The Debate over Physician Assisted Suicide Essay

The Debate over Physician Assisted Suicide - Essay Example Thus, the campaign in Indiana to get PAS legislation on the ballot should focus on these aspects. One should take into account the possible counter-arguments that could be raised by the opponents of PAS. It should be kept in mind that there are strong oppositions from the part of physicians, legal commentators and sociologists as many hold that physician-assisted suicide is nothing but willful killing. The opponents also may argue that it is more significant to protect and preserve human life. Therefore, it is imperative that the campaign for PAS should postulate that such patients who cannot fulfill social responsibilities and societal expectations would cause social instability and as such, Physical Assisted Suicide can be permitted in exceptional cases where the patient leads a miserable life and has no hope for recovery from the deadly disease or illness. This paper seeks to convince the audience/readers that PAS is worthy of being legalized in Indiana and in doing so the paper t hrows light on the specific characterizations of Indiana voters as well. It can be identified that the Indiana voters have remained reluctant towards legalizing PAS in the past. The Indiana Code  §35-42-1-2.5 ‘prohibits assisted suicide’ by law and it has been brought under the general homicide laws (Legal Status of Assisted Suicide/Euthanasia in the United States). However, the emergence of such controversial cases as Terri Schiavo, Barbara Howee, and Nancy Cruzan has prompted many to rethink of legalizing PAS. Terri Schiavo had to remain in ‘persistent vegetative state’ for 15 years until she was permitted for PAS on March 31, 2005; Barbara Howe was totally paralyzed and breathing with a ventilator for many years; and Nancy Cruzan, an auto accident victim, had also to remain in persistent vegetative state for a number of years (Jost 423). Undoubtedly, anyone who has witnessed the sufferings, misfortune, agony and frustration experienced by these patient s as well as their intimate relatives will think in favor of PAS. In this respect, the Oregon's Death with Dignity Act has rightly recognized the personal rights of patients; however, it is quite unfortunate that the Supreme Court ruled that there are no fundamental or constitutional rights that support any arguments in favor of physician-assisted suicide (Park 283). Indiana, too, can follow the example of Oregon if the Indiana voters show empathetic feelings towards the suffering and pathetic persistent vegetative state of many of its brothers and sisters. While PAS is opposed for moral and ethical reasons, it is high time that the Indiana voters realized the factors that favor PAS. One needs to understand that the demand for PAS is strongly rooted in human rights theories and the concept of patient autonomy. PAS can also be regarded as quite ethical and moral as the termination of life occurs at the request of the individual himself when the physician realizes that ‘to conti nue letting this individual live, would be more harmful than dying’ (Center for Bioethics: University of Minnesota 41). Similarly, there are sound arguments that the patients have the right to die with dignity rather than leading a death-like miserable life. In physician-assisted suicide, the choice to end one’s life rests completely on the patient himself or his/her family. The Indiana voters need to have a thorough understanding of the arguments

Coursework 5 Example | Topics and Well Written Essays - 250 words

5 - Coursework Example The fourth proposition establishes that equity-holders are indifferent about the firm’s financial policy (Gitman, 2009). Given a fixed amount of total capital, the allocation of capital between debt and equity is irrelevant because the weighted average of the two costs of capital to the firm is the same for all possible combinations of the two. In the context of the modern theory of finance, it represents one of the first formal uses of a no arbitrage argument though the â€Å"law of one price† is longstanding. It structured the debate on why irrelevance fails around the Theorem’s assumptions: by neutral taxes; by no capital market frictions (i.e., no transaction costs, asset trade restrictions or bankruptcy costs); by symmetric access to credit markets (i.e., firms and investors can borrow or lend at the same rate); and by the firm financial policy reveals no information (Eiteman, 2007). Discuss the different ways in which a corporation can distribute cash to it s shareholders. Dividends and stock repurchases are the two major ways that corporations can distribute cash to their shareholders.

Thomas Hart Benton Essay Example for Free

Thomas Hart Benton Essay Described by former U.S. President Harry Truman as the best painter in America, Thomas Hart Benton led a new art movement in the country in an era when modernism and abstract art were in vogue. Benton, the scion of a famous political family in Neosho, Missouri, is one of the widely recognized popular artists in the United States1.   Despite his diminutive five-feet three stature and fiery temper, Benton was a man of enormous talents for he was not just a painter; he was also a writer and a musician, and a man well versed in the issues of his time. Being the son of a lawyer and congressman, and the grandnephew of a senator, Bentons father wanted him to get involved in law or politics.   But young Benton showed early on remarkable skills in art, which his mother encouraged and supported.   Despite oppositions from his father, Benton pursued his artistic inclinations.   At a young age, he worked as a cartoonist for Joplin (Missouri) American in 1906. After that, he was sent to a military school by his father, but was later allowed to leave and study at the Art Institute of Chicago in 1907.   After two years, he left for further studies in the Academie Julien in Paris, where he met fellow North American artists like Stanton Macdonald-Wright, whose leaning towards synchromism influenced Bentons art.   While in Paris, works of Michelangelo and El Greco created lasting impact on Benton2. In Selden Rodmans Fighter and Artist article, he described Bentons life in Paris as the unhappiest in the artists career.   He didnt have an audience for his work and somehow lost the knack for making art a performance.   His mother came to Paris and brought Benton home with her, a move that proved fortunate for back in America, the artist found his art again. _____________ Mark M. Johnson, On the Road with Thomas Hart Benton: Images of a Changing America (1999): 17. Ibid, 19. Upon his return, Benton went to New York and continued painting.   He experimented and studied the arts of the old masters as well as various modern styles.   Before finding his niche in the world of art, Benton was generally considered a modernist who dabbled in modern approaches like Cezannism the use of repetitive, sensitive and exploratory brushstrokes, and Constructivism the use of industrial, angular approach with geometric abstraction3.   Among the modernist movements, he was particularly drawn towards synchromism, a painting technique that treats colors the same way a composer arranges notes in music with advancing and reducing hues.  Ã‚   This was in part through the influence of the modernist American painter, Macdonald-Wright, who Benton met in Paris and became his life-long friend. In 1919, he was employed as a draftsman for two years in the United States Navy, a move that significantly changed his style. During his navy stint, Bentons drawings and sketches were focused on realistic depictions of the work and life in shipyards4.   In his realist drawings, Benton found his medium, which he pursued with vigor throughout his life.   The Navy Art Collection has twenty-five of Thomas Hart Bentons works. After the Navy, Benton held a teaching post at New Yorks Chelsea Neighborhood Association, where he met his wife Rita Piacenza, an Italian immigrant who believed in his genius and remained with him until he died5. Bentons career shifted focus in 1924 when he went home to Missouri to reconcile with his dying father.   As a result of the talks he had with his father and other family friends, Bentons heart was filled with a desire to recapture the world he knew as a child. _____________ Greta Berman, Thomas Hart Benton. Art Journal 1990: 199 Barbara Herberholz, Thomas Hart Bentons home and studio, Arts Activities 2000: 40 Ibid, 40. 3 Regionalism Once he found the right medium for his art, Thomas Hart Benton embarked on a naturalistic and representational style of painting a school of art known today as Regionalism, a movement where the artist depicts what is around him, the things he knew and saw.   From then on, Benton branded himself an anti-modernist. As a Regionalist, Bentons subjects were often rural scenes from the Midwest whose themes were of self-preservation and hard work.   This change occurred at some point in Bentons life, but to pinpoint exactly when it happened is difficult. Benton enlarged the scope of his Regionalist art to include the working class.   The small farmer held the artists sympathy and was often portrayed in small-town scenes that speak of beauty coupled with melancholy and desperation.   According to Mark Johnson, the artist said in his autobiography that he looked on the United States as a group comprised of geographic and cultural regions with distinctive characteristics (20). Benton was unique in trying to record history through his works.   Like a historian, he wanted to capture and preserve the distinct traits of regional life in the country before technological advancements and modernization will lay claim on the America of his youth.   Benton was a visual witness at a time when the United States was transitioning from being an agricultural country to one that embraces industrialization. Bentons paintings were often done realistically in a down-to-earth style so that the ordinary people could understand their meanings; contrary to abstract art that requires in-depth analysis and interpretation.  Ã‚   He preferred for his works to be hanged in saloons for the common people to see and admire them (Johnson 20). 4 Rise to Fame Although Thomas Hart Benton became well known for his drawings, sketches, and easel paintings, it was in a different mode of expression that he attained fame and notoriety.   It was in his murals of tremendous proportions that Benton was catapulted to greatness, gaining him admirers and critics. How Benton became engrossed with murals of monumental scale can be attributed to a number of factors.   Bentons early life experiences included viewing of huge murals at federal government buildings in Washington D.C., where he spent a large part of his childhood. At some basic level, this seems to be the earliest foundation for his art6.   It could also be said that as a son of a political family, Benton had it in him to want to attract attention, a theory that is relatively weak.   When he studied art in Paris, he was once more struck by the magnificence of the works created by Michelangelo and El Greco through their tremendous size.   Through sheer size of an artwork, Benton discovered that viewers could be dazzled. Marianne Berardi discussed in an essay circumstantial and personal reasons that could have led Benson to pursue mural painting as a life long career.   One of these reasons was Bentons having read the illustrated copy of the History of the United States by J.A. Spencer, where he got the inspiration and the idea to express history through a modern language of form. But according to Berardi, the most likely reason for the artists decision to take up mural painting was the death of his father.   Benton alluded to this event in an autobiography he wrote in the years to come.   Colonel M.E. Benton became estranged from his eldest son over the latters choice of a career.   For more than a decade, they had very little communication.   Benton made peace with his ill and dying father in 1924.   Berardi cited Bentons 1938 memoir to support this. _____________ Mark M. Johnson, On the Road with Thomas Hart Benton: Images of a Changing America (1999): 19. 5 In his memoir, Benton described how the reminiscing talks he heard from his fathers friends gave him the desire to know more of the America he knew as a child and had forgotten as a result of his wanderings in the quest to gain more knowledge and experiences in life.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   To make up for lost time, Benton traveled around the country to make sketches of things he saw and knew.   He visited places where he traveled with his father as a child.   Bentons sketches during these travels became his raw material for his murals. Bentons name became part of mainstream art by 1932 when he was asked to do a five-part series, the Arts of Life in America7 a depiction through murals of life in Indiana that were contributed to the 1933 Century of Progress Exhibition in Chicago, Illinois.   Benton wasnt paid for this work.   He only got reimbursement for his supplies.   Despite not getting paid for his labor, Benton benefited in different ways.   The murals caught the interests of people all around America due to Bentons representation of his subject using unflattering light.   Also, among his subjects was the controversial Ku Klux Klan in its finery. The murals occupied four huge wall panels and four around the ceiling8.   While the murals were about music, games, dance, and sports, they were also about regional diversity, unemployment, crime, and politics.   The murals were unveiled at the height of the Great Depression, giving them high social relevance.   In the treatment of his subjects, Benton showed informed understanding of his time.   This is not surprising given Bentons views and opinions regarding society and politics in America during that period. _____________ Greta Berman, Thomas Hart Benton. Art Journal 1990: 200 Matthew Baigell with Allen Kaufman, The Missouri Murals: Another Look at Benton, Art Journal 1977: 314-315. 6 His controversial murals cinched Bentons fame.   In fact, because of his work, he found himself in the 1934 cover page of Time magazine, first time that an artist was given such an honor.   From then on, Benton became the leading figure in the Regionalist Movement in American art. In a span of five years, from 1930 to 1935, Benton created four enormous mural paintings, usually using the egg tempera technique that produces smooth and matte surfaces. Bentons murals during this period were: America Today, commissioned in 1930 for the New School of Social Research; The Arts of Life in America, his most controversial murals for The Whitney Studio Club Mural, which was shown to the public in 1932; A Social History of Indiana, made for the State of Indianas pavilion at the 1933 Chicago Worlds Fair, and A Social History of Missouri, created between 1935 and 1936 for the House Lounge in the Missouri State Capitol Building, Jefferson City. Teaching Career The mural commission in 1935 for the House Lounge in the Missouri State, plus an art teaching position in the state decided Benton to leave the New York art scene, where heated artistic debacles abound9.  Ã‚   Thomas Hart Benton left New York, his residence for more than twenty years to take up a teaching position at the Kansas City Art Institute in Kansas City, Missouri.   This move was probably made to reconnect with the world of his childhood, where he left many years ago.   This also gave Benton more chances of seeing rural America, which was then giving way to modernization. _____________ Thomas Hart Benton Home and Studio State Historic Site, 27 May 27 2005, 20 Nov. 2007 http://www.mostateparks.com/benton/teachguide.htm 7 Bentons teaching career at the Art Institute ended when he was fired for making disparaging remarks about the influence of homosexuals in Kansas Citys art industry.   Despite the setback, Benton remained popular until the late 1940s when Abstract Expressionism became the new fashion and eclipsed Regionalism. After his teaching career ended, Benton gave mural painting his full attention.   He created murals in public buildings like the Missouri State Capitol and the Harry S. Truman presidential library in 1960.   The work he did for the former president became the foundation of a friendship that lasted throughout their lives. On Jan. 19, 1975, Benton was working on the mural The Sources of County music when he passed away due to a heart attack.   The great Regionalist artist died with a brush in hand at the age of 85.   His last painting hangs in Nashville, Tennessee unsigned. Paintings Bentons paintings generally display swirling bands of color, which speaks of synchromism, a technique adopted from the artists friend Macdonald-Wright, where hues of colors are parallel to the notes in harmonies.   The artists favorite paint and paint technique is egg tempera. _____________ Selden Rodman, Fighter and Artist, National Review 1989: 44-47 8 For his paintings, Bentons subjects are usually bold with strongly marked movements.   The colors or tone contrasts are often intense.   Bentons subjects are often disproportionate, making them look like caricatures.   Despite the elongation of shapes in some instances, I still see that the overall effect still looked harmonious and balanced.   The artist often uses shades of blue and yellow to create space.   Yellow sometimes gave the paintings a weathered look, and could sometimes encourage a viewer to engage in melancholia, just like the painting below. The Ballad of the Jealous Lover of Lone Green Valley, 1934, Oil Tempera Bentons painting called Persephone attracted a great deal of criticism particularly from women.   The figure probably offended some critics and many women because of the pubic hair that Benton painted for the first time.   This painting, done in 1939, marked Bentons break from his usual satiric and cartoon-like style.   The use of color is vibrant and expressive, while womanhood was depicted in a goddess-like manner. Murals Bentons murals were usually modeled using clay as a preparatory tool.   He initially overcame the difficulty of organizing a large number of figures in a linear space using vignettes.   To separate one panel from another, he used actual moldings to create boundaries for the scenes. But this technique proved cumbersome.   Benton developed a more organized visual ordering without the use of molding.   According to Berardi, Benton combined scenes by themes and utilized vertical posts to allow the eye some rest when moving across the canvas, a formal technique that Benton described fully in his Mechanics of Form Organization article.   Bentons murals that employed this solution include: American Historical Epic, The Arts of Life in America, and The Social History of Missouri. 10   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Just like in his paintings, Bentons subjects in his murals are also bold with strongly marked movements.   The colors are also strong.   In his murals, the overall composition dominates the objects to create a sense of space.   The sharp images and the caricature-like quality create memory recall even when viewed only once. Bentons works inspire only love and hate and no in-betweens.   For my part, I love Bentons work not only for the artists skill but also for their significance and historical value.   His works were not just figments of his imaginations, but were the result of extensive research and travels. Works Cited Baigell, Matthew, with Kaufman, Allen. The Missouri Murals: Another Look at Benton, Art Journal (1977): 314-315. Berardi, Marianne. Thomas Hart Benton. Traditional Fine Arts Organization, Inc. (2000). 20 Nov. 2007 http://www.tfaoi.com/aa/2aa/2aa573.htm Berman, Greta Berman. Thomas Hart Benton. Art Journal (1990): 199-201 Herberholz, Barbara. Thomas Hart Bentons home and studio. Arts Activities (2000): 40-49. Johnson, Mark M. On the Road with Thomas Hart Benton: Images of a Changing America. 1999: 17-50. Rodman, Selden. Fighter and Artist. National Review (1989): 44-47 Thomas Hart Benton Home and Studio State Historic Site, 27 May 27 2005, 20 Nov. 2007 http://www.mostateparks.com/benton/teachguide.htm

Health Status Of Gypsy Travellers Social Work Essay

Health Status Of Gypsy Travellers Social Work Essay A policy proposal written for an international agency detailing ways to improve the health and well being of the residents of a real community. The purpose of this Policy Proposal is to highlight, and bring to public attention, the inequalities in health status between Gypsy Traveller populations and non-Gypsy Traveller populations and to propose ways in which these inequalities can be addressed, tackled and reduced. To produce a valid, constructive proposal I will consider the health service priorities and health improvement targets, as well as experiences, beliefs and attitudes towards health of Gypsy Travellers. I will be using the generic term Gypsy Traveller to encompass the four separate groups; English Gypsies, Welsh Gypsies, Scottish Gypsy Travellers and Irish Travellers. Although each of these groups has a separate ethnic identity, evident from the different languages spoken by each group, they also share many aspects of a common cultural identity as traditional Travellers or Romani people. For the purposes of this study I will not be including New Age Travellers, as they have opted to take on this alternative lifestyle and are not of the same culture. There have been a few studies that find Gypsy Travellers (who are described variously as Gypsies, Travellers and Romanies, as well as other terms throughout these relatively small investigations) have an inferior health status to non-Gypsy Traveller communities. However, there is very limited, dependable evidence and data that proves this. At the moment health policy is focussing on trying to reduce the inequalities in health, in particular aiming at groups that are socially excluded. The department of health published a policy document in 1999 titled; Reducing Health Inequalities: an Action Report, claiming that one of the key aims of the Governments health strategy for England is to improve the health of the worst off in society and to narrow the health gap (Department of Health. 1999: 2). However, this proposal did not include any mention of the health, or health needs of Gypsy Travellers. This could be seen as an example of the extent to which Gypsy travellers are socially excluded. Gypsy Travellers are a socially excluded, ethnic group and, according to the small scale research already undertaken, require specific health needs that have not been met, or even recognised by the Health department. An investigative study that was undertaken in 2004 by Parry G et al, titled The Health Status of Gypsies and Travellers in England: A report of Department of Health Inequalities in Health Research Initiative Project 121/7500. The findings from this study confirm the concerns stated by authors of the reports that focus on the health of Gypsy Travellers. Parry G et als project backs up the smaller scale reports findings, and shows that there is a requirement for concern and action in this field. The report indicates that the health problems seem to be more serious among the highly nomadic persons within the Gypsy Traveller community (Parry G et al. 2004) Their report informs us that the results found for the health of the Gypsy Travellers that were being studied (study population) is significantly poorer than the results that were obtained from people of the same age and sex but from different ethnicities and social groups (UK general population). We are informed that the study group were between twice, and five times worse off than the general UK population, which cannot just be put down to the correlations with age, education and smoking. There was also some evidence that the people that required the health service the most were the ones using it the least; this is an inverse relationship (Parry G et al. 2004). Other results and findings from this report included every respondent mentioning that accommodation was a major factor. Not only is it the actual living conditions that are crucial to well being, but the fact that the ability to decide the type of accommodation they have, and whether or not they wish to continue a traditional travelling way of life is incredibly important and crucial to their sense of independence. Many of the respondents spoke about their lack of choice and the intolerable conditions they are in; another exemplification of the negative view the non-Gypsy Traveller has. (Parry G et al. 2004) Parry et als report noted that Gypsy Travellers find it hard to access healthcare, something which Feder touches upon in the 1989 Traveller gypsies and primary care in the Journal of the Royal College of General Practitioner. Feder tells us that gypsy Travellers often have trouble registering with a GP because the GP practices often reject them (Feder. 1989). Even when the Gypsy Travellers are able to register with a GP there is often communication difficulties between the health worker and Gypsy Traveller with experiences of, and also defensive expectation of, racism and prejudice (Parry et al. 2004). If improvements are to be made in Gypsy Traveller health, there needs to be a clearer idea of who is responsible for their health, i.e. is it all down to the Gypsy Traveller themselves to sort out health care or should it be the health authorities making sure any Gypsy Travellers that live within their region are accounted for and supplied with full healthcare options. My belief as to why there are such clear healthcare issues within the Gypsy Traveller community is that the healthcare officials have very little guidance when it comes to treating Gypsy Travellers, as well as the priority of the health of Gypsy Travellers being relatively low. These issues all need to be looked in to and resolved. Having said that however, for these issues to be overcome the overall problem of the Gypsy Travellers invisibility needs to be addressed first. However, including a category for Gypsies and Travellers on ethnic monitoring forms is not something that can just be added on. It should be done in consultation with the Gypsy Traveller communities and requires careful staff training. From the studies that have been mentioned above we can see that the health needs of Gypsy Traveller communities are currently not being met. The plans and provisions that are in place at the moment are not effectively tackling the problem and need to be analysed and updated. Methods need to be put in place that would improve both access to healthcare by Gypsy Travellers, as well as the service the Gypsy Traveller receives. There are some options we can look at that will greatly aid the cause. The idea of setting up a partnership with the Gypsy Traveller communities in the delivery of healthcare has been looked at before. An example of a partnership model was developed in the form of a pilot primary health care project in 1994 in Ireland. Traveller women were given training to develop their skills in providing community based health services to their own community in partnership with public health nurse co-ordinators (Parry et al. 2004). Partnership models also imply that Gypsy Travellers be actively consulted and involved in local health planning and service development. There are examples of this working well in Cambridge, Newark and Leeds where Gypsy Travellers are working in community development and in close partnership with health workers. Another way in which the Gypsy Traveller voice will be heard is to periodically invite Gypsy Travellers to participate in any forums that exist for Black and other Ethnic Minorities. This would mean that their needs are constantly out for the public to be aware of and eventually this would decrease the negativity that is witnessed towards Gypsy Travellers, and reduce any barriers the Gypsy Travellers may have come across in accessing public healthcare. Improving the cultural awareness of healthcare staff is a priority but with the very little evidence to support the effectiveness of cultural awareness training that is currently provided, this change should be evaluated in terms of its effectiveness at changing the negative attitudes that are at the centre of a lot of the discrimination. The Traveller Health Strategy 2003-05 of the Republic of Ireland is an example of inter-departmental coordination in regards to the gypsy traveller health. A similar inter-departmental Task Force in England would command wide support. It was clear from my research that dedicated health visitors for Travellers were highly valued and played an important role in being able to supply access to other health services. Targeted service provision has long been a practice for a range of groups, and should be practice for Gypsy Traveller groups as well. A compelling point was made in one of my research articles; if all doctors and health staff were trained to respect people then there would be less need for dedicated services and some participants were quite emphatic that there should be no specialist provision that Gypsy Travellers should be treated with the same respect and care as others in the population.

Greek Mythology Essay -- essays research papers

Greek Mythology Mythology was an integral part of the lives of all ancient peoples. The myths of Ancient Greece are the most familiar to us, for they are deeply entrenched in the consciousness of Western civilization. The myths were accounts of the lives of the deities whom the Greeks worshipped. The Greeks had many deities, including 12 principal ones, who lived on Mt. Olympus. The myths are all things to all people – a rollicking good yarn, expressions of deep psychological insights, words of spine-tingling poetic beauty and food for the imagination. They serve a timeless universal need, and have inspired great literature, art and music, providing archetypes through which we can learn much about the deeper motives of human behavior. No-one has the definitive answer as to why or how the myths came into being, nut many are allegorical accounts of historical facts. The Olympian family were a desperate lot despite being related. The next time you have a bowl of corn flakes give thanks to Demeter the goddess of vegetation. The English word "cereal" for products of corn or edible grain derives from the goddess' Roman name, Ceres. In Greek the word for such products is demetriaka. Demeter was worshipped as the goddess of earth and fertility. Zeus was the king and leader of the 12. His symbol was the thunder and in many of his statues he appears holding one. Poseidon, god of the sea and earthquakes, was most at home in the depths of the Aegean where he lived in a sumptuous golden palace. When he became angry (which was often) he would use his trident to create massive waves and floods. Ever intent upon expanding his domain, he challenged Dionysos for Naxos, Hera for Argos and Athena for Athens. Ares, god of war, was a nasty piece of work – fiery tempered, bloodthirsty, brutal and violent. In contrast Hestia, the goddess of the hearth, symbol of security, happiness and hospitality, was as pure as driven snow. She spurned disputes and wars and swore to be a virgin forever. Hera was not a principal deity; her job was a subservient one – she was Zeus' cupbearer. Athena, the powerful goddess of wisdom and patron of Athens, is said to have been born (complete with helmet, armor and spear) from Zeus' head, with Hephaestus acting as midwife. Unlike Ares, she derived no pleasure from fighting, but preferred settling disputes peacefully using her wisdom... ...ed to Greece where he organized drunken revelries and married Ariadne, daughter of King Minos. In addition to the gods the Ancient Greeks revered many beings who had probably once been mortal, such as King Minos, Theseus and Erichthonious. Intermediaries between gods and humans, such as the satyrs, also appear in the myths. The satyrs lived in woods and had goat horns and tails; they worshipped the god Dionysos, so, appropriately, they spent much of their time drinking and dancing. Nymphs lived in secluded valleys and grottoes and occupied themselves with spinning, weaving, bathing, singing and dancing. Pan found them irresistible. The Muses, of which there were nine, were nymphs of the mountain springs; they were believed to inspire poets, artists and musicians. Finally, mention should be made of the three crones Tisiphone, Aledo and Megara – sometimes called the Furies – whose job it was to deal with grievances from mortals, and punish wrongdoers. They had dogs' heads, snakes' hair, bloodshot eyes, coal black bodies and bats' wings and carried brass-studded scourges. It was considered unlucky to call them by name – they had to be called Eumenides – the kindly ones! Bill Gates

An Artists Life :: essays research papers

Much of the art of the Renaissance was extremely religious in its nature. The paintings from this time are almost entirely scenes from the Bible including: the enunciation of the Virgin Mary, depictions of the infant Jesus Christ, the crucifixion of Christ, and numerous other examples of Christian iconography. One would imagine that virtuous, upstanding artists would have created such angelic works of art. The stunning displays of morality, as seen in the works of many Renaissance painters, are not always a reflection of the artist’s lifestyle. Two examples of artists whose paintings did not reflect their lifestyles were Michelangelo Merisi de Caravaggio and Fra Filippo Lippi. Both of these artists created works that portrayed Christian iconography with great aesthetic expertise. Among these works are Caravaggio’s The Inspiration of Matthew and Lippi’s Madonna with the Child and two Angels. Fra Angelico was another artist from this same time period. He is quite a contradiction compared to his contemporaries. Angelico led a very pure life following the Christian morals of the time, unlike his peers. Caravaggio, while a great artist, had a stormy personal history. Very little is known about his life until it began to be documented in the criminal courts. His teens and early twenties were scattered with bouts of abject poverty, until he became renowned as an artist. From this point on, his name appears every few months on the police blotter. He became well known for picking fights, threatening people with swords and being arrested for such deeds. He was sued for libel and built up enemies to the point where his murder was attempted. He was found in bed with wounds around his neck and left ear. Because of this event, Caravaggio was jailed in his house for an entire month. He was forbidden to leave without written permission from the governor of Rome. However, it seemed nothing could keep Caravaggio out of trouble. In the month of May 1606, he killed a man who had won a bet over a ball game that afternoon. After this event, he was left wounded himself. He fled Rome, going to a patro n's house and eventually moved on to Naples. At the age of thirty-five, he left Naples and went to Malta, where he was well received for this renowned artwork. However, this situation did not last long. He got in a fight and was imprisoned. Shortly after arrest, he escaped and finally returned to Rome, where his reputation was still well known.

“White Man’s Burden” and “Shooting an Elephant”

In the poem â€Å"White Man’s Burden† and essay â€Å"Shooting an Elephant† is talk about the two white men has a different point of views about imperialism and how the white treat the natives. â€Å"White Man’s Burden† by Rudyard Kipling is talk about how does white man sacrifice for the native during the imperialism. â€Å"Shooting an elephant† by George Orwell is talk about how does the white treat the natives by reflect the way shooting an elephant. â€Å"White Man’s Burden† by Rudyard Kipling, the first identity of the white man is sacrifice for the natives, he was one believed in the virtues of imperialism in that period. As the text proof â€Å"send forth the best ye breed-go bind your sons to exile, to serve your captives need; to wait in heavy harness†. The white man try to make difference to the natives, educated them was white man’s job and the cast it as their goal. The second identity of the white man is racial and cultural stereotype, as the text proof â€Å"Ye dare not stoop to less-nor call too loud on freedom to cloak your weariness, by all ye cry or whisper, by all ye leave or do. The white man have to be open mind about different culture and to think about the way of white man teaching the native, be open mind to accept the natives culture as well too. â€Å"Shooting an Elephant† by George Orwell, Through the essay Orwell reflects the social condition at Burma as a result of British Imperialism and his own view on imperialism. The first identity of the white police officer was sub-divisional police officer of the town, an in an aimless. Second identity of the white p olice officer as he expresses is great sympathy for the oppressed Burmese. White police officer reflects the way he Killed the elephant, emotionally. As the text proof â€Å"as soon as I saw the elephant I knew with perfect certainty that I ought not to shoot him. I did not in the least want to shoot him, I decide I could watch him a little bit make sure he did not turn savage again, and then go home. With the magical rifle in my hands I was momentarily worth watching. Suddenly I realized that I should have shot the elephant after all†¦Ã¢â‚¬ ¦Ã¢â‚¬  and finally he shot the elephant. In the essay the police officer feels truly stuck between his loyalty to Britain and his sincere distaste of imperialism. The police officer was kind open mind about the time of imperialism. Ironically â€Å"he shoot the elephant† in order to maintain the integrity o the system of imperialism, In Orwell opinion imperialism take away peoples think, doing whatever to the expectation of other. â€Å"The White man’s burden† compare to the â€Å"Shooting an elephant† they are both white, and the winner of the imperialism. But they have different view and thought about the imperialism. In the poem â€Å"The white man’s burden† the white man to bring civilization to the natives, by educate them and take responsible to the native, and white man sacrifice a lot to the natives . In the essay â€Å"shooting an elephant† the white police officer think that the imperialism was an evil thing to the natives, his sympathy for the oppressed native, but in other hand he can’t do anything about it. In conclusion the poem and essay was written during the Imperialism period, causing many mix feelings between what is good and what is bad? But I feel so bad about the natives, why should white people have to care about native? Because if you want to control over a country you need to know their culture and respect their culture this is call winner. Why is important? Because we are human and we have to try everyone equally the way they should be treat. In shooting an elephant, the white police know that imperialism is evil thing to the native, at the time he couldn’t do anything about. But today is different and we all equal respect each other, and live in freedom country.