A Comparison of Homeric Formalism in The Iliad and The...

Homeric Formalism in The Iliad and The Odyssey Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly... no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place. (from Odysseus Scar by Erich Auerbach) In his immaculately detailed study comparing the narrative styles of Homer to those of the Bible, Erich Auerbach hits upon one of the most notable intrigues of reading Homer, namely his unrelenting sense of epic form and rhythm. The stories that unfold in the works of Homer are filled with passion and fury, but this never effects the meticulous regulation of his narrative. One of the chief†¦show more content†¦To take the death of Phereklos as an illustration: first, we are told Meriones in turn killed Phereklos...(Bk V. ln. 59). Then we are given a description of his death: ... Meriones pursued [Phereklos] and overtaking him struck in the right buttock, and the spearhead drove straight on and passing under the bone went into the bladder. He dropped, screaming, to his knees, and death was a mist about him. (Book V, lns. 65-68) Although the deaths of major characters are more elaborate and detailed, the basic structural pattern remains the same. The death of Patroklos for example is much embellished, but the basic formula--approach, attack, wound, and finally the mist of death--remains recognizable. The use of what is essentially a template for the description of death in battle could serve one of two purposes. The fact that the deaths in The Iliad and the final battle scene of The Odyssey become so many carbon copies of one another, predictable almost to the point of absurdity, perhaps reflects a poets judgment of war. Homer goes to such elaborate lengths to depict the immensity of the enterprise and the sweat and hardship of battle, that one cant help but sense, hidden within this repeated formulaic expression of dying, a commentary upon death as the ultimate equalizer. Conversely, the methodical treatment of death could simply be an indication of Homers

New Century - 3710 Words

New Century Case Analysis 1. What appeared to be New Century’s strategic objectives? Describe and evaluate the business model the company had adopted to achieve these objectives. New Century Financial Corporation was founded in 1995 went public in 1996 and was also listed on NASDAQ. New Century’s primary goal was to originate and sell subprime mortgages. The main activities of the company included generating, retaining, selling, and servicing home mortgage loans for subprime borrowers who couldn’t get finance from other sources. By 2006 New Century expanded its product range to include fixed-rate mortgages, adjustable rate mortgages (ARMs), hybrid mortgages, and interest-only (IO) mortgages. The products were from the two Company’s†¦show more content†¦On the contrary, a firm belief existed in the company that external auditors showed their unmistakable disdain for New Century Financial even when loan quality issues were revealed. As audit examiner stated  ³Senior Management may have abdicated its responsibility to manage the day-to-day affairs ´ particularly with respect to its failure to address kick-outs. Although New Century Financial business risks involved a great portion of internal mistakes, external factors such as Federal Reserve’s monetary policy played a significant role in deterioration of business opportunities for the New Century Financial Corporation. The baseline interest rates were increased sharply in 2006 from 1.5 % to more than 5 %. Although such a hike in the interest rates had been forecasted and anticipated since2003, the New Century Financial did consider the flagship of tightening monetary policy. The increase in interest rate affected New Century Financial in the way that the company’s assets became riskier and more prone to financial distress. 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Bless Me Ultima Tony Essay Example For Students

Bless Me Ultima Tony Essay Bless Me Ultima TonyBlood becomes the river. The human race dies and only the she-goats and the he-goats remain (176). The lake cracked with laughter of madness and the ghosts stood and walked upon the shore (120). Who dares dream such gruesome images? Only Antonio Marez. He argues with God and the Virgin Mary. He commutes with the dead; the dead asks him for blessings. Just who is this Tony person! You might not believe that this is only a seven year old kid, but he is the hero of Rudolfo Anayas Bless Me, Ultima. Tony is valiant, and this courage sometimes reflects his curiously precocious nature. Precocious he is, he still is in constant mental ambivalence. When I say Tony is brave, I dont mean that he fights demons or kill dragons, but rather that he stands for what he believe is right and he is not afraid to go to extreme measures to protect the people he love. He shows that he is a man of the llano when he doesnt run from a fight even when confronted with Horse, the notorious bully (37). Tony also stands up against a mob for Florence; everyone wants to punish Florence for not believing in God (214) and Tony pushes the crowd away and refuses to give Florence the penance that Florence does not deserve. Although Tony knows that he will be given the Indian torture (214), he still speaks up for his friend. Anaya often presents Tony as a dependent character, never wanting to be away from the protection of his mother (51); in fact, hes so close to his mother that it seems that hes going through Oedipuss Complex. Anaya actually does this to increase the impact of Tonys bravery. One might expect Tony to stay in his undercover bushes when Teno rio is standing so close; however, when Tony hears that Tenorio knows the way to kill Ultima, the thought to warn Ultima supercedes his fear and encourages his legs to pick up and run home (255). At trying times, he stood by Ultima and would have slashed out to protect Ultima (138). Oftentimes, Tonys bravery reflects his curious and precocious nature. For example, he runs to the bridge where the criminal Lupito hides because he is curious about Lupitos situation (22). The first thing he wonders about when he witnesses Lupitos death is where was Lupitos soul? (26) , and this shows how deep Tonys thoughts are. Already at age seven, he thinks on a spiritual level. Usually, young kids do not desire to understand religious meanings and moral values, but Tony is different. Most of his thoughts reflect high mental development. Even his dreams are witnesses to his spirituality. Adults do not dream of God saying Vengeance is Mine! (173) or whether the baptism water is really holy water (120). The inclusion of dreams is actually magical realism, a stylistic device that Anaya uses to overwhelm the readers with the themes and to express the meanings of the themes in a more impacted manner. Tonys dreams shows not only his acumen but also his religious conflicts. Perhaps the most interesting trait of Tony is his ambivalence towards everything. It seems as if he is always in confusion. His first dream portrays his insecurity about his identity. Is he a fine vaquero or a farmer-priest (5)? On one side is his mother and on the other is his father. Who should he become? He is also confused about which God to believe in-the Golden Carp or the Catholic God? He marvels at the bright golden-pagan god (114), but at the same time fears the God who could not forgive sinners (138). At the same time he does not understand evil and good. He does not understand why God cannot forgive the good Narciso while the Virgin Mary can forgive the evil Tenorio (173). To further confuse him, Tony sees Andrew in Rosies (166) and remembers that Andrew has once told him in Tonys dream that he will wait and not enter until Tony loses his innocence (71). Tonys belief that innocence is forever (71) is shattered, but on the other side, his mother also says to him that he is still innocent because you are innocent when you do not know (71) and the priest says you are innocent until you understand (71). So, is he innocent or not? He does not know whether to lose or keep his self-esteem. .u939c0ceac062d4d181b602e59b717394 , .u939c0ceac062d4d181b602e59b717394 .postImageUrl , .u939c0ceac062d4d181b602e59b717394 .centered-text-area { min-height: 80px; position: relative; } .u939c0ceac062d4d181b602e59b717394 , .u939c0ceac062d4d181b602e59b717394:hover , .u939c0ceac062d4d181b602e59b717394:visited , .u939c0ceac062d4d181b602e59b717394:active { border:0!important; } .u939c0ceac062d4d181b602e59b717394 .clearfix:after { content: ""; display: table; clear: both; } .u939c0ceac062d4d181b602e59b717394 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u939c0ceac062d4d181b602e59b717394:active , .u939c0ceac062d4d181b602e59b717394:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u939c0ceac062d4d181b602e59b717394 .centered-text-area { width: 100%; position: relative ; } .u939c0ceac062d4d181b602e59b717394 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u939c0ceac062d4d181b602e59b717394 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u939c0ceac062d4d181b602e59b717394 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u939c0ceac062d4d181b602e59b717394:hover .ctaButton { background-color: #34495E!important; } .u939c0ceac062d4d181b602e59b717394 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u939c0ceac062d4d181b602e59b717394 .u939c0ceac062d4d181b602e59b717394-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u939c0ceac062d4d181b602e59b717394:after { content: ""; display: block; clear: both; } READ: What do you think makes a perfect home EssayTonys three characteristics are clearly displayed in the novel. He is brave, precocious, and oftentimes confused. It is interesting that these traits do not apply to young children usually. Tony is a unique character, and is born to be a learner or a curandura like Ultima. However, Tony is an important person to study because he touches upon many profound mundane ideas that apply to social issues.

The Frame Structure Of Frankenstein Essay Research free essay sample

The Frame Structure Of Frankenstein Essay, Research Paper The undermentioned essay is concerned with the frame construction in Mary Shelley`s Frankenstein and ist maps as it is suggested by Beth Newman`s # 8220 ; Narratives of seduction and the seduction of narrations # 8221 ; . To get down with, the fresh Frankenstein is a symmetrically built frame narrative with a narrative at its centre. This is non ever the instance with frame structured novels, as there are illustrations without a proper centre ( e.g. Heart of Darkness ) . The luxuriant system of frames indicates that this centre reveals some sort of a enigma. However, it would be incorrect to asume that the centre entirely contains the significance of the novel. On the contrary, the significance of the novel is brought approximately by the relation between the different narratives at the centre and the frames around it. One of the chief suggestions of the article is the operation of the interior unwritten narrations as signifiers of seduction, to be more specific, seductions into a promise. We will write a custom essay sample on The Frame Structure Of Frankenstein Essay Research or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In other words, they try to carry their hearer to assure the satisfaction of a desire that could non be satisfied straight. The two chief illustrations for this are the Monster s every bit good as Frankenstein s narrative, but the subjects of seductive narrative and promises can be found besides elsewhere in the novel. The Monster s desire is to be loved by person. When he realises that non merely the DeLaceys but every human being will reject him because of his uglyness, he tells Frankenstein his narrative in order to carry him to make a female being of his sort for his comrade. At the terminal of Chapter 8 of Volume II ( page 97 of our edition ) the monster says: # 8220 ; We may non portion until you have promised to follow with my requisition. I am entirely, and suffering ; adult male will non tie in with me ; but one as deformed and atrocious as myself would non deny herself to me. My comrade must be of the same species, and have the same defects. This being you must create. # 8221 ; Frankensteins s desire, on the other manus, is to kill his animal. Gaining that he will likely non be able to accomplish his purpose himself, he relates his narrative to Captain Walton in order to do him assure to complete his programs of killing the Monster. Frankenstein says in the center of Chapter 7 in Volume III ( p. 145 ) : # 8220 ; Yet, when I am dead, if he should look ; if the curates of retribution should carry on him to you, curse that he shall non live. # 8221 ; The form of narratives seeking to score the hearer reoccurs in the novel on a smaller graduated table. An obvious illustration of this is the Monster s effort to raise old Mr. DeLacey s commiseration by stating him a false narrative about his beginning. Another less obvious illustration is the manner he arranges Justine s executing. By killing William and seting the illumination the male child had in Justines pocket he makes up the narrative of Justine slaying William in order to acquire the image. As mentioned before, the seduction of the narratives of the Monster and Frankenstein purpose at B inding the hearer to a promise. The subject of promising is besides reflected in two contrasting episodes of the novel, the one about the Russian master-at-arms and the other about Safie s male parent, the first episode s promise being kept, the latter one s being broken. Another occurence of the subject is the promise to return place, which the sailers want Captain Walton to do. Having discussed the storytellers purpose, we have yet to clear up why their narrations are so seductive. The chief ground for both, the Monster s and Frankenstein s, persuasive power are their voices. Frankenstein describes the Monster as follows: # 8220 ; He is facile and persuasive ; and once his words had even power over my bosom [ ] # 8221 ; ( Vol. III, chapter VII, p.145 ) . But besides Frankenstein s voice is described as holding an utmost persuasive and hypnotic power. # 8220 ; He spoke with a voice so modulated to the different feelings expressed in his address [ ] that can you inquire that these work forces were moved. # 8221 ; ( Vol. III, chapter VII, p.150 ) . The fact that Justine who speaks in a variable voice ( Vol. I, chapter VII, p. 53 ) is non convincing plenty to support herself in tribunal stresses the importance that is subscribed to voice. It seems unusual that, neither of these powerful voices is conveyed in the novel by agencies of tone, enunciation or s entence construction. On the contrary, each of three narratives in Frankenstein is written in about the same extremely formal linguistic communication. Beth Newman gives two grounds for this. First, Frankenstein and other early nineteenth century novels, in contrast to subsequently realist plants, do non qualify human existences as persons but instead as figures that represent abstract and general qualities. Thus, besides the storytellers of these novels are non extremely individualised talkers, as known particularly from modern plants, but instead lifeless, about anon. voices, that are much less of import than the narratives they tell. Therefore, Frankenstein and many other nineteenth century frame narratives contradict most attacks of narrative theory that claim that no narrative exists apart from a determining human intelligence. The 2nd ground for the deficiency of stylistic agencies to convey the storytellers strength is likely more of import and has to make with the frame construction of the novel. Frankenstein offers a reversal of an older novel construction, in which a written papers is at the centre of a novel surrounded by an unwritten narration. In Frankenstein the Monster s and Frankenstein s originally unwritten studies are non merely framed by Captain Walton s written narrative, but besides transformed into written linguistic communication. This technique is used to except Captain Waltons s sister and the reader from the horror of the narrations, constructing a barrier to the seductive power of the spoken narrations that does non work any more in the medium of written linguistic communication. Thus the domestic repose of Walton s sister and her household is saved and non destroyed like the one of Frankenstein s household in the centre of the novel.