Inferno. He quarrels with Dante, lays his hands upon the boat the poets travel on, and is eventually torn apart by his wrathful cohorts. The two men were political opponents, but Dantes behaviour towards Filippo indicates a more personal grievance. Perhaps he had humiliated Dante in life, or had taken some part of Dantes property after his exile from the city. Phlegyas is the solitary boatman (Dante 8.17) who transports Dante and Virgil in his boat across the Styx, the circle of the wrathful and sullen. He was known in Greek mythology for his impetuous behaviour; in a fit of rage, Phlegyas set fire to the temple of Apollo because the god had raped his daughter Apollo promptly slew him in response. Phlegyas appears in Virgils underworld as an admonition against showing contempt for the gods (Virgil 6.618-620), a role which he reprises in Inferno. Between the fifth and sixth circles lie the walls of Dis, the fortressed city of Lower Hell (Raffa 39). The fallen angels who guard the gates of Dis refuse entry to the two poets, requiring the arrival of a messenger from Heaven to open the gate for them. Dante designates all of Lower Hell circles six through nine, where the most serious of sins are punished as the walled city of Dis, with its grave citizens, its great battalions (Dante 8.69). The first five circles, which exist outside of Dis, are collectively known as Upper Hell, as they are where the lesser sins are punished. With the appearance of the three infernal (9.38) Furies, who threaten to call on Medusa, Virgils credibility and Dantes survival appear to be at risk. Furies were often invoked in Virgils classical world to exact revenge on behalf of offended mortal and gods. Medusas hair was turned into snakes by an angry Minerva after Medusa made love with Neptune in the goddesss temple, and became too horrifying to look at without being turned to stone. Dante describes Medusa as the Queen of never-ending lamentation (9.44). The Furies names evil thought (Allecto), evil words (Tisiphone), and evil deeds (Magaera) (9.45-48) describe the three manifestations of sin, which can turn people to stone by making them obstinate cultivators of earthly things (Raffa 41). Heretics are punished inside the walls of Dis, in a spreading plain of lamentation and atrocious pain (Dante 9.110-111) resembling a cemetery. The sixth circle contains souls trapped and enclosed in fiery tombs for failing to believe in God and the afterlife. Since they did not believe in Hell, the Heretics are punished by being sealed away from it in the most unpleasant possible way inside a flaming sepulchre. Among the tombstones of the sixth circle, Dante encounters more Italian contemporaries. A pair of Epicurian Florentines are disocvered sharing a tomb: Farinata degli Uberti, a Ghibelline; and Cavalcante de Cavalcanti, a fellow Guelph and the father of Guido Cavalcanti, Dantes fellow poet and closest friend. Farinata is an imposing figure, rising out of his inflamed sepulchre from the waist up and seeming to have great contempt for Hell (10.31-36). As the leader of the Ghibellines, Farinata was an enemy to the Guelphs, the party of Dantes ancestors. Farinata declares that his colleagues would have annihilated Florence (10.92), had he not interceded forcefully, an act which has earned him Dantes respect. Cavalcante was an enemy to the Ghibellines, like Dante, and married his son Guido to Farinatas daughter in order to foster peace between the two parties. Dantes best friend, Guido Cavalcanti, was a poet who held the philosophical belief that love is a dark force which leads only to mis ery and death. Therefore, Cavalcantes appearance in Hell might be more a matter of guilt by association to his sons worldview than any kind of reflection on himself. The Minotaur is the guardian and mythological symbol for the seventh circle, Violence. At the sight of Dante and Virgil, the minotaur reacts like one whom fury devastates within (12.15), and his frenzied bucking allows the travellers to proceed unharmed. The Minotaur is a physical manifestation of violence in Inferno: almost every part of the Minotaurs story, from its creation to its demise, contains some form of violence (Raffa 55). The sinners in the seventh circle are divided into three groups: the violent against people and property, the violent against themselves, and the violent against God and nature (Dante 11.28-33). The first group comprised of assassins and murderers, among others are immersed in Phlegethon, a bloodred, boiling (12.101) river of blood and fire, up to a level commensurate with their sins (12.73-75). Because they committed such acts of bloodshed and destruction in their lives, they are punished by being immersed in a river of that which they have spilt. The second group the suicides are transformed into knotted, gnarled (13.5) thorny bushes and trees, which are fed upon by Harpies. These souls have given away their physical bodies through suicide, and are forced to maintain treelike forms. These suffering trees cannot speak until Dante accidentally injures one and causes it to bleed. Dante uses the soul-trees as a metaphor for the state of mind which leads to self-harm and suicide. Finall y, the third group blasphemers and sodomites reside in a desert of sand, fire and brimstone falling from the sky. The blasphemers lie down upon the sand, the usurers recline, and the sodomites wander seemingly aimlessly in huddling groups, all while being burned by distended flakes of fire (14.28-29). This symbolizes how those who act violently against God and that which God has provided are perpetually unable to find peace and comfort in their lives. Among those immersed in Phlegethon is Alexander the Great, submerged up to his eyebrows in blood. He suffers for his reputation as a cruel, bloodthirsty man who inflicted great harm upon the world and its peoples. In the forest of suicides, Dante hears the tale of Pier delle Vigne, who killed himself after falling out of favour with Emperor Frederick II (Dante 13.64-69). Dante encounters his mentor, Brunetto Latini, among the sodomites. Surprised and touched by this encounter, Dante shows Brunetto great respect and admiration, thus refuting suggestions that the poet Dante placed only his enemies in Hell (15.43-45). The Centaurs are men from the waist up with the lower bodies of horses (Raffa 55) who guard the river Phlegethon. Thousands of centaurs patrol the bank of the river, using bows and arrows to keep damned souls submerged. In classical mythology, Centaurs are best known for their uncouth, violent behaviour. Chiron, leader of the Centaurs, enjoyed a favourable reputation as the sage tutor of both Hercules and Achilles. Pholus and Nessus the Centaurs assigned to escort Dante and Virgil have fully earned their negative reputations, however: Pholus who Virgil describes as full of rage (Dante 12.72) had been killed when a fight broke out during a wedding after he and his fellow centaurs attempted to carry off the bride and several other girls, and Nessus was killed by Hercules with a poison arrow for attempting to rape the heros wife, Deinira, after Hercules entrusted him with carrying her across a river (12.67-69). The penultimate circle as well as the most detailed is Fraud, which Dante describes as a place in Hell made all of stone the colour of crude iron (18.1-2). This circle is divided up into ten smaller pockets: panderers and seducers, flatterers, simonists, sorcerers, barrators, hypocrites, thieves, fraudulent advisers and evil councillors, sowers of discord, and falsifiers. Panderers (pimps) and seducers march eternally in opposite directions, lashed cruelly (18.36) by demons. Just as they used passion and seduction to bend others to their will, they are now themselves driven by hellish demons. Flatterers exploited other people using language, therefore, they are plunged in excrement (18.113), representing the false words they produced. Simonists payed for positions of power within the Catholic Church, and are placed upside-down into holes in the floor, with both soles [of their feet] on fire (9.25). The holes into which their heads are planted resemble baptismal fonts, used in several religious rituals a constant reminder of the corrupt nature of their former positions in the church. Sorcerers, astrologers, and false prophets have had their heads twisted toward their haunches (20.13) so that they can not see what is ahead of them. This symbolizes the twisted nature of magic in general specifically, it refers to the use of forbidden means to see into the future. Dante felt particularly unforgiving towards politicians after his exile from Florence, thus, corrupt politicians (barrators) are immersed in a stew of sticky pitch (21.8). Their punishment represents the sticky fingers, corrupt deals, and dark secrets inherent in positions of political power. The hypocrites listlessly walk with lagging steps, in circles, with features tired and defeated (23.59-60), wearing leaden cloaks, representing the falsity behind the appearance of their actions. This falsity literally weighs these souls down and renders any sort of progress impossible. The thieves are pursued and at tacked by lizards and snakes, their bites causing them to undergo various transformations (24-25). Just as they stole in life, their very human identity becomes subject to theft in Hell. Fraudulent advisers and evil councillors are encased within individual pyres. These individuals did not give false advice out of ignorance; rather, Dante refers to rhetoric [used] by talented people for insidious ends (Raffa 99). In life, they caused those whom they advised to do ill without dirtying their own hands now they are punished alone in their fires. The sowers of discord are hacked apart, their bodies dividing as in life they caused division among others. Their wounds are quickly healed, only to have themselves hacked apart again (Dante 28.139-142). Dante considers falsifiers (alchemists, counterfeiters, perjurers, and impersonators) a disease upon society, and their corrupting influence is reflected in their diseased bodies and minds (Raffa 99) in the tenth pouch. In the eighth circle, Dante meets a number of notably fraudulent individuals. Venedico Caccianemico, who sold his own sister to the Marchese dEste, is recognized among the pimps in the first pouch, despite his attempts to avoid detection (Dante 18.40-60). In the fifth ditch, the thief Vanni Fucci is burnt to ashes before being reincarnated; Agnel blends together with a reptilian Cianfa; and Buoso exchanges forms with Francesco. Vanni Fucci was a black Guelph from Pistoia, a town not far from rival Florence; Dante says he knew Vanni as a man of blood and anger (Dante 24.129). Agnel is thought to be Agnello Dei Brunelleschi, a man who joined the white Guelphs Dante s party but then switched to the black faction when they came to power. Both he and Cianfa are renowned for their thievery. Buoso stole while serving in public office, then arranged for Francesco de Cavalcanti to take over and steal on his behalf. In the eighth pit, Ulysses and Diomedes are condemned for the deception of the Trojan Horse, luring Achilles into the war effort, and stealing a statue of Athena from Troy (26.58-63). Dante encounters the schismatic prophet Muhammad; the poet views Islam as an off-shoot from Christianity, and similarly condemns Ali, Muhammads son-in-law, for the schism between Sunni and Shiite Muslims (28.22-33). The Malebranche ( Evil claws in Italian) are the devils of the fifth pocket of circle eight who bring to Hell the shades of corrupt political officials and employees. They are agile, smart, and fierce (Raffa 77), they are armed with long hooks, which they use to keep the shades under the surface of the black pitch (Dante 21.55-57). It is likely that the names Dante coined for individual demons ( Bad Dog, Sneering Dragon, Curly Beard, etc.) are based on actual family names of civic leaders in Florence and the surrounding towns. The Giants physically connect circles eight and nine: standing on the floor of circle nine, they tower over the inner ledge of circle eight with the upper halve of their immense bodies. They are archetypal examples of defiant rebels: Nimrod, who attempted to build the Tower of Babel before it was knocked down by God and his people were scattered; Ephialtes, who fought against Jove and the other Olympian gods; and Antaeus, whose relationship with the titans who stormed Mt. Olympus damned him, despite the fact that he was born after his brothers had waged war against the gods. Nimrod has been punished by being forced to speak an incomprehensible language; that is, his language is as strange to others as theirs is to him. Ephialtes, like the rest of the titans who challenged the gods, is immobilized with heavy chains. Antaeus is not given any exceptional punishment, for he is only guilty by association. It is Antaeus who assists Virgil and Dante by lowering them down to the ninth circle , after being enticed by Virgil with the prospect of eternal fame upon Dantes return to the world (31.115-129). The final circle is Treachery, a frozen lake at the centre of Hell, which is divided into four Rounds: Ca?na, Antenora, Ptolomaea, and Judecca. In Ca?na, traitors to their kindred are immersed in ice up to their faces. In Antenora, traitors to political entities are located similarly in the ice. In Ptolomaea, traitors to their guests are punished, lying on their backs in the ice, with only their faces uncovered. In Judecca, the traitors to their lords and benefactors are completely encapsulated in ice, distorted in pain. In the first round of Treachery, Dante encounters Mordred, who attacked his uncle King Arthur and was pierced mortally by Arthurs lance (Dante 32.61-62). In the second round, Count Ugolino pauses from his ceaseless assault upon the head of his rival, Archbishop Ruggieri, to tell Dante how Ruggieri imprisoned and killed him with his children. This story, the longest single episode related by a damned soul in Inferno, serves as Dantes final dramatic representation of mankinds capacity for evil and cruelty. Fra Alberigo, who had his brother killed at a banquet, explains a key conceit of Dantes Inferno: sometimes, a soul falls into Hell before they have actually died. Their earthly bodies are possessed by demons, so what appears to be a walking, living man is actually beyond the point of repentance (33.134-147). Finally, Lucifer the emperor of the despondent kingdom (34.28) lies at the centre of the Inferno. As ugly as he once was beautiful (34.34-36), Lucifer is a wretched contrast with his limited autonomy and mobility. Lucifers three faces (black, yellow, and red) parody the doctrine of the Holy Trinity: three persons (Father, Son, Holy Spirit) in one divine nature the Divine Power, Highest Wisdom, and Primal Love which also created the gates of Hell, and, by extension, the entire realm of eternal damnation. His flapping wings generate the wind that keeps lake at the centre of Hell frozen, while his three mouths chew on the shade-bodies of the three archtraitors Judas, Brutus, and Cassius the gore mixing with tears gushing out of his three sets of eyes (34.53-57). Dantes Inferno heralded a revolution in Christian theology through its innovative use of poetic justice, historical and contemporary figures, and classical mythology. By combining these disparate elements into a single, cohesive poem, Dante effectively changed the way the Western world imagined the afterlife and Hell in particular. By focusing on the details of the scenes and the identities of those whom the fictional Dante converses with, Inferno illustrates a horrifyingly real and immediate vision of Hell, one which has persisted at least in some part to this day. By focusing on the personal journey of one man through the afterlife, the focus of the narrative is shifted onto the reader, who can easily identify with Dante as the first-person narrator. While the circumstances surrounding the creation of the Divine Comedy Dantes exile from Florence, his fall from political grace, and his eventual death soon after the completion of his magnum opus are rather tragic, they all contribute to Dantes work in a way which colours the text and gives it a personality and passion which is still felt to this day. For seven hundred years, Inferno has elicited strong responses from its readers from fascination to revulsion and everything in between (Raffa 5). Regardless as to the readership, the response to Inferno has been, and will continue to be, anything but apathetic.

Wilsons Fourteen Points: a Path to Peace or to Renewed Conflict Essay

Wilson's Fourteen Points: a Path to Peace or to Renewed Conflict Wilson's Fourteen Points were a decent attempt at peace and restitution after the Great War; however, there were many inherent problems with the Wilsonian agenda. These problems were caused by many things, including Allied bias, American ambition, and Western European dominance. While trying to fix many problems in Europe, the Fourteen Points mainly concentrated on the things that were important to the Allied powers: France was bent on revenge, Great Britain was looking to further its power over the seas, and America was keen on becoming an even more powerful trade nation. The Allied Powers made it very hard for Germany and Austria and the newly formed countries in Eastern Europe to carry out many of the things set down in the Fourteen points, in particular, the idea of self-determination that is evident in over half of the points. Reading the Fourteen Points might lead a person to believe that the Allies were in favor of all forms of self-determination unconditionally; in fact, just the opposite was true. They used "self-determination as a formula for rearranging the balance of power in their own interests" (Keynes pp. 2). Point Five of the Wilsonian agenda was a testament to this. It called for the "free, open-minded adjustment of all colonial claims." Essentially, what this did was allow countries to practice limited forms of self-determination, mainly by switching European rule from the more obvious direct control method, to indirect European control. Some countries were allowed independence, but those countries that were denied it became mandates; Palestine, Syria, and Lebanon are examples of the ladder. The main thing Point Five accomplished was that i... ...and incomplete" (Keynes pp. 4). Ironically this is just the thing Wilson had set out not to do. In the speech he delivered before he read out the Fourteen Points, Wilson said that there was "no confusion between the Allied powers, no uncertainty of principle and no vagueness of detail." Wilson goes on to say that the "only failure to make definite statement of the objects of the war lies with Germany and her allies," when in fact this failure of definite statement was also true of the Allied Powers. The Fourteen Points did accomplish something in that they set out terms for a treaty, but unfortunately the Points failed because they severely lacked in detail and succinct. Furthermore, if the Points had been written with the sole objective of peace and restitution and not ambition or revenge, the ultimate Treaty of Versailles may have led to a lasting peace in Europe.

Computers And Society :: essays research papers

Computers and Society   Ã‚  Ã‚  Ã‚  Ã‚  The decade of the 1980's saw an explosion in computer technology and computer usage that deeply changed society. Today computers are a part of everyday life, they are in their simplest form a digital watch or more complexly computers manage power grids, telephone networks, and the money of the world. Henry Grunwald, former US ambassador to Austria best describes the computer's functions, â€Å"It enables the mind to ask questions, find answers, stockpile knowledge, and devise plans to move mountains, if not worlds.† Society has embraced the computer and accepted it for its many powers which can be used for business, education, research, and warfare.   Ã‚  Ã‚  Ã‚  Ã‚  The first mechanical calculator, a system of moving beads called the abacus, was invented in Babylonia around 500 BC. The abacus provided the fastest method of calculating until 1642, when the French scientist Pascal invented a calculator made of wheels and cogs. The concept of the modern computer was first outlined in 1833 by the British mathematician Charles Babbage. His design of an analytical engine contained all of the necessary components of a modern computer: input devices, a memory, a control unit, and output devices. Most of the actions of the analytical engine were to be done through the use of punched cards. Even though Babbage worked on the analytical engine for nearly 40 years, he never actually made a working machine.   Ã‚  Ã‚  Ã‚  Ã‚  In 1889 Herman Hollerith, an American inventor, patented a calculating machine that counted, collated, and sorted information stored on punched cards. His machine was first used to help sort statistical information for the 1890 United States census. In 1896 Hollerith founded the Tabulating Machine Company to produce similar machines. In 1924, the company changed its name to International Business Machines Corporation. IBM made punch-card office machinery that dominated business until the late 1960s, when a new generation of computers made the punch card machines obsolete.   Ã‚  Ã‚  Ã‚  Ã‚  The first fully electronic computer used vacuum tubes, and was so secret that its existence was not revealed until decades after it was built. Invented by the English mathematician Alan Turing and in 1943, the Colossus was the computer that British cryptographers used to break secret German military codes. The first modern general-purpose electronic computer was ENIAC or the Electronic Numerical Integrator and Calculator. Designed by two American engineers, John Mauchly and Presper Eckert, Jr., ENIAC was first used at the University of Pennsylvania in 1946.   Ã‚  Ã‚  Ã‚  Ã‚  The invention of the transistor in 1948 brought about a revolution in computer development, vacuum tubes were replaced by small transistors that generated little heat and functioned perfectly as switches. Another big breakthrough in computer miniaturization came in 1958, when Jack Kilby designed Computers And Society :: essays research papers Computers and Society   Ã‚  Ã‚  Ã‚  Ã‚  The decade of the 1980's saw an explosion in computer technology and computer usage that deeply changed society. Today computers are a part of everyday life, they are in their simplest form a digital watch or more complexly computers manage power grids, telephone networks, and the money of the world. Henry Grunwald, former US ambassador to Austria best describes the computer's functions, â€Å"It enables the mind to ask questions, find answers, stockpile knowledge, and devise plans to move mountains, if not worlds.† Society has embraced the computer and accepted it for its many powers which can be used for business, education, research, and warfare.   Ã‚  Ã‚  Ã‚  Ã‚  The first mechanical calculator, a system of moving beads called the abacus, was invented in Babylonia around 500 BC. The abacus provided the fastest method of calculating until 1642, when the French scientist Pascal invented a calculator made of wheels and cogs. The concept of the modern computer was first outlined in 1833 by the British mathematician Charles Babbage. His design of an analytical engine contained all of the necessary components of a modern computer: input devices, a memory, a control unit, and output devices. Most of the actions of the analytical engine were to be done through the use of punched cards. Even though Babbage worked on the analytical engine for nearly 40 years, he never actually made a working machine.   Ã‚  Ã‚  Ã‚  Ã‚  In 1889 Herman Hollerith, an American inventor, patented a calculating machine that counted, collated, and sorted information stored on punched cards. His machine was first used to help sort statistical information for the 1890 United States census. In 1896 Hollerith founded the Tabulating Machine Company to produce similar machines. In 1924, the company changed its name to International Business Machines Corporation. IBM made punch-card office machinery that dominated business until the late 1960s, when a new generation of computers made the punch card machines obsolete.   Ã‚  Ã‚  Ã‚  Ã‚  The first fully electronic computer used vacuum tubes, and was so secret that its existence was not revealed until decades after it was built. Invented by the English mathematician Alan Turing and in 1943, the Colossus was the computer that British cryptographers used to break secret German military codes. The first modern general-purpose electronic computer was ENIAC or the Electronic Numerical Integrator and Calculator. Designed by two American engineers, John Mauchly and Presper Eckert, Jr., ENIAC was first used at the University of Pennsylvania in 1946.   Ã‚  Ã‚  Ã‚  Ã‚  The invention of the transistor in 1948 brought about a revolution in computer development, vacuum tubes were replaced by small transistors that generated little heat and functioned perfectly as switches. Another big breakthrough in computer miniaturization came in 1958, when Jack Kilby designed

Opera Music

Listening to an opera is one of the most interesting classical music performances you could see live. This 90 minute opera I seen was played on Tuesday, November 13, 2012 and performed at 8 p. m. The name play was Wozzeck by Alben Burg and performed by the Philharmonic Ocrhestra. At the opera the person who was suppose to be the doctor was ill so Kevin Beurdette took Tijil Faveyls place. The people that attended the concert varied, some people were older and other people were young. The type of class of people that showed up to this concert was not specifically seen because most of the people that did show where dressed formal-casual.This concert had no special occasion to it but besides the fact that it was a mandatory class meeting at the Disney Concert Hall. The opera had a full orchestra. During this opera performance none of the actors had costumes on nor was the stage set up for an acting show. The scenes performed were all up to the actors; they memorized the play and then imp rovised their acting on set. The Doctor acted by Burdette had to really improvise his part. Every time he came out in a scene he carried the script with him out on stage.This opera was in German and there were surr-titles instead of subtitles. The audience laughed during the opera and they were to have a sense of relationship with play. Since it was a play the audience only applauded when the opera was over. The play Wozzeck was a play that not finished by Georg Buchner and Alban Berg finished his play. This play is set back in World War I. It is a story about soldier â€Å"Wozzeck† who is in love with a prostitute and she is the mother of his son. Wozzeck is not able to meet her needs financially, so he takes part in the doctor’s experiment.The experiments start to make him hallucinate and hear thing. On the mean while his wife is having an affair with a drum major and plans to be with him. Wozzeck becomes suspicious of her and then doctor and captain tempt Wozzeck to do something about. He then starts to have crazy visions of her and the drummer. So he sets forth on killing her and then he himself drowning because he wants to hide the knife far into the water so no one could find it. This tragic play is composed by Esa-Pekka Salonen at the Disney Concert Hall. It is a 3 part play that is roughly 90 minutes long.Salonen has been with the Los Angeles Philharmonic Music Director from 1992 until 2009. The play has an orchestra of fifty people and off set orchestra which was the UC Berkley chamber chorus that played outside in order to set the mood of an illusion. The characters Marie and Wozzeck had solo’s, during the play each character sang in tune of the music the texture of this play is homophonic and polyphonic. Besides about the fact that two main characters had solo’s there was a group of children that came out to sing. ZacharyMimis the child of Marie had a small solo at the end of the play.The tempo in Wozzeck fluctuated as so me scenes where nerve racking or some were distressing. During the play dynamic contrast was played in tune with the tempo. All abruptly the 2 bassoons would play really fast and loud and other times play really slow. The music in the play was secular and not scared music. The opera Wozzeck was a great performance; I did not go in with high hopes only because what my view of an opera was not for it. Whenever I think of an opera I think of some fat ladies wearing a Viking helmet and looking like fighters.This opera was a little different because each actor had a distinctive personality that was vividly seen. The captain was a crazy character, his acting placed him as one of my favorites. His interacting with Wozzeck because he would make fun of Wozzeck for being a crazy loon and poor. One thing that I noticed about the music was that sometimes when a character would sing they would not be in tune with music but then end it in tune. The music had intensive moments that surprised me wi th excitement.The play was also funny because of the word choice used in order to make fun of a character. Coming to this opera was a new experience I enjoyed the performance I could not sit still because I was getting tired of sitting. The seat that I sat in was one of the best seats that I have had there. The sound quality that was produced was great and you could see all of what the characters where doing. Although it was a bit distracting to be looking up at the surr-scripts it was an experience I will not forget. I am definitely glad I had the chance to see an opera like this.