Types of Mythology Worksheet Essay Example for Free

Types of Mythology Worksheet Essay How are knowledge, belief, myth, and religion related to one another and how are they distinct from one another? Use an example from your life or popular culture to explain this relationship. Knowledge is made up of facts, truth, stories, and more. Belief is â€Å"the assertion that something is true without necessary proof, evidence or facts to back it up.† Myth is a fictional story, tends to have a hero or event to justify a social preamble. Religion is a combination of beliefs, and myths that helps draw attention of followers. Myths Directions: Choose two examples for each type of myth and identify the pieces of literature, such as a Shakespeare play, in which the examples are found. Greek Myths Myth 1: Daphne and Apollo Literature it’s found in: Parthenius’s â€Å"Erotica Pathernata† Myth 2: Trojan War Literature it’s found in: Homer’s â€Å"Iliad and the Odyssey† Answer the following questions: Describe Greek myths. Transform the original stories â€Å"from {their} initial frame of referene into another that is more acceptable† (Powell, 2002, p.19) How have the above pieces of literature helped society to understand the universe? It helped us understand that there are truths that are within human reasoning because â€Å"dealing with especially with the soul’s fate after death, but also with the nature of being and of the perfect political order† (Powell, 2002, p. 18-19). Physical Allegory Myths Myth 1: Homer’s Story Literature it’s found in: Iliad (Powell, 2002, p. 19) Myth 2: â€Å"The Contest of Poseidon and Athena† Literature it’s found in: Poseidon Answer the following questions: Describe physical allegory myths. A physical allegory myth is when gods represent a physical element. A good example of this is Hades who controls the underworld, or Poseidon who controls water. According to Powell (2002), â€Å"the mythical conflicts of two gods are the allegorical expression of a basic cosmological principle concerning the opposition of fire and water† (Powell, 2002, p. 19). How have these pieces of literature helped society to understand the universe? It has helped society understand a cultural linkage from the past to today in a philosophical aspect with nature because Powell (2002) stated that â€Å"these physical allegorical interpretations attempted to explain a cultural inheritance from a distant, preliterate past in the light of sophisticated philosophical thought about forces in nature† Historical Allegory Myths Myth 1: Apollo and Hephaestus representing fire Literature it’s found in:† Iliad† Myth 2: Aphrodite representing desire and Hermes representing reason Literature it’s found in: â€Å"Iliad† Answer the following questions: Describe historical allegory myths. Historical allegory myths tend to reveal history other than the science of the origin and the development of what we know about the universe. According to Powell, â€Å"the deification of dead Hellenistic rulers made more plausible the notion that great humans of the past had, with the passage of time, became more than human† (Powell, 2002, p. 22). How have these pieces of literature helped society to understand the universe? It helped us understand how a society can rise against adversities’, nature, and man. In many ways, it enables us to understand people evolved over time. Powell wrote â€Å"Zeus was said to have traveled the earth teaching arts of civilized life, banning such reprehensible religious practices as cannibalism and founding temples† (Powell, 2002, p. 21). Moral Allegory Myths Myth 1: Odysseus hides his treasure in cave of nymphs on Ithaca Literature it’s found in: â€Å"Odyssey† Myth 2: Apollo kills the Greeks with his arrows Literature it’s found in: â€Å"Iliad† Answer the following questions: Describe moral allegory myths. Moral allegory myths are stories that offer advices about bad or good behavior as Powell stated that the moral myths â€Å"give us hints about the moral world beyond† (Powell, 2002, p. 24). This means it allows us to find truths about how people behaved in any stories. How have these pieces of literature helped society to understand the universe? It helped society understand the universe because it helps us see things differently and figure out what is not perfect and what is perfect because according to Powell, â€Å"the material world in which we live, reported to us by our senses, is nonetheless to some extent modeled after the perfect rational world† (Powell, 2002, p. 23) Medieval and Renaissance Myths Myth 1: Song of Solomon Literature it’s found in: The Bible Myth 2: Three sisters representing 4 stages of intoxication – too much wine, the forgetfulness it causes, lust and sheer madness. Literature it’s found in: Story of Liber of Mythologies of Fulgentius (Powell, 2002). Answer the following questions: Describe medieval and Renaissance myths. It is used heavily in classical mythology because in retrospect, there are morals in any classical (traditional) stories but was used in mythological stories. A good example of this would be the bible, according to Powell who wrote, â€Å"the allegorical method whereby moral meanings were drawn from old stories was also applied extensively to the Bible† (Powell, 2002, p. 24). How have these pieces of literature helped society to understand the  universe? It has helped us focus on acceptable oral meanings of nature and the universe. For example, â€Å"Apollo is explained as an allegory for the moral that chastity, like the laurel, remains as cool as a river, and always blooms, but never bears fruit† (Powell, 2022, p. 25). Theories of Enlightenment Myths Myth 1: Man being created by God Literature it’s found in: the Bible Myth 2: Fables Literature it’s found in: â€Å"The Origin of Fables† (Powell, 2002, p. 27) Answer the following questions: Describe theories of Enlightenment myths. Traditional thought, particulary thoughts associated with religious institutions were â€Å"subject to reexamination, usually with a notable lack of sympathy† (Powell, 2002, p. 27); this transition, they were seen as examples of simple, monosyllabic language from previous cultures. How have these pieces of literature helped society to understand the universe? It helped us understand the cultures of many different groups, and the evolutionary development of cultures especially early civilizations to today. References: Powell, B. B. (2002). A short introduction to classical myth. Upper Saddle River, NJ: Prentice Hall.

Microsoft Versus the Department of Justice Essays -- Computers Microso

Microsoft Versus the Department of Justice In today’s high-tech ultra-fast paced world, there can be no debate as to the importance of personal computers. Personal Computers control virtually every aspect of our daily lives. Businesses, regardless of their size, have local area networks, company Intranets and high-speed wide area networks. Billing, inventory and invoicing would be impossible without help from our Personal Computers. Stocks, bonds and commodities are traded in the markets around the world entirely by computer. The Banking industry relies enormously on Personal Computers for every transaction. Communicating without email, fax transmissions and other forms of computer aided information transfers would be unimaginable. The media would be unable to produce news and information for the masses in the timely manner we know today. Law enforcement agencies, from local police, to field agents of the F.B.I. depend on computer databases for crucial information. Air traffic controllers rely on their computer s to safely land and route thousands of planes into airports around the world everyday. Even the military depends on computers to defend our very own borders and interests. With the important role that Personal Computers serve in society today, is it really a good idea to have one company exclusively control the technology running virtually every aspect of our lives? Ninety percent of all computers sold worldwide are IBM or IBM compatible clones. Microsoft's infamous operating system licensing agreements required all personal computer makers to pay Microsoft a royalty on every computer they manufactured, even when no Microsoft product was loaded on the machine.(Kaphing 1) This forced the Personal Computer makers into only using the Microsoft operating system. They could not choose a different Operating System even if they so desired, because at that time all of the Personal Computer clone manufacturers were small start up companies, having very limited capital. They couldn't afford to pay both Microsoft and another company for a different operating system. In 1994 The United States Justice Department barred Microsoft from engaging in this sort of extortion, but it was already too late, the Operating System monopoly had been realized. After the 1994 decision, Microsoft resorted to a new anti-competitive tactic. Yet another ... ... and largely as a result of that barrier, Microsoft’s customers lack a commercially viable alternative to Windows. Microsoft possesses a dominant, persistent, and increasing share of the world-wide market PC operating systems. Every year for the last decade, Microsoft’s share of the market for Intel-compatible PC operating systems has stood above ninety percent. For the last couple of years the figure has been at least ninety-five percent, and analysts project that the share will climb even higher over the next few years. Even if Apple’s Mac Operating System were included in the relevant market, Microsoft’s share would still stand well above eighty percent. It was proven in court that many of the tactics that Microsoft has employed have also harmed consumers indirectly by unjustifiably distorting competition. The actions that Microsoft took against Navigator hobbled a form of innovation that had shown the potential to depress the applications barrier to entry sufficiently to enable other firms to compete effectively against Microsoft in the market for PC operating systems. That competition would have conduced to consumer choice and nurtured innovation.

From Julius Caesar to Hamlet Essay

The comparison between Shakespeare’s Julius Caesar and Hamlet in terms of how implied, or latent elements and themes in one were transmitted and developed in the other can lead to unveiling the transformations Shakespeare was envisaging with the writing of Hamlet. In the Introduction to the 1987 Oxford University Press edition of Hamlet, G. R. Hibbard stated that â€Å"Hamlet was written after, but not long after, Julius Caesar, which can be dated with unusual accuracy as having been compose in the late summer of 1599† (4). From the arguments that Hibbard gives to support his argument (that there are two allusions in the text of Hamlet to Julius Caesar) we can see the strong connections between the two plays. In a way, both Julius Caesar and Hamlet represent thresholds in the development of Shakespeare’s dramatic art.   However, Hamlet moves in a different direction.   If Julius Caesar is set in a distant past and can only hint to the humanist themes in Shakespeare’s world, Hamlet shifts the tone of Shakespeare’s plays to a more private and Elizabethan center of interest. This paper argues that the themes and motifs that were merely suggested or hinted to or implied in Julius Caesar and which were elaborately developed in Hamlet   are significant in determining the specificity of Shakespeare’s later historical tragedies. The analysis of devices, motifs and themes in the two plays will illustrate this argument. The device of foregrounding is employed in Julius Caesar in the first act as a warning sign to Caesar from the Soothsayer. It is a clear and unmistakable omen of Julius Caesar’s death, especially given the drama’s historical grounding. This device is used in this play only to trigger the conflict – the death of Caesar will generate the actual drama. Because of its lack of ambiguity and its limited dramatic span, the foreshadowing in Julius Caesar does not have the same impact as it does in Hamlet. In Hamlet, the device of foreshadowing becomes a trigger for the play’s resolution and also represents the dramatic subtext which drives the whole chain of events towards the tragic end.   In Act 1 Scene 1, we witness the apparition of the ghost of Hamlet’s father. This episode is marked by the use of special imagery and allusions. Horatio gives the decisive argument in identifying the ghost with tthe murdered king. The ghost figure is clearly employed in this first act as a means of   foreshadow ing not only the conflict of the story but also its resolution: â€Å"This bodes some strange eruption to our state† (The Tragedy of Hamlet 148). The image of Fortinbras is another ominous motif by which Shakespear alludes to the later developments in the play. Moreover, the reader is given a preliminary explanation of the Medieval code of honor, by which the king’s son has to avenge his father’s death. The story of Fortinbras and his father parallels and motivates the complex relationship between Hamlet and his own father. Duty is presented as a crucial motivation, which determines the hero’s actions and even consciousness. Another element which is only suggested in Julius Caesar is the characters’ ambivalence – no character is essentially â€Å"evil† or â€Å"bad†. Brutus, before deciding to join the conspirators, condemns this act: They are the faction. O conspiracy Shamest thou to show thy dangerous brow by night, When evils are most free? O, then by day Where wilt thou find a cavern dark enough/ To mask thy monstrous visage? Seek none, conspiracy;† (Julius Caesar, Act 2 Scene 1). Brutus is therefore shown to have a moral conscience, a conscience dramatically and fatally opposing his actions. The paradox of a noble man’s evil actions might find its explanation through an analysis of Hamlet’s soliloquy at the end of the first act. Hamlet’s soliloquy and corruption in the forth scene points to a specific image idea Shakespeare had about the human mind and behavior: it appears that the seeds of evil can be ingrained in the most noble of spirits or, conversely, that goodness can be the host of evil. This feature is presented in fatalistic and deterministic terms and becomes another motivation for the tragic resolution: So, oft it chances in particular men That for some vicious mole of nature in them As, in their birth – wherein they are not guilty [†¦] Oft breaking down the pales and forts of reason Or by some habit that too much o’er-leavens [†¦] Shall in the general censure take corruption From that particular fault (The Tragedy of Hamlet, 181) The chain of events leading to the fatal ending is thus linked to the dictum of â€Å"blind fate†. By foregrounding the ambivalence of human nature, Shakespeare gives a more complex perspective on his characters’ motivational resorts and transcends the limitations of a completely â€Å"good† or a completely â€Å"evil† model. In another scene, the King admits to his having murdered Hamlet’s father. He is presented as having pangs of guilt – â€Å"May one be pardoned and retain th’offence?† (The Tragedy of Hamlet, 273): O, my offence is rank, it smells to heaven. It has the primal eldest curse upon’t – A brother’s murder. Pray can I not. (The Tragedy of Hamlet, 272). Cluadius’ questions show the character in a new, humanizing light, which eliminates the image of the stereotyped villain. Many of the elements that are only latent, or implied, in Julius Caesar, are to be fully found in Hamlet’s soliloquies. The motif of Brutus’ suicide, for instance, which is not fully developed in the play, becomes one of the themes of reflection in Hamlet’s soliloquies. Hamlet’s considerations on suicide, on the other hand, elaborate much on this theme. There are several acceptions which are discussed in the protagonist’s soliloquies and they are testimony to Shakespeare’s insight of the human mind: For who would bear the whips and scorns of time, [†¦] To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country, from whose bourn No traveler returns, puzzles the will. (The Tragedy of Hamlet, 240-241) Moreover, in another passage, Hamlet gives another interpretation of his own reluctance to commit suicide, which is presented in light of the protagonist’s fear of God and social status: The oppressor’s wrong, the proud man’s contumely, The pangs of disprized love, the law’s delay, The insolence of office, and the spurns That patient merit of the unworthy takes,† (The Tragedy of Hamlet, 240). Closely linked to this theme, there is the notion of the vanity of existence which is only implied in Julius Caesar through the foregrounding of the emperors’ rise and fall and in the parallels drawn in this respect among Julius Caesar, Mark Anthony and Brutus. However, this theme is not fully problematized in the play – probably because it does not come in agreement with the historical and philosophical repertoire of Ancient Rome. In Hamlet, however, this theme becomes predominant and one of the character’s privileged objects of reflection. The â€Å"What is a man† soliloquy hints to the vanitas vanitatum of Renaissance and humanist philosophy of the finitude of man and of the ultimate insignificance of all earthly possessions. Moreover, Hamlet’s soliloquy incorporates another one of the humanist concerns, which was that of the perfectibility of man’s spirit and destiny through God-given language and thought: What is a man If his chief good and market of his time Be but to sleep and feed? A beast, no more (The Tragedy of Hamlet, 298).   To conclude, this paper has illustrated the ways in which themes and motifs which were latent in Julius Caesar are given prominence in Hamlet, especially through the protagonist’s soliloquies. In a way, it is the very shift from the predominance of the oratorical speech and its dialogic character in Julius Caesar to the primacy of the soliloquy and its monological quality in Hamlet that provides the key for understanding the reasons behind the amplification of devices and themes from one play to the other. With Hamlet, Shakespeare’s historical tragedies become more intimate and, at the same time, more openly philosophical and universal.

Cerrar Conjugation in Spanish, Translation, and Examples

The Spanish verb cerrar  means to close  or shut something. It  is an  -ar  verb, so it follows the  same conjugation pattern as other -ar  verbs, like cortar and cenar. However,  cerrar  is a stem-changing verb, which means that the e in the stem changes to ie when it falls on a stressed syllable.  In this article you can find cerrar conjugations in the present, past and future indicative, the present and past subjunctive, the imperative, and other verb forms like the past and present participles. Using the Verb Cerrar In Spanish, cerrar  can be used in most contexts when you would say to close or to shut in English. For example, cerrar la puerta  (to close the door), cerrar la tienda  (to close the store),  cerrar las cortinas  (to close the curtains), cerrar la herida  (to close the wound), or cerrar el evento  (to close or end the event). However, cerrar  has a few other uses, such as cerrar el tubo o  el agua  (to turn off the faucet or the water), or  cerrar el puà ±o  (to make a fist or clench your fist).   Cerrar Present Indicative In the present indicative, be careful with the stem change e to ie, which occurs in all the conjugations except nosotros  and vosotros. Yo cierro I close Yo cierro las ventanas del carro. T cierras You close T cierras las cortinas por la noche. Usted/l/ella cierra You/he/she closes Ella cierra el evento con un discurso. Nosotros cerramos We close Nosotros cerramos el restaurante muy tarde. Vosotros cerris You close Vosotros cerris el tubo para no gastar agua. Ustedes/ellos/ellas cierran You/they close Ellos cierran el libro al terminar la clase. Cerrar Preterite  Indicative The  preterite  tense can be translated as the simple past in English, and  is used to talk about completed actions  in the past. Notice that the present and preterite indicative forms of cerrar for nosotros  are both  cerramos.  Context is necessary to determine whether that verb refers to the present or the past. There is no stem change in the preterite  tense. Yo cerr I closed Yo cerr las ventanas del carro. T cerraste You closed T cerraste las cortinas por la noche. Usted/l/ella cerr You/he/she closed Ella cerr el evento con un discurso. Nosotros cerramos We closed Nosotros cerramos el restaurante muy tarde. Vosotros cerrasteis You closed Vosotros cerrasteis el tubo para no gastar agua. Ustedes/ellos/ellas cerraron You/they closed Ellos cerraron el libro al terminar la clase. Cerrar Imperfect  Indicative There is no stem change in the  imperfect tense either, which can be translated to English as was closing or used to close,  and is used to talk about ongoing or habitual actions in the past.   Yo cerraba I used to close Yo cerraba las ventanas del carro. T cerrabas You used to close T cerrabas las cortinas por la noche. Usted/l/ella cerraba You/he/she used to close Ella cerraba el evento con un discurso. Nosotros cerrbamos We used to close Nosotros cerrbamos el restaurante muy tarde. Vosotros cerrabais You used to close Vosotros cerrabais el tubo para no gastar agua. Ustedes/ellos/ellas cerraban You/they used to close Ellos cerraban el libro al terminar la clase. Cerrar Future  Indicative Since the future indicative is conjugated by starting with the infinitive form (cerrar) and then adding the future tense endings, there is no stem change for this tense either. Yo cerrar I will close Yo cerrar las ventanas del carro. T cerrars You will close T cerrars las cortinas por la noche. Usted/l/ella cerrar You/he/she will close Ella cerrar el evento con un discurso. Nosotros cerraremos We will close Nosotros cerraremos el restaurante muy tarde. Vosotros cerraris You will close Vosotros cerraris el tubo para no gastar agua. Ustedes/ellos/ellas cerrarn You/they will close Ellos cerrarn el libro al terminar la clase. Cerrar Periphrastic Future  Indicative There are three components that form the periphrastic future: the present tense conjugation of the  verb  ir  (to go), the preposition  a  and the infinitive of the verb (cerrar).   Yo voy a cerrar I am going to close Yo voy a cerrar las ventanas del carro. T vas a cerrar You are going to close T vas a cerrar las cortinas por la noche. Usted/l/ella va a cerrar You/he/she is going to close Ella va a cerrar el evento con un discurso. Nosotros vamos a cerrar We are going to close Nosotros vamos a cerrar el restaurante muy tarde. Vosotros vais a cerrar You are going to close Vosotros vais a cerrar el tubo para no gastar agua. Ustedes/ellos/ellas van a cerrar You/they are going to close Ellos van a cerrar el libro al terminar la clase. Cerrar  Present Progressive/Gerund Form The present participle (gerundio  in Spanish) can be  used to form progressive forms like the present progressive.   Present Progressive of Cerrar està ¡ cerrando is closing Ella està ¡ cerrando  el evento con un discurso. Cerrar Past Participle The past participle can be used to form compound tenses such as the  present perfect, or it can be used as an adjective, as in La puerta està ¡ cerrada  (The door is closed). Compound tenses include the verb  haber  as an auxiliary verb. Present Perfect of Cerrar   ha cerrado has closed   Ella ha cerrado  el evento con un discurso. Cerrar Conditional  Indicative The conditional tense is commonly used to talk about possibilities or hypothetical situations, and can be translated to English as would verb.  It is formed similarly to the future tense (starting with the infinitive form), so there is no stem change in this conjugation either. Yo cerrara I would close Yo cerrara las ventanas del carro si hiciera fro. T cerraras You would close T cerraras las cortinas por la noche si quisieras dormir mejor. Usted/l/ella cerrara You/he/she would close Ella cerrara el evento con un discurso si le dieran la oportunidad. Nosotros cerraramos We would close Nosotros cerraramos el restaurante ms tarde, pero se termin la comida. Vosotros cerrarais You would close Vosotros cerrarais el tubo para no gastar agua, pero los platos an estn sucios. Ustedes/ellos/ellas cerraran You/they would close Ellos cerraran el libro al terminar la clase, pero quieren seguir leyendo. Cerrar Present Subjunctive In the present subjunctive you have to be careful with the stem change e to ie, which occurs in all of the conjugations except  nosotros  and  vosotros,  just like in the present indicative. Que yo cierre That I close El chofer pide que yo cierre las ventanas del carro. Que t cierres That you close Tu esposo quiere que t cierres las cortinas por la noche. Que usted/l/ella cierre That you/he/she close El jefe espera que ella cierre el evento con un discurso. Que nosotros cerremos That we close Los clientes quieren que nosotros cerremos el restaurante ms tarde. Que vosotros cerris That you close Mam pide que vosotros cerris el tubo para no gastar agua. Que ustedes/ellos/ellas cierren That you/they close La profesora pide que ellos cierren el libro al terminar la clase. Cerrar Imperfect  Subjunctive There are two possible ways of  conjugating the imperfect subjunctive (which is also called the past subjunctive). Both options are correct, and neither one includes a stem change. Option 1 Que yo cerrara That I closed El chofer peda que yo cerrara las ventanas del carro. Que t cerraras That you closed Tu esposo quera que t cerraras las cortinas por la noche. Que usted/l/ella cerrara That you/he/she closed El jefe esperaba que ella cerrara el evento con un discurso. Que nosotros cerrramos That we closed Los clientes queran que nosotros cerrramos el restaurante ms tarde. Que vosotros cerrarais That you closed Mam peda que vosotros cerrarais el tubo para no gastar agua. Que ustedes/ellos/ellas cerraran That you/they closed La profesora peda que ellos cerraran el libro al terminar la clase. Option 2 Que yo cerrase That I closed El chofer peda que yo cerrase las ventanas del carro. Que t cerrases That you closed Tu esposo quera que t cerrases las cortinas por la noche. Que usted/l/ella cerrase That you/he/she closed El jefe esperaba que ella cerrase el evento con un discurso. Que nosotros cerrsemos That we closed Los clientes queran que nosotros cerrsemos el restaurante ms tarde. Que vosotros cerraseis That you closed Mam peda que vosotros cerraseis el tubo para no gastar agua. Que ustedes/ellos/ellas cerrasen That you/they closed La profesora peda que ellos cerrasen el libro al terminar la clase. Cerrar Imperative   The imperative mood is used to give direct orders or commands. Below you can find the positive and negative commands. Notice the stem change in the  tà º, usted,  and  ustedes  forms. Positive Commands T cierra Close! Cierra las cortinas por la noche! Usted cierre Close! Cierre el evento con un discurso! Nosotros cerremos Lets close! Cerremos el restaurante ms tarde! Vosotros cerrad Close! Cerrad el tubo para no gastar agua! Ustedes cierren Close! Cierren el libro al terminar la clase! Negative Commands T no cierres Dont close! No cierres las cortinas por la noche! Usted no cierre Dont close! No cierre el evento con un discurso! Nosotros no cerremos Lets not close! No cerremos el restaurante ms tarde! Vosotros no cerris Dont close! No cerris el tubo para no gastar agua! Ustedes no cierren Dont close! No cierren el libro al terminar la clase!